Just Make Up a Name!

**My theme for this year’s A to Z Challenge is THE NAME GAME. Everything you’d want to know about naming characters.**

Sometimes you may have a particular story, or a particular character, even, and no name on this entire planet seems to work for them. Maybe they don’t even live on this planet and that’s the problem. Maybe they’ve just got really wacky parents. For whatever reason, sometimes it’s necessary for you to make up a name for your character.

Of course, there are only a few times that you’ll be able to get away with making up your characters’ names without the reader thinking you’re crazy. Genre will usually be the deciding factor. If you’re writing something that is Fantasy or Science-Fiction, for example, you could definitely get away with making up your character names. If you’ve created a world that is completely separate from the real one, then it would make sense for this world to have its own set of names.

So how do you come up with these made up names? It could depend on the story you’re writing. Maybe the universe you’ve created has a specific way of naming its people. Maybe they have a different alphabet. Or you can just put different syllables together until you come up with something that feels right. A name could reflect where your character comes from, or even have some symbolic meaning for what kind of character he is (good or evil, for example). You could incorporate different languages or even make up your own. You could just have fun coming up with your original names, or find a way to put some meaning in to it.

Your characters can have long, elaborate names, but if the reader has no idea how to pronounce them, it might trip them up. Try to make your names understandable and not something that makes the readers pause every time they come across them. You’ll want to avoid anything that makes it harder for the reader to just get through a paragraph.

If you’re writing realistic fiction, it probably isn’t a good idea to create a fake name for a character. If you do choose to do so, it needs to be explained. Maybe this character’s parents wanted to create a unique name for their child. It’s probably something that your character will have to explain to everyone he meets. Whatever the reason for having one, if you just leave a freaky name out there with no explanation, it may throw off the reader.

FUN TIP: If you have a non-fantasy character with a crazy, made-up name, maybe he gets really sick of explaining it to everyone he meets and adopts a more normal sounding nickname.

How do you come up with your Fantasy & Sci-Fi names? Do you find it easier to make up a name or find an existing one? 

Introducing Your Character

**My theme for this year's A to Z Challenge is THE NAME GAME. Everything you'd want to know about naming characters.**

So let's say you have a character, and that character has a name. At some point within your story, you're going to have to introduce this name to the reader. Your characters' names are a very important part of distinguishing who is doing what within the story. Before we really get to know these characters, we simply need to know who they are. Each character should be clearly identified before you get too in depth with the story. And each time a new character comes along, we should be given their name as soon as possible.

Ok, I realize this sounds like a no-brainer, and most of the time this will be pretty easy to do. But there are some things that could complicate it, and there are also ways to have fun with it.

How you go about writing your story will have an impact on where and how you'll need to introduce your main character's name. If you're writing in third person, it will most likely be very straightforward: "Bobby walked into the classroom." There--you've stated the name and introduced your character. If you're writing in first person, however, it may not be so simple. Just having a sentence within the narrative that says, "My name is Bobby," will most likely feel awkward to the reader.

Using dialogue is an easy and natural way to introduce any character's name. Maybe another character will call out your first person narrator by name. Maybe he'll need to introduce himself to someone. This will also work when you meet other characters along the way. If your narrator already knows a character, he could use their name when saying hello. If he doesn't know this person, then they can introduce themselves to each other.

FUN TIP/ WHAT I'VE DONE (yes, both!): Keep your main character's name a secret until an important moment occurs, such as when when your love interests meet (I love doing this!). That way the reader gets to learn both characters' names at the same time. Here's how my two characters meet in Uneven Lines, and it's the first time I used each of their names:

            “Hi. Jordan?” He smiled, looking down at the floor and then back at me. I was done for. I was probably drooling. “I’m Tom. Your geometry tutor?”

            Oh, right. Say something. “Hi,” I finally managed to choke, but I sounded like a frog croaking.

This is actually not the first time that I've saved the first person narrator's name for the moment when he/she meets the love interest. I just think it's a fun, cute way to introduce your characters. :)

Do you find introducing your characters' names easy or a bit more difficult? How do you usually introduce a first person narrator? 

