Category Archives: The Writing Life

Character Names that Mean Something

Sometimes it’s hard to think of a good name for a character, location, or object.  When I first started writing, I would ponder for days, sometimes weeks, trying to find the right name.  Once I got on the Internet, though, I realized that the World Wide Web contains all sorts of resources that can make the task of naming your characters (and locations, and McGuffins) easier.

First and foremost is the wide variety of baby name sites on the internet.  If I know a bit about my character’s personality, I can search “baby names meaning warrior, baby names meaning beautiful, baby names meaning leader, baby names meaning sorrowful.”  I’m often able to come up with a name that suits my character and yet doesn’t sound painfully obvious (hint:  if you’re naming your male character “Rad” then you’d better have more to that choice than just wanting to be sure your readers understand that this character is awesome.)

I’ve often wanted a character to belong to a particular real-world ethnicity (including Indian, Polish, Anishinaabe, and Celtic) and had difficulty naming them, because I don’t like to give characters the same names as real-world people I know from those cultures, and I really don’t like making up some nonsense word that “sounds Chinese, Polish, Celtic, etc” as that can be truly offensive.  Online resources have provided me with lists of authentic names from those cultures.

Three cautions for baby name sites:  as with much information on the Internet,  verification is key.  It’s easy for someone to say that a name or word means something when it doesn’t, and some names have a variety of interpretations (like my own, Mary, which means “chosen by God,” “bitter,” or “rebellion,” depending on who you ask).  Cross-check your source to be sure it’s reliable.

Secondly, consider the culture of the character(s) and the setting of the story.  If your setting is a modern medical school, it’s relatively easy to explain a character with a Greek name, a character with a Swahili name, a character with an Arabic name and a character with a Sri Lankan name as co-workers.  If your setting is in Steampunk England at the turn of the 20th century, the explanation becomes more challenging.  If your setting is a fantasy village and your characters are all natives of the same village, it’s almost impossible to explain why their names are from completely different languages.  And while there can be interesting character hooks in, say, the Italian boy with the Pakistani name, or the Chinese girl whose name, translated, becomes a boy’s name in English, it can be confusing at best and insulting at worst if characters have ethnic names, but no other links to those ethnicities.  Conversely, if your character has immigrated to a society where there is prejudice against her ethnicity, she may deliberately choose a new name that will be easier to pronounce and “fit in” with the majority of that society—or she may be forcibly given one.

Thirdly, recognize that some names carry pre existing associations.  I love the idea of a girl’s name that means “to think like a man”—but the name in question is “Andromeda.”  Andromeda’s already a well-known mythological figure and if I don’t want to conjure ideas of constellations and sea monsters in the reader’s imagination, perhaps another name is a better choice for my character.

Google can also be an invaluable tool if you’ve just made up a name that you think sounds really cool.  The subconscious can play tricks on us; it’s possible that we might be borrowing a name that we’ve heard somewhere before and not realize it.  Do you really want the star of your space opera to be named Luke or Kirk?  Or the name that sounds neat to us might be similar to a word that’s embarrassing or offensive in another culture (witness the word “slag”, where the word’s literal definition is waste material from coal production.  Sounds like a badass heavy-industrial name for, say, a fighting robot–except that in Britain, “slag” is a derogatory slang term for a promiscuous woman.  Oops!  And this is why a certain Dinobot has recently changed his name to “Slug.”)  When I make up a cool-sounding new alien species, planet, or character name, I always run it through Google to see if it’s already part of some other franchise, or if it has meanings or associations that I didn’t realize.

The World Wide Web can provide writers with all kinds of inspiration for naming characters, places and objects.  Search engines also provide a quick and easy way to double-check that the neat and totally original new name you just thought up hasn’t already been used by someone before you.

 

Cloud-Based Storage and You: How to Never Lose Your Work, Because if You Did, You Would Cry Like a Little Baby

Have you ever had a “friend” lose a manuscript, or even half a manuscript, due to a computer crash? They may describe it like a slow-motion car accident, their hope melting away with each second. Something like this.

Friends don’t let friends save work solely on their desktops. Friends make sure friends are saving their work on a cloud-based storage. I personally don’t care which company you go with, just as long as you do go with one as a back up. 

You may accuse me, by the end of this article, of using scare tactics to get you to back up your work. 

Yes, you are correct. 

In the Writing World, the people are represented by two separate, yet equally important groups. The writers who save their work, and the writers that do not save their work or have copies. THESE ARE THEIR STORIES.

1. Lord Byron. What’s worse than dying? Sending the very last thing you wrote, your memoirs, to your editor with the request he publish them after you die, and instead he rips up each page and throws it into a fire. THAT’S worse than dying, probably.

2. Sylvia Plath. How about after you die, your own husband destroys your very last works, including 130 pages of a novel you were working on?

3. Ernest Hemingway. Maybe it would be less painful if your wife took a bunch of your short stories to show them off to friends, only to have her bags stolen in the train station.

