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
Recently, I went back and read a make-out scene I’d written a couple of years earlier, where the guy basically shoves my heroine up against a lamppost, sticks his tongue down her throat and presses his erection against her belly. At the time I wrote it, it seemed sexy. It was also well justified because the male character was possessed by a demon. (Although the demon’s actually the good guy and the bad behavior is all on the part of his human host, but that’s a whole, quirky story–The Demon’s in the Details, coming in October, 2017).
When I reread the scene in light of Harvey Weinstein/Kevin Spacey/Roy Moore/Louis C.K./Matt Taibbi/Al Franken/ad infinitum/ad nasuem, it didn’t work for me anymore. I didn’t like the hero for what he did, I didn’t like the heroine for not punching him in the face for doing it, and I didn’t like myself for perpetuating the myth that men who ignore a woman’s right to affirmative consent are sexy.
I am reading Mary Balogh’s Silent Melody in which the heroine is a deaf-mute (that’s how she is characterized in the story). It’s fascinating to read the way Balogh describes how Emily views/lives in her silent world, how she communicates with others, and how they communicate with her. And how sensitively/insensitively the other characters treat her. Some of the language used in reference to the character makes me uncomfortable because part of my day job is public school system special education administration. I keep telling myself that it’s like reading a romance novel from 1972 – yes the rape scene is understandable given the genre and societal norms at the time, just as in 1780, there was no such thing as political correctness when referring to someone with a disability. Continue reading
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
I was noodling around on one of my favorite writing blogs recently and found a post entitled 10 Poses to Show Character Development Through Body Language. The post referenced a TED talk from 2012 by Amy Cuddy about Body Language. Still noodling around the Internet on this topic, I came across this image on bodylanguage.com. These resources reminded me of one of the sessions I attended at an RWA in the past on “Body Language, Lying, and Manipulation” presented by Dr. Cynthia Lea Clark (I remember it because Linda Howard also attended it. She sat next to me and went all fan-girl on her). 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
Do any of your favorite books get wrapped up in a high-risk, high-stakes final standoff?
Michaeline and Elizabeth had opening scenes on their minds this week. I’m at the other end of my WIP. I’m deep in my writer’s cave, trying desperately to polish up the grand finale of Alexis Book 1.
There’s a dramatic setting, mortal jeopardy, the stakes are nosebleed high and there’s no obvious way out. All the major players are present—heroine; hero; scary otherworldly nemesis; powerful scheming old crone and her grandson, the heroine’s jealous, spoiled half-brother.
I’m trying to do the scenes justice, but I’m feeling a little out of my depth. I know what happens, and why. Stuff happens. Tension escalates. Somebody gets hurt. Somebody dies. The death is right for the story and I’m sure I want to make that choice, but I’ve never killed off a character before. This is a new challenge for me and I want to master it.