Hey, You! Calling Out Your Characters

**My theme for this year’s A to Z Challenge is THE NAME GAME. Everything you’d want to know about naming characters.**

Today’s post isn’t about coming up with a name for a character, but about how we actually use names within the writing. Whether you write in first or third person, characters’ names will pop up all the time. It’s important that the reader knows which character is speaking or doing the action. But what about within dialogue? How often should you use your characters’ names? And how easy is it to overuse them?

When you use a character’s name in the dialogue, it’s called direct address. This means that the speaker is directly addressing the other character by name. This is mostly used when you’re trying to get someone’s attention or starting a conversation. It’s something that’s very easy to overdo. We may want to use our characters’ names over and over again in the dialogue, whether it’s to keep things clear for the reader or just to provide emphasis.

So how do we know when to actually use a character’s name? Think about all of the times you actually say someone’s name throughout the day. Is it a casual part of conversation, or is it just when you’re trying to get their attention? I know I hardly ever call my fiancé out by name—

usually when he’s doing something like walking the wrong way or about to step off a sidewalk into oncoming traffic (yeah, that actually happened once). I’m sure parents use their children’s names a lot more often than anyone else, whether it’s to yell at them or just call them downstairs for dinner. But really, when do you use a person’s name? And more importantly, when should you use it in your writing?

FUN TIP: Pick a person you talk to regularly and make a mental note of how many times you actually say their name in one day. It’s probably lower than you think.

A character’s name really shouldn’t come up all that much within the dialogue. Take this little snippet of an argument, for example: 

“John, you really screwed up.”

“I know, Mary, but what do you want me to say?”

“You could just apologize, John.”

“All right. Fine. I’m sorry, Mary.”

“Now, really, John, was that so hard?”

Sounds silly, doesn’t it? You most likely would never use direct address so much, but do any of these sentences really need it? If you cut out all of the names from that conversation, wouldn’t it still get the same point across? If you already know who is speaking, using it within the dialogue probably isn't necessary. If you do need to point it out to the reader, it would probably be better to use it in a tag:

"You really screwed up," Mary said.
"I know," John replied, hanging his head.

From there on you wouldn't need to use the names again, unless someone else entered the conversation or if you insert some exposition between the lines of dialogue. This way, it's clear who is speaking, but the names aren't overused. The less you use your character's names, the more natural the dialogue will feel.

Do you try to avoid direct address in your own writing? When do you think names should be used in dialogue? 

Trusting Your (And Your Character’s) GUT!

**My theme for this year’s A to Z Challenge is THE NAME GAME. Everything you’d want to know about naming characters.**

There are several factors that could go in to naming a character. You may need to do a ton of research to find that one perfect name. But there is another technique, and it is probably the most basic when it comes to choosing a character’s name. That technique is to simply choose a name out of thin air.

Whenever this happens, I like to think of it as the character naming him/herself. You as the writer didn’t actually create the character; you’re merely telling his story and since he is a real person, he already has a name. Seems a little silly, but it really does feel that way. At a certain point during the early stages of plotting the story, the name will simply pop into your head as if the character whispered it in your ear. And for some strange, magical reason, whenever this happens the name is always right and always perfect.

Now this is probably easier said than done and it most likely won’t work for every character you ever create. But some characters are special. Sometimes the name is like an instinct. You just know when it feels right. Trying to change it feels like it would break your heart.

How exactly do you make the magical spontaneous name happen? Well, it’s really all about luck. It could happen, but it’s not guaranteed, no matter how passionate you are about this particular story or character. If you really want to make it happen, though, I have a few tips. Try to tune out everything around you—no noise, no computer, no phone. Close your eyes and think about your character. Don’t actually think about names. You don’t want a full list to flood your brain—you just want that perfect one. Think about what your character looks like, his mannerisms, the different things that will happen to him in your book. Think about someone calling his name. Then, hopefully it will come to you.

WHAT I’VE DONE: If you usually frequent my blog, I know what you may be wondering. Did Jordan name himself? OF COURSE HE DID. I have no say in anything else he does; why would I get to choose his name? I have no idea where his name came from. It just popped into my head and was instantly perfect.

Do your characters ever choose their own names? What do you do to get your character to speak to you? 

Eras, Ethnicity, & Etymology

**My theme for this year's A to Z Challenge is THE NAME GAME. Everything you'd want to know about naming characters.**

Today's post is all about being accurate. When choosing names for your characters, it may not always be as easy as pulling a random name out of thin air. Sometimes you may have to do a little research to make sure your character's name fits in with the story you're writing, or even who he/she is as a person. Where or when a story takes place can have a huge impact on what your characters' names should be. And if these names aren't chosen correctly, then they may just seem silly.

