What’s in a name? Photo via persnicketypoop on Reddit (2012)
I have to choose a name for a new character, and I wonder what you think.
Picking a name for a character is serious business. I’m sure every writer has a method s/he prefers. I usually go with a combination of the phone book for last names and baby name web sites for first names. When I want a name to sound particularly ethnic, I also search web sites for “common names” for whatever ethnicity I want my character to reflect. I usually go with fairly short names if it seems that pronunciation might be difficult for, say, me.
In my new WIP (!), which is book three of my Phoebe trilogy (book two is finished! Cue fireworks!), I have introduced a character, a young man, who is taking the coursework necessary to become certified in protection driving—the kind of driving that celebrities and politicians hire when they feel threatened. Continue reading
Happy Thanksgiving, everyone! This is maybe my favorite holiday of the year, unburdened as it is by the anxiety of gift-giving, focused on a simple but bountiful harvest meal shared with a community of friends and family. And if my family leaves money, religion, politics, and some nephew’s haircut out of the conversation, I am extremely thankful.
I tend to think of Thanksgiving as an American and Canadian holiday, but vestiges of the American holiday, as well as general harvest festivals, are celebrated worldwide. For example, Liberia celebrates Thanksgiving (and many other American traditions) because it was founded by freed American slaves. Continue reading
We’ve talked about book production and book covers some (here and here), and I’m continuing that conversation by talking about a cover of mine that was particularly hard to pull together. And that was because my protagonist is a garden gargoyle.
First let me tell you that I never wanted to write a story about a gargoyle, garden or otherwise. But my two critique partners got it in their heads that it would be a fun project to write an anthology “about” gargoyles. We could write whatever we wanted. So they dragged me, kicking and screaming, into this abyss.
One of my critique partners, Patricia Simpson, is a Rita-nominated author of gothic romances. Beth Barany writes contemporary romance or fantasy, often for a YA or NA audience. I write light-hearted stories, which sometimes verge on comedy, with a romance angle. So we couldn’t be more different. Continue reading
Remember this cover on the left? Not long ago I whined about what a hard time I’d had creating a couple of covers for novellas I’d written. At the time, I didn’t want to hire a designer for work that was unlikely ever to sell well enough to recoup the expense. So I did this one myself. I knew it was weak, and comments validated my opinion. Several of you said it looked like a business or self-help book.
Since then, I’ve had a change of heart about improving my DIY covers. Those stories are all my babies, right? I love them all equally. They all have given me joy and made me sweat tears. So why shouldn’t they all have nice covers?
I’ve hired designers before, many times, for my books and other projects in my day job, but I found this experience to be more interesting than usual. For starters, what sort of image should go on the cover? There’s no reason to put an embracing couple there. In the story, while the couple has corresponded by email for a while, they meet in person only on the last page of the book, and they decide to go for dinner. That’s it. Continue reading
The Wreckage of the Black Prince (fragment) by Ivan Constantinovich Aivazovsky, 1854.
Becoming an author requires a lot of work, from the writing to publishing and marketing. It’s easy to get caught up in writing-related activities that don’t yield much, if anything, in results. In the lingo of economists, this phenomenon is called the sunk cost fallacy—really a high-fallutin way of pointing out how you’re wasting your time.
I just read an article about the sunk cost fallacy, and it resonated with me since I’ve so recently fallen victim to it. So, what is it and how does it work?
In economics, a “sunk cost” is a cost that you’ve already paid, says Robert Wood on Standout Books. For writers, this payment can be financial, but usually the resources that you spend are time, energy, and emotional commitment.
The all-female cast of the “Ghostbusters” reboot. From left: Leslie Jones, Melissa McCarthy, Kristen Wiig, and Kate McKinnon. (Hopper Stone/Columbia Pictures, Sony via AP, File)
Just recently I finished a fantasy story in which the protagonist was a female warrior. It didn’t really grab me. The heroine seemed to slash and burn her way through the opposition without much worry, and while consequences resulted, they were plot points rather than shifts in her character development and emotional outlook.
Guy in a skirt, I thought, and moved on.
But lately I’ve noticed that there’s been public discussion of this phenomenon—that is, the “gender swapping” effect. Continue reading
A view of Highgate Cemetery
Today I’m in London, visiting Jilly, and we will go (or have gone) to Highgate Cemetery, a place I’ve always wanted to see. George Eliot is buried here, as well as Christina Rossetti, Radclyffe Hall, Douglas Adams (author of Hitchhiker’s Guide to the Galaxy), Karl Marx, George Michael, and 170,000 other famous and not-so-famous people.
I’ll be gone for more than three weeks—after I leave here, I go to Italy where I’ll meet up with another friend in Bologna and then take a bus trip around the country. I’m looking forward to it all—brainstorming with Jilly in addition to doing fun stuff—and then seeing the high spots of Italy, a country I’ve never been to.
I think travel is good for people. Continue reading