4. Edna St. Vincent Millay. Let’s say you take a vacation to Florida and bring your manuscript. When you return to the hotel after a stroll on the beach, you find the hotel engulfed in flames.

5. Author 1 (Name redacted because you’d recognize it, and he’s still alive). When this author was just starting out, he lent the only copy of his very first novel to his friend to read. She lost it. Oops!

I know what you’re thinking. But Kristin, those writers didn’t use computers. Computers are different.

OH ARE THEY?

6. Toy Story 2. That time when an employee accidentally entered the wrong code, which started systematically wiping the entire film from the database. (Guess why this is a happy ending? Somebody was smart/lucky enough to have a back-up drive at home.)

7. Author 2 (Name redacted because you’d recognize it, and he’s still alive). When this author was just starting out, he decided to write a short story every week. The first year went pretty well, so he decided to keep going with this goal. He was doing fine until his house burned down in a fire, and he lost every single story he had written over several years.

8. Author 3 (Name redacted because you’d recognize it, and he’s still alive). This author was blazing through a late and long-awaited novel. He left his office for the day, only to return the next day to find all of his computers, back up drives, and other technical equipment stolen. Because he had been in such a rush to finish the novel, he hadn’t been saving it regularly, which meant the only form he had left of the novel was the first couple of chapters, which also hadn’t yet undergone the heavy edits he had just made to them.

Let’s learn from these brave souls’ (very) hard-earned mistakes. Back up your work. One of the best, free resources out there right now is Dropbox. It’s a cloud-based application that saves your work on multiple third-party servers, which means you can access your saved work at any time from any device with internet.

It doesn’t hurt to also have a hard copy, in the event of a zombie apocalypse. Because we all know that planning is everything.

What’s the most painful story you’ve heard about a work being destroyed or lost or deleted?

Building Your Writing Tool Belt

ToolbeltNow that we know how to get our heroes into all sorts of trouble and torture them in ways both subtle and extreme, we face the next challenge.  How exactly are we going to craft these awesome stories and package them in ways that leave readers begging us to take their money?

I’m not talking about the process of writing the scenes.  I’m talking about what platform do we work on and what tools do we employ to write, edit, polish, and publish our stories?  Imagine the story like a house want to build and list on the market.  Do we use hand saws and wooden pegs, or power tools?  Not every new tool on the market’s worth the time and effort to master, but some of them are.  How do we decide?

Gone are the days when a writer banged away at a typewriter one sheet at a time.  The advent of word processing software like Microsoft Word revolutionized the process.  It was like replacing that hand saw with a skill saw.  The process of publishing that manuscript has changed even more dramatically.

The revolution continues, and it’s never been a better time to be a writer.  We have choices, options, and tools available now that no one has ever had before.  We can craft our own writing and publishing toolbelt from an astonishing array of software and tools.

In May we’re going to explore some of those tools  and software for writers and share experiences and advice that might offer better ways to do things.  Some examples may include:

  • I wrote my first couple of novels as single, huge Word documents.  Now I use Scrivener.  How or why is that a better tool?  Is there something even better available now?
  • What about editing?  Are there tools more effective than the built-in spell check?
  • How about when we blog.  Where can we best find cheap or free images to include without infringing on copyright?
  • Are there better ways to reach our readers than we have in the past?
  • When indie publishing, what’s the best tool for prepping our manuscripts to meet the myriad requirements of different vendors, and is it easy for authors with little technical skill to do this on their own?

These and many other options will be explored this month.  None of us can keep up with all of the new tools available across this rapidly changing industry, but together we can explore many of them.  By the end of the month, we hope everyone walks away with at least a couple of new tools in their toolbelt.

Why We Need to Write the Military Right: Part Two

A guest post by Karen Traviss.

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If you missed Part One, you can find it here.

So why does fiction influence us so much when we know it’s not true? Our guard isn’t up, so we’re not expecting to be told anything. In fact, we’re open and receptive because we want to immerse ourselves in the story. It gets under our radar much more effectively than news or earnest information campaigns, and if it’s powerfully emotional as well, then it really sticks. Humans are pretty hazy about facts and our memories are frighteningly malleable, but we can almost always recall emotions even when suffering from dementia. The basic rule of PR sums it up: the public might not recall what you said, but they’ll always remember how you made them feel. Our emotional memory is hard to erase.

In the absence of personal experience, the brain takes what data it can get – even bad or irrelevant data – and tries to form it into a pattern that makes sense of the world. That’s why we started telling each other stories in the first place, to explain a world that baffled and frequently terrified us.

The penetrative power of fiction makes PR folk put great effort into getting causes and products worked into TV shows. It’s not a modern phenomenon. Getting ideas across under the cloak of a story has been with us for centuries. It gave birth to culturally-embedded fiction like the world’s longest-running radio soap, The Archers. From Uncle Tom’s Cabin, credited with influencing opinion on slavery, to raising awareness about cot death via TV soaps, fiction straddles the blurred line between the real and the unreal, and it can have positive outcomes.