First, lets talk about when and where your story takes place. If it's in modern day anywhere USA, for example, it may not really matter what you name your characters. Parents are often likely to choose names for their children just because they like them, and it may have nothing to do with culture or time period. But if you're writing historical fiction, maybe something that takes place hundreds of years ago, your options for names may not be as vast. You always want to make sure the name you're using would actually be used during that time period. Look up what names were popular during that time. And if your book takes place in a different country, see what names are popular there. It's always important that the name feels natural for whatever story you're writing. 

A character's ethnicity could also be a factor when deciding on a name. You wouldn't want to give a Chinese character a Japanese name, for instance. Depending on your story, this could only be important when figuring out the last name, but first names come from different places around the world as well. Think about who the character's parents are and whether or not culture would play a role when they are naming their child. A first name could be Spanish or Italian or Greek. You probably want the name to fit with who the character is. If you're thinking about a particular name, research where it came from and decide if it fits with how you see your character. 

What factors have you used when deciding on a character's name? Ever written a story that made you really think about what to name your characters? 

Diminutive Names

**My theme for this year's A to Z Challenge is THE NAME GAME. Everything you'd want to know about naming characters.**

The name you're given at birth isn't always the name you use throughout your life. A common practice is using a diminutive name. According to behindthename.com, "a diminutive of a given name is a short and/or affectionate form. Often they are only used by friends and relatives." Basically, if you use a shortened version of a name, then the result is a diminutive name. You probably hear them all the time. You might even have one!

A diminutive is really just a fancy word for a nickname, but one that is derived from the actual name itself. Sometimes a person's first name is just too long to use all the time. They or the people they know may prefer to use a different version of their name. Some common examples are Mike from Michael, Nick from Nicholas, or Jen from Jennifer.

So how does this factor in when you're naming your characters? Mostly it will just reflect real life. A person with a particularly long first name probably won't always be called by that name. It gives you more options for addressing your characters. It can be fun to mix up which names you use and who uses them, as long as you don't make it too confusing!

FUN TIP: Have your character use different versions of his/her name with different people. Maybe William is "Will" with his colleagues and "Billy" with his family.

Where you find the diminutive will be different from name to name. You can often take a nickname from the beginning or the end of the whole given name. Alexander could be Alex or Xander.
Some names can have seemingly endless possibilities for diminutives. Elizabeth could go by Liz, Lizzie, Eliza, or even Beth. Robert could be Rob, Bob, or Bobby. Some shortened names can work for both girls and boys: Sam could be Samuel or Samantha, Pat could be Patrick or Patricia. Some diminutives are made by just adding on a -y or -ie suffix to a name, like Johnny, Charlie, or Debbie.

WHAT I'VE DONE: Diminutive names are some of my favorites! I'm not even kidding when I say that I've put at least one in each of my major novel ideas. Which I will now list for you, of course (in chronological order of when I created them).

·         Camilla - - > Cami

·         Andrew - - > Drew

·         Alexander - - > Alex

·         Benjamin - - > Ben/Benny

·         Thomas - - > Tom

·         Cameron - - > Cam

·         Abigail - - > Abby

·         Gabriel - - > Gabe

For some characters, I’ve just used the diminutive name throughout the story, for others I’ve used both. Every character will be different and you just have to do what feels natural for them and for your story.

Have you ever used a diminutive name for a character (of course you have!)? Do you just use the shortened name or do you switch back and forth? 

Cats, Chameleons, & Other Critters

**My theme for this year's A to Z Challenge is THE NAME GAME. Everything you'd want to know about naming characters.**

Not all characters are human. Sometimes your main character may have a furry little friend who pops up in your story, whether it’s in a big or a small role. Maybe your MC’s pet just cuddles up with her at night, or maybe it helps solve crimes. And unless you want your fictional pet to be a no-name slob, then he needs a name!

The great thing about pet names is that they don’t have to be your normal, average everyday names. You can name your pet something crazy and no one would think twice about it. In fact, naming your cat or dog something like Meghan, Paul, or Greg might get a raised eyebrow (although this is definitely an option, as well). You don’t have to limit yourself to the typical Spot or Fluffy, either. Think outside the box. You can name your pet after a TV or book character, your favorite food, or even an inanimate object. And while you probably wouldn’t name a human character based on their hair color, you can certainly name a cat or dog after their fur color(s).

