What’s in a Name?

Good morrow sweet readers. Today I’m going to talk about the importance of names in your fictional writing. Every writer has a process, and some of them are very organic while others are tortuous. I have been in both of those phases. Sometimes a character is just who they say they are when they pop into my head. And even if I wanted to change the name, I couldn’t. Sometimes the same character goes through an evolution of two to three (to seven–jesus, Elle Sullivan) names before the right one lands.

So how do we do it? Well… Here’s a bullet list because… we love bullet lists. Keep in mind that a character can be named for one of these reasons or for a combination of them.

  • Naming your character with meaning
    • This is where we get into the baby name sites and books and start with a meaning and back search what names correlate. I’ve done this a lot with my more urban fantasy/paranormal characters. I’m pretty sure none of my readers go around looking up the name and finding the little easter egg of their arc and purpose matching up. I do it more for me.
  • Naming your character Regionally/In Situ
    • Naming your character something that originates from their homeland, family, or region. This is important in some cases, to ‘show’ the reader a little bit about who they are by where they came from (like dialect but in a word).
  • Naming your character with sound
    • I think this is especially important in childrens’ and middle grade books. Lemony Snicket, Severus Snape, Skippyjon Jones. Not only does it make it more fun to read outloud but if you do your job right, you can intonate character with name. Severus Snape, ‘esses’ like a snake on your tongue.
  • Naming your character in tribute
    • There’s absolutely nothing wrong with this when it is done out of love and respect. My grandma Emma became Em. I even inadvertently wrote in a dear friend’s mother, Carmen into Back to the 80s. I know a Jamie, and love the name and fella but since it would be weird to write him as the MC, I made sure it was ‘Jameson’ in Composing Laney. I’ve used friend’s last names or nicknames. Sometimes its a way to pay tribute to them and be a little lazy.
  • Naming your character for foreboding
    • Gage in Pet Cemetery. Hodor from the Game of Thrones. Damien in The Omen. Even Remus Lupin, gave us some insight into the direction of the character. You can either spoil plot twists with this one or make your readers stop mid page to gasp at your cleverness. The trick is subtlety and not thing more than the name away before the twist. It could even be that an evil name (Severus Snape) is actually not attached to a villian.

Well, there you go. A few ways to start thinking (and probably overthinking if you’re like me) about how to name your next character. For a few more resources, check out the list below. Some of these are way more in depth than I like to go, some are fun and you can just keep spinning the wheel until the right one comes up. Good luck out there.

  1. Masterpiece
  2. Fantasy
  3. Listophile
  4. The Story Shack
  5. Reedsy Villains

Listening to Our Characters

Good morning dear readers and writers. First, may I offer a huge thank you for all the comments and encouragement I received from the last post. Writer’s know what it is to get bogged down in the process, and no one is better at pulling you up from that dark, dusting off the weight of the little failures that cling to your shoulders, and giving you a gentle but determined shove back up on the road. So thank you for your advice and encouraging words. They mean a lot.

Between that last blog and this one, I was lucky enough to take Todd Mitchell’s workshop on Creativity. I’d been to a few of his classes but this one seemed serendipitous. I knew I needed to start writing again, a novel. A big project to immerse myself in, and I have a beautiful trio sort of dangling between first draft and not quite done currently on my computer. I love the second book, and that’s obvious by how close to done it is. The third, similarly has pulled me in and I’m enjoying working through the rough patches. But the first. Ah…the first. Kind of the keystone in a series…well…it’s a piece of shit.

And it took me a while to really figure out why during rewrites last year. The main character had somehow taken on the dreaded Susie Sunshine persona (probably because the concept of her was born many years ago.) So, I put her through a character-lift (like a facelift but for imaginary people without faces yet). She got a spanking new name and I roughed up her edges. But nothing in the story seemed to make sense and it felt like trying to force an incorrect puzzle piece into a million different holes that did not fit. What in the hell was wrong with her? I knew what she needed to do and the plot and arc of the book was solid.

But I didn’t believe she was the woman to live it. And I was stuck.

And then Todd said something about struggling with a novel for years until he finally sat down and wrote a letter to his main character and asked him “What is it you want me to know? What’s your story? What am I not seeing?”

For the average human reading this post, I’ve just solidified in your head what absolute insanity writers possess. What do you mean you ask your characters? You created them. You know them. That’s your brain.

But the brain is a tricky place, silly non-writer. It’s vast, and expansive and it has a million rooms we’ve never even found the doors to, let alone explored. And sometimes, characters and answers lay behind those doors. And the only way to access them is to stop trying to force the answer. (I’m planning a post on Alpha State writing so hanging in for that one). Answers com only when we calm the hell down, and sit quietly outside the door, letting go of our ego and our need to tell the story, and just listen to their story.

Sounds crazy. Absolutely, bat-shit, bonkers.

And it totally works.

I put on a meditative playlist, took some deep breaths and focused on her name. Her new name. Her newly rough edges. And I sat, with my back to her door and took some deep breaths. I closed my eyes and started typing. And I didn’t question or stop, or allow myself to think of what she was saying. I just listened to her.

Here’s what it looked like:

Hey Dani,

Hey Sarah.

So, I’ve been struggling with you.

Yeah, I know.

I want to create you

You can’t create me. I just am.

So who are you?

Wrong question

What is it you want me to know? What am I missing about you?

I’m dark.

You began so light and perfect

That’s not how the world works. Not for babies abandoned, babies with parents like mine.

What does that mean? Who are you?

I am Danika Brennen. I was left at a fire station as a baby. An orphan.

Who left you there?

A pregnant vagabond, disowned. My mom

Who was she?

An member of the High Guard,

kicked out

Are you ***’s daughter?

No, I’m Loki’s.

holy shit.

Now, I’m not going to give everything away, but that last thing she said…that was an answer I didn’t know until I let her talk to me. And it’s an answer that I can write a book from. That will help me, help her navigate through this story…to a better place. To a life she deserves. As dark as she thinks she is.

It’s crazy right? But talk to any fiction writer and I guarantee they’ve had some kind of experience with their characters talking to them, to each other, offering unwanted suggestions or criticism along the way. And yes, they’re all in our heads. But I think as humans we underestimate the expansive reach of our brains and neural capacity.

I mean what if they’re not just our consciousness, what if they’re wavelengths in a much bigger plane of existence that we’ve only just started to understand. The wavelengths and dimensions that only open to us, When we listen.