But it can also be negative, and that even has a name these days – the CSI effect. I first came across the term in a conversation with a police officer who thought the TV show gave juries a false expectation that evidence was infallible and clear-cut, wrapped up neatly by the end of the episode so to speak, and that they struggled with the inevitable ambiguity and margins of error. One told me that even some his colleagues have unrealistic expectations of forensics because they’ve been influenced subconsciously by CSI. By contrast, it’s hard not to love the Swedish cop show Wallander for its less glam reality; the detective asks if a security camera image can be enhanced to grab a tiny detail, and the technician tells him the recording just isn’t high-res enough to do that.

I’m not saying that all fiction has to be documentary in nature, because if its was, most books or movies on the SAS would be 400 pages of blokes hiding in a muddy hole and observing stuff before departing entirely undetected, with perhaps one page of a thirty-second firefight resulting in a small pile of bodies. Nobody would pay to read that. We accept that fiction is a distilled and stylised perspective. Sometimes reality itself – like Operation Chariot, the extraordinary 1942 commando raid on St Nazaire – is just too impossible to pass the fiction test and needs to be filed in the Department of You Couldn’t Make It Up.

I’m not saying that fiction should become propaganda, either. It’s not fiction’s job to avoid examining things that unsettle and offend – it’s often society’s safest way of doing it. But the licence to offend is conditionally granted for telling basic truths. Portraying all soldiers as unthinking, brutish thugs who bully civilians, which seems to be a recurring theme in shows from the BBC’s Dr Who/ Torchwood/ Sherlock stable, bears no resemblance to the many hundreds – perhaps thousands – of service personnel I’ve met over the years. That’s the kind of stereotype I object to and that I feel percolates into the consciousness of those who have no benchmark in the real world. It smacks of the worst kind of social demonization, too, because it seems to be aimed at the working class who make up the core of our army.

But the BBC trails far behind Hollywood as a purveyor of bad data, so let me wind up with a quick and highly opinionated suggestion of what good military storytelling should look like, based on three movies.

The worst war movie I’ve seen is The Hurt Locker, which I judge harshly because it acquired an inexplicable reputation for authenticity despite some of the dumbest and most unreal behaviour imaginable. (Don’t take my word for it. Ask someone who’s done the job.) If it hadn’t set out its stall as realism, I would have ignored it as just another so-so movie.

The very best film is the agonisingly real Kajaki, a meticulously accurate recounting of a real incident in Afghanistan that dispenses with most cinematic convention and feels like a being a helpless bystander on the spot, watching the disaster unfold around you. Warning: it’s not an easy film to watch. Harrowing doesn’t begin to describe it, but you’ll be glad you saw it. It even portrays private security contractors in an honest and unsensational way, the only movie I’ve ever seen that’s avoided the “out-of-control mercenaries” stereotype.

Between those two extremes, but far closer to Kajaki, is the underrated Battle: Los Angeles, which is decently realistic in its depiction of urban ops despite being apocalyptic SF, although the barely-visible aliens could just as easily have been a human enemy. The Marines conduct themselves like Marines, and the minor technical errors (most of which I missed) don’t detract from the overall excellence. I’m indebted to a former US Marine for recommending it.

Get those three movies on DVD, or however you source your film entertainment, and watch them carefully. If you know a vet or someone serving, buy them a few beers and a pizza and watch them together. You’ll have one of the most educational conversations of your life.

Remember that there’s no such thing as too much research. I come from a naval city and the military world has been part of my working life to a greater or lesser extent for more years than I’m prepared to admit, but I still have to do my homework every time I write. I also make sure that I run my manuscripts past friends who’ve seen front-line service.

There’s a lot of small detail and technique to writing authentic military fiction, of course, but that’s a topic for another day. You need to do your homework on the language, the procedures, and the hardware, which will vary enormously; one size doesn’t fit all. But if you’ve got the heart of it right – what soldiers think, feel, do, and worry about, and the relationships they build – then you’ve kept faith with those who do the job for real, and that matters. You may well be shaping civilian attitudes to remarkable people who they’ll probably never encounter in real life.

So we owe it to our troops to make sure the voice we give them in our stories is an honest one.

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Footnote: if you’re wondering if it’s really that easy to implant false impressions in sane, intelligent people, this is one study of many that shows it’s a breeze. http://nymag.com/scienceofus/2015/01/very-easy-to-implant-false-crime-memories.html

About Karen Traviss:
KT
New York Times best-selling author Karen Traviss is a former defence correspondent and has also spent way too much of her life around politicians and police. Going Grey, the first in her new techno-thriller series, is out now and the sequel, Black Run, will be published this summer. Website and newsletter sign-up: www.karentraviss.com Twitter: @karentraviss