SOME PET NAMES BASED ON FOOD: Butterscotch, Pickles, Oreo, Marshmallow, Pumpkin, Snickers, Nacho, Waffles, Biscuit, Meatball, Peanut, Cheddar, Ginger, Muffin, Peppermint. 

The name of your fictional pet can reflect the personality of the pet itself or of the character who owns it. If your dog is sweet, you could name it Sweetie. An intelligent pet could be named Einstein. If you have a sneaky cat, name it Sneakers. Or think about how this pet is reflective of its owner. How can you show your character’s personality through their pet’s name? A pet name is another great place to sneak in some symbolism. What is this pet representing? Why is it in the story at all? The name you choose for it could be representative of that.

WHAT I'VE DONE: We named our cat Gizmo because he reminded us of a Gremlin…but a cute one.

Think of a fictional pet’s name the way you would if you were actually naming your own pet. Remember this is a name that your character is going to have to use and possibly call out in public. What kind of attention will the name get from other people? Will it be a conversation starter that completely gets your plot going? Who knows? Remember that a pet can be an important character, too! It should have a name that fits. 

Have you ever put a pet in one of your stories? How have you come up with names for your own pets? Share your pets' names in the comments!

Books, Movies, & Other Places to Steal Names From

**My theme for this year's A to Z Challenge is THE NAME GAME. Everything you'd want to know about naming characters. Not all of my post titles will be this long, I swear.**

When you’re faced with having to name a character, you may wonder where you should start looking in order to figure it out. While there are certainly several options, it could be as simple as reaching for your bookshelf or turning on your TV. Names are everywhere—in the books we read, the shows and movies we watch, even the celebrities and news stories we read about. You probably come across a variety of names every day and don’t even realize it.

So how can this help you choose a name for your character? Just pay attention and use the names you like. The possibilities are endless. You could pick a name from a favorite character in a book, or you could pick the author’s name. You can choose a movie character’s name or the actor who plays him/her. If you hear or read a name and you love it, then you can probably find a way to use it.

First names are pretty fair game. That being said, you probably don’t want to name your main character Katniss or Buffy or Lestat. Anything that’s unique and very recognizable as coming from somewhere else is going to be a giant red flag (and there’s probably a good chance you’ll get sued). But you could name a character Harry without anyone immediately thinking of Harry Potter. Just be wary of what genre you’re writing (your Harry should have nothing to do with magic), as well as the names of other characters. If Harry’s best friend is named Ron, then you’ve got a problem.  

You can even mention a book or movie in your story if it’s popular enough for people to get the reference. Maybe you have a character named Holden whose father’s favorite book is The Catcher in the Rye. Or maybe Eliza’s mom is really into My Fair Lady. Or you could not tell the reader where the name comes from and let them figure it out on their own. It’s a great opportunity to throw in some symbolism.

FUN TIP: After you watch a movie or TV show, watch the credits and read some of the names. Maybe something will strike you.

Have you ever named a character after another character? How about someone famous? 

The Anxiety of Naming a Character

**My theme for this year’s A to Z Challenge is THE NAME GAME. Everything you’d want to know about naming characters. I’m also going to attempt (miserably) to tie in today’s post with my post for the Insecure Writer’s Support Group. Click the link to find out more!**

So you have a character. You’ve got the beginnings of a story planned out—things that will happen to him, people he’ll come across, decisions he’ll have to make. Maybe you already know what he looks like, who his friends and family are, his hobbies, hopes and dreams. But there is one very basic thing that you need to figure out in order to convey this character to your readers. Your character needs a name.

But what if you don’t have a name for him yet? The first thing I would say is: DON’T PANIC. Oh, you’re not panicking? Well, I had to tie this post in with insecurity somehow, so pretend you’re panicking!

Ok, so first, calm down. There are going to be several things that you’ll need to figure out while writing this particular story. Some can be easy, others can be difficult. Figuring out a name for your character could be either of these. Sometimes a name will just pop into your head like the actual character told you himself. Other times it could take weeks or longer to figure out. You could go through lists and websites and every resource you can find of names, never seeming to find the one that feels just right.

