As writers (and I suppose as well as regular human beings), we often have trouble deciding what we should focus on next. . . when there’s that urge to start something new, regardless of our other projects. Maybe you just finished writing a novel you’re very proud of, or perhaps you’ve become bored with your current work-in-progress and desire a change. No matter the instance, sometimes we need suggestions on what do to next (we can’t think of everything ourselves, although we all wish we could).
Hopefully this quiz that I’ve had so much fun creating will give you some inspiration and ideas on where to focus your writing in the immediate or distant future. There are five different endings, so if you’re not happy with the first one you get, just try again. Have fun!
One of my favorite things to do as a writer is to create character names. It’s one of the first things I do to start a new story. Names can say a lot about a person and finding just the right title for your characters can really help the story flourish.
Firstly, there are a few types of names in the story world, and I’ve come up with five different categories, just for fun. We have: bland names, overused names, hard-to-pronounce names, principal-character names, and side-character names. Now, let’s talk about them in a little more detail.
These are the names that don’t really stand out, the names that we have to go back through the book searching for because we forgot who “that guy” was. Go through your memory and try to think of some dull character names from stories you’ve read. The characters you’ve forgotten about entirely, just because you forgot their name.
Yet another thing to consider, for characters that don’t really matter to the story, people who don’t need to be remembered at the end of a book, bland names are perfect! If you’re looking for a name to fit someone who is insignificant to the storyline, bland is just fine.
Okay, we’re talking the kind of names you can find in basically every young adult paperback sitting in used bookstores from here to Timbuktu (perhaps an mild exaggeration, as I often exaggerate things with ease). Think “generic.” Of, course, different genres are going to have different overused names. For instance, open a historically set book and you’ll probably find a John, a James, a Henry, a William, a Mary, etc., because those names were very popular in history. Something from the 1990s might have a Jessica, a Brittney, an Ashley, a Chad, and a Michael. So, yes it will be historically correct to use these names, but not necessarily unique, since they can be found in many other books. If you’re looking for highly accurate names for the time, go with those even if they’re overused. If you feel you could be a little more lenient, gather uncommon and unique names, ones that are still accurate yet rare.
I think overused names can be found more frequently in surnames, like Smith, Jones, Brown, Johnson, etc. Yet, there’s nothing wrong with using any of these names, first or last. Indiana Jones is a world-wide known name, because the ordinary surname is overridden by a very unique first name. Another example, Luke Skywalker: very common first name, very uncommon last name. So you have the freedom to choose whatever arrangement sounds best for your character. There are no “rules” here, play around with the names, generic or unique! You can also take a popular last name and use it as a first name, and visa versa.
(Side-note: Jane Austen often used the same name for many of her characters, like Jane, Fitzwilliam, Anne, Fanny, Mary, Robert, and John, and it obviously didn’t hurt her writing career because of it, so do whatever you may!)
Most certainly more than once, I’ve read a name over and over again throughout a book without knowing how to correctly pronounce it, mumbling it in my head, and hoping I never have to read it aloud. It could be a name from a different language, or completely made up, like “Poigly” or “Maigdor” (how did you pronounce those; I’d like to know?) We can go through an entire book and simply skim over actually understanding that one name, because we’re unsure of how it’s supposed to sound. Perhaps using one or two hard to pronounce names is perfectly harmless, but an entire book of it could easily hurt the flow of the story if the reader is fumbling through every other sentence. Imagine reading Genesis chapter 10 in a consistent flow. Yeah, impossible.
Secondly, a name can just be too long. It can get tiring for the reader to sound out 2 four-syllable names every time the character is mentioned. So maybe give them a nickname!
This is your main character’s name, the one that you want everyone to be able to remember, with a unique ring to it, and some sort of tie to their personality. A nice blend of easy to remember/catchy, yet unique. You can pick a name that reflects the traits of the character. Wise people would have intelligent sounding names, untrustworthy people, a suspiciousness about their names. If you have several main characters, make sure they don’t sound strange when put together (since they’re probably going to be mentioned together often), like Will, Bill, and Jill (unless it’s important to the storyline).
These are the names that lay somewhere in between the bland names and the principle character names. The ones that don’t really have to stand out, but have to sound realistic for their character, time period, and location. Any name that doesn’t make the principal-character cut, move it to the side-character list. A great sidekick needs a great name!
Where to find unique names?
A physical phone book – if you can find one. It’s always fun to do the random flip and point trick to create names. It never fails to give me unique and creative titles.
Cemeteries – This is my secret place for gathering names, shh don’t tell anybody. I’ve filled page after page with rare and interesting names that sounded fascinating to me, from several different cemeteries. If you’re looking for historic names, look at the older headstones. (And no, I don’t consider this morbid in any way, these people would have most likely been thrilled to find out that a writer from the future had included their name in a story.)
Your family tree – Look back into your own history and write down some of your favorite names, and of people who have been an inspiration to you from your family. It’s a good excuse to research your ancestry in detail, and you can even use some of the information and tales you find to include in the story.
Old censuses – this might be your last resort. If you can find an old census in the library or online, you can pinpoint the date and general location when and where a certain name was in fashion. But reading through document after document, you may find it easier to try the other methods first.
So whenever you’re in need of names, grab your trusty notebook and make two categories, first names and last names. Gather anything and everything that catches your attention. Mix and match to created hundreds of different names. You’ll know a good name when you see one. Sometimes a name alone can spark the idea for a whole new story!