But seriously, don’t panic. Think about all the factors that could help you make a decision. What kind of character is he? When does the story take place? What are his parents like? You have to think of your character as a living, breathing person, and not just a figment of your imagination. What sort of influences from his family and culture would be used when he was given a name?

Perhaps the most important thing is to listen to your character. You’ll know when a name feels right, and when it doesn’t. Maybe the first name you come up with won’t be quite right and it will have to change. Maybe you’ll need to start writing the story before the name comes to you. But eventually you will figure it out and your character will have a name.

Do you ever panic when naming a character? Stay tuned for more in depth posts on the different aspects of naming characters!

Getting the Setting Right

Setting is one of those elements that every story has. Whether your characters travel across the globe or stay in the same room for the entire story, a setting still exists. It is the place or places where all of the events in the story happen. Depending on your story, setting can play a large role or a small one. It can be a new place your characters adventure to or the same place they've lived all their lives. Once you've chosen your setting, how do you get it across to the reader? How do you make it feel natural and believable?

A lot can go in to choosing the setting for your story. You may know right away where you want it to take place, or it could take you a while to figure out. It can be a real place or somewhere you've made up. Every story requires its own unique setting. But conveying that setting can be another issue entirely. How do you make the reader see what you see when you envision your story? How do you make that place feel real?

Sometimes choosing the setting can seem a lot easier than executing it. For instance, I knew right away where I wanted my book to take place. The hard thing is actually making it feel like it takes place there. Do my characters actually sound like they've lived there all their lives? What information is necessary to get across to the reader?

First, I should probably say that about 90% of my book takes place indoors, where the setting is irrelevant. Well, the outside world is irrelevant, I should say. Every room your character inhabits within a scene still counts as a setting. It may not be necessary to provide every single detail, every piece of furniture or speck of dust, but there should be a general idea of what things look like or how it feels to be in that room. My characters have to deal with a lot of isolation, which works for the story. My problem is that when they actually go out into the real world, am I getting it right?

Sometimes I worry that whatever reference I make to the setting feels forced. Like, if I have my narrator reference a particular landmark, does it feel like I'm just doing it for the reader's sake? Because he's lived in this city all his life and is used to everything (and doesn't care), what actually needs to be said? Maybe I'm just paranoid that every subway ride or walk through Central Park makes it look like I'm trying too hard. But these are things that my characters do. So how do you make these sort of actions feel natural?

There really is no one answer because every story will require something different from its setting. For me, at least, it means making those brief moments where the real world sneaks in feel like a real place. Don't scream the setting at the reader, but hint at it. Make it feel like any place you would go where you live. It can be difficult writing a book that takes place where you don't personally live, but if we restricted ourselves to the setting we know, then we'd miss out on a lot of great story ideas. The important thing is to do your research, and don't worry about it so much. If you try too hard, then it will show. Just let the setting work for you.

How do you make your settings feel natural? Do you typically choose a setting you're familiar with? 

Do Characters Have to be Likable?

There are all kinds of characters in any story--heroes, villains, sidekicks, love interests. The possibilities are endless. The way a reader could respond to any of these can be as diverse as the characters themselves. Some people may love a book's main character; others might hate him/her. Or it could be both--love to hate, hate to love. There are so many different ways to like or dislike a character. So when you're writing these characters, which one do you want?

It can depend a lot on the specific character you're writing. If your story has a villain, then you most likely want your readers to hate him. But villains can also be entertaining and fun to read. He doesn't have to be a sadistic monster without a single redeemable quality (unless that's what you're going for). The opposite can be said of a hero. A hero doesn't have to be perfect. They can do stupid things that make us want to punch them in the face. Characters need flaws so the reader can relate to them actually believe these are real people. No one is perfect, and a story about a perfect person would probably be boring to read.

But let's focus on the main character of a story. How likable does he or she need to be? And what exactly does it mean to be likable?

I've been told that my main character is not likable. Which is disheartening, to say the least. And confusing as hell, since I actually let him write a monthly blog post and people seem to respond well, or they're entertained at least. So why the big turn off? I guess it's not completely understandable. The first word I would use to describe Jordan would be manipulative, which I guess isn't all that likable of a trait. And he's a little full of himself, but not in a ridiculous way. He just knows what he's capable of and how other people respond to him. So why all the hate? Do I have to change him, make him more likable so that people will actually want to read this book?

It got me thinking that being likable doesn't mean the same thing in real life as it does in reading a book. Think about all of your favorite book characters--if they actually existed, would you be friends with them? We don't choose the books we read like we choose friends. We want books to entertain us. That doesn't mean that the main character has to be some perfect, goody two shoes kind of a person. In fact, you would probably be turned off by this sort of character.

We don't have to like a character in the same way we would like a friend. We just have to like to read about this character. You could love a character's snarky attitude, but if you met them in real life, you might want to smack them. There just has to be something about them that makes you want to read more. Think about this: is Lolita's Humbert Humbert a likable guy? Good lord no. But do you still like to read from his point of view? Yes! Because there's something captivating about the way his words come across the page. Liking to read about a character isn't always the same as liking them as a person.

So keep your imperfect characters! Nobody likes a goody two shoes, anyway.

Do you consider your characters likable? Are there are any characters from books you've read that weren't exactly likable, but you still wanted to read about them? 

What are You Trying to Say?

Everyone has their own motivations for writing a book. You may just have an idea in your head that wants to get out. You may just want to tell a story. Or you may have a big, giant message that you want people to get. Or it could be a little bit of both. But how exactly do you figure out what you're trying to say, and once you do, how do you get that point across?

The whole "bigger picture" thing may not come to you right away. You may even get through your entire first draft without having one. You may never have one, and that's ok, too. I've always thought that my main motivation for writing a book is just to entertain. I want to write a book that at least some people will like (and hopefully most people won't throw rotten fruit at me when I walk down the street). Not every story has to be complicated, or have some sort of message to get across. I call a lot of my story ideas "fluff" stories, maybe just because they feel a heck of a lot easier and lighter than my main WIP. Fluff can be great (and lots of fun to read!). But not every story is fluff. Some stories are a bit more complicated.

That isn't to say that I think my book has one big message. If people assumed that, they would probably get it wrong. I do think that it does have several smaller messages, some of which I'm still trying to figure out. So how do you figure it out? How do you know if your story even needs one? And then how do you get those messages across?

It's probably something that you'll figure out along the way, or maybe you already know what your message is before you write the first word. Every story is different. It all depends on how subtle or obvious you need your message to be. How important is it that the reader gets it? If they don't get it, will the story still work? All of these factors will go in to your thought process as you're figuring it out.

And there are plenty of ways to get a point across. Think about all of those English papers you had to write in high school. Themes, motifs, symbolism, characterization. When you start trying to crack a story open, you can figure out what the writer was trying to say. So when you're the writer, utilize these tools. Put some symbolism into your book. Have a character represent something bigger. How often you do this will depend on the story, and you obviously don't want to overdo it so that you're hitting the reader in the face (didn't I talk about this before...?).

The first step in telling a story is to just tell the story. The next step may be to figure out what it is you're trying to say. The first person who has to "get it" is you.

Ever write a story with a message in it? How do you utilize themes and symbolism? 

Making Sure Readers Get It

Do you ever worry when you're writing something that your potential reader just won't get it? Not just the big picture stuff, but every tiny detail that you've put hours and hours of effort into writing? What if they miss the symbolism, or all of the intricate character details that you've thrown in? What if you spent forever crafting the perfect sentence and they breeze through it without even stopping to think? Is this something even worth worrying about? And how do you deal with it while you're still writing?

Think about all of the tools you use when you're writing as if they were on some metaphorical writer's utility belt. You've probably got pens or pencils, white-out, scissors, maybe. Well, my fake utility belt has a sledgehammer. If I feel like a reader isn't going to get it, then I want to bash them over the head with the idea until they do. What this usually means when I'm writing is that I'll spend a lot of time devoting words to a particular idea to make sure it sticks in the readers' heads and they understand what I'm trying to say.

This usually results in a huge amount of overkill. If you're constantly saying to yourself, "no, they won't get it," and then you write another sentence to make sure they do, how strong can that sentence really be? What are you saying that you didn't say before?

You should probably understand that not every reader is going to get every single detail. You can't be there next to someone reading your book, pointing to each significant line and saying, "Did you get this part?" I think readers would be annoyed if they had to deal with that. They want to be able to enjoy the story. And if they get it without your help, they would probably be even more annoyed, thinking, "Yes, I got it! Can we move on please?"