You can also use your list of newly gathered names for streets, towns, and establishments. There’s no limit to what you can use your research for, and the good thing about doing all your own research is that no other writer is going to have the same list of names. It will be completely distinct.
All this to say: you don’t have to use the internet name-generators that everyone else uses. You can be unique and special by finding them yourself, in the world, in your hometown, and in your ancestry. So have a ball gathering wonderful names and watch your characters come to life!
What’s your go-to way of naming characters?
Do names just come to your head, or do you go out and search for them?
Have you ever created a great name, only to then discover it’s already a famous literary character’s name and you can’t use it anymore, or is it just me?
Being a writer, I’ve gone to seminars and conferences, read writing books and articles, and was given advice by real authors on how to make my books the best that they could be. I, at one time or another, believed a lot of what I was told, and altered some of my work to fit with “the right” criteria. That was a mistake. Here’s a list of five writing misconceptions that I was told to believe.
1. “You must begin your book with an exciting scene.”
I was once told that my book had to begin when everything is changing for my main character: “when their world is turned upside-down” so you can grab your reader’s attention. I found a few things wrong with this advice, the first being, if we all started our books the same way, they wouldn’t be special or unique. It would be pretty boring to read the same kind of introduction in every book you open, wouldn’t it? The second problem I saw was, if we began our story when the character’s world is turned upside down, how would we know what is normal for them? Without any background story on our character, how could we distinguish oddities from their ordinary life? We wouldn’t know their everyday standards. The reader must connect with the character before he or she can care or worry about what is going to happen to that main character. Creating a subtle backstory first can help the reader to recognize abnormal happenings from ordinary ones. Beginning your book with a calm opening about the character’s everyday life is absolutely fine; there are so many famous classics that begin with a simple scene, like Anne of Green Gables, A Little Princess, and Sense and Sensibility. These authors didn’t follow the rule of the “dramatic opening scene” yet they have all have become enormously popular, selling a few million copies of their books!
2. Your book should contain 70% dialog.
A published author once suggested that I didn’t have enough dialog in my books. I went on to learn that publishers sometimes determine your book’s success by the amount of white space on each page. Having a page of dialog will provide more blank spaces than a full page of narrative, therefore, I was told that more “talking” is always best. So I decided to test out this theory and wrote a short book mainly full of dialog. It was choppy and not well explained, might I say. I couldn’t elaborate on descriptions or explain the surroundings without having someone speak it aloud. This idea of “lots of dialog” is a modern concept, so I can see how it would work for books taking place in the modern world, but if you enjoy writing historical fiction like I do, then this “all dialog” theory probably won’t work. It’s just not realistic.
3. Tell your reader instead of showing (because it’s shorter).
I’ve heard this one a few times. Some say that a writer should tell the reader about something, not show them, to keep the pace moving. I however, disagree. I find it much more interesting if I am actually shown something and not just told about it. The difference can have a lasting impact on the reader. Here is an example I made up:
Telling Version: “The boy told his dog to stay. The dog stayed.”
Showing Version: “He held out his thin little hand like a fireman stopping traffic as he slowly backed away from his fur-matted friend. Oh, how those four dirty paws wanted to bound across the space between them and gift the boy with a thousand slobbery kisses, but being the keen and obedient dog that he was, he planted his feet in the dewy grass and vowed to keep as motionless as the statue he had seen in the park.”
Both versions were each made up of only two sentences, telling the same story, yet they are both extremely different. Which one provided the most information? Which one would you be more likely to continue reading if it were the opening of a book? Which one do you find more interesting? Probably, the second one is the answer to all of these questions. The second version let us know that: the boys was small, the dog was scrawny, the dog loved the boy, the dog was obedient, it happened in the morning (dewy grass), and they take walks in the park together. The first version didn’t tell us any of that!
4. End each chapter with a cliffhanger.
Many say that to keep your readers flipping pages, you must create a cliffhanger at places where the reader is most likely to put the book down, like at the end of a chapter. I find that this strategy just isn’t realistic. Yes, cliffhangers are exciting and can add a bunch to your book, but one in every chapter is a bit excessive. Besides, if you have to bait your readers with a constant strand of dangerous and uncertain situations to stay seated and continue reading, it may not be a very interesting book in the first place.
5. Reading will make you a better writer.
Now, parts of this phrase are true. Reading other books can definitely help you with writing your own book. But when people give this advice, they forget to mention that it depends on what you read! If you read a lot of terrible books over time, you may find that you morph into having those same writing habits and write terribly. While at the same time, if you read many great books full of beautiful words and brilliant plots, your writing is more likely to improve. It is like that saying, “You are what you eat.” Instead it’s, “You are what you read.” If you want to write inspiring things, read inspiring things.
Bonus misconception: The publisher is always right.
This is quite far from the truth. Many people I’ve met dream of the day when their book is accepted for publication. When they get turned down, they revise their work to fit the publisher’s standards. Then if their book is accepted they allow the editors to change whatever they see fit, slap a generic unenticing cover on it, and ship it out. Sadly, this happens a lot and many just accept it because they want their book published. But the publisher is not always right and you shouldn’t have to be forced to alter your hard work to please someone in order to get published. You don’t always have to submit to what publishers say, because they’re not always right. You’re the author, it’s your work, your special creation that no one can take away. Self publishing is a good way to ensure that your story is published the way YOU want it.
Do you like to write fiction?
Were you ever told to believe one of these misconceptions?
Do you have any other writing myths or misconceptions to share?