I think the solution is to just relax a little. Just say what you need to say and let the readers interpret things. They don't have to be babysat throughout the whole book. There's a moment in my manuscript where one character is basically giving in to his dark side, and I thought a good way to symbolize that was to have him wear a black shirt. But there was this nagging voice in the back of my head, sledgehammer in hand, telling me to add a sentence. Have the narrator say something like, "I guess he was giving in to his dark side." But I knew I didn't need that sentence. The reader will most likely understand this fact without me having to point it out to them. And if they don't, then so what? It's not the end of the world. Not everyone is going to pick up on everything, and that's ok.

So take the sledgehammer out of your writer's utility belt. You really don't need it. You can trust yourself that you got your point across without overdoing it, and you can trust your readers to understand.

Anyone else have a sledgehammer in their tool belt? Have you ever had to hold yourself back from overwriting something? 

When Things Have to Change

Sometimes when you can't quite figure out how to fix a story, eventually you will come to realize that things have to change. Maybe a certain element just isn't working. Maybe the characters aren't doing what you want them to, or even doing things that don't feel right for them. Whatever the reason, change can be scary. You've already put a lot of effort into writing your piece and you know editing and changing things is going to be even harder. You might even be stubborn, thinking that your story is perfect or that you can somehow salvage those parts that aren't working. But if something isn't working, then it never will, no matter how many times you stomp your foot and insist you got it right the first time.

The first step is simply knowing that something has to change. If something feels off to you, then it will most likely feel off to a reader. But that certainly doesn't mean that you will be able to catch everything that isn't working--you may need a beta reader to do this for you. Or you may just need to step away from your work for a while, then go back and read it over. Things may seem different with a different perspective.

For me, at least, I knew the last third of my book wasn't working. I had never really pictured it going in a different direction, so it was hard to finally accept that big changes needed to be made. I was fine with small changes--cutting a scene here or there, even if I liked it. But actually changing what happens? That never really occurred to me. I always just thought if something didn't feel right, I could just find a way to write it better. But even if the words are perfect, if they don't fit where you put them, it still isn't going to work.

Accepting that things have to change is a little bit harder than simply knowing. You have to let go of whatever isn't working, understand that making these changes will ultimately make the story better. You can consider all of your options at this point. It might even be exciting at first. I know most writers probably like the thrill of writing the first draft over the grueling process of editing. Once you accept that things need to be changed, it's a bit like starting over. You can write these parts from scratch, consider making changes that you never would have thought possible when you first started writing.

Perhaps the hardest part is knowing how to change things. When you cut a scene, what should you replace it with? What should your characters be doing instead of what they did that didn't feel right in your first draft? The answers might not come to you right away. You may have to think about it for a long time before things start to make sense. But hopefully once they do, you'll know that making these changes in the first place was the only solution. Your writing will get better and the story will make more sense. And maybe next time having to make those big changes won't feel so scary, since you know eventually it will all work out.

Have you ever had to make big changes to a story? Was it exciting or terrifying? 

Don't Save Everything for the End

Something awesome happened on Friday night. I wrote some words! Real, actual words! I didn't just keep them bottled up in my head! Ok, so it was only 1,218 words, to be exact. But seeing as how I haven't written anything besides a blog post since August, I will definitely take it. Hopefully this means I'll be able to start writing more and more. 

Since I'm working on rewriting the last third of my book, I've been thinking a lot about the order in which things happen. How much of what happens at the end really needs to wait that long? Do we save certain moments just because we want a satisfying ending? But if the reader has to wait that long, will it even be satisfying at all? 

Every story is going to be different. If you're writing a mystery, for example, then you probably don't want to reveal who the killer is until the end. Every story is going to have its own appropriate climax and you'll most likely know how it will all turn out. 

But what if there's more to your ending than the actual ending? Are you saving too much for the end and leaving the reader bored along the way?

For me, at least, I knew something felt off about the end. Not just in the main plot, but in the subplots as well. It was like I wanted to end each part of the story by punching the reader in the face. Sometimes that can be a good thing, but you really want to consider all of the options. If you're saving everything until the very last moment, then what is happening in the meantime? Is it enough to hold the reader's attention? 

Maybe the solution is to push things back. The first thing I realized I had to do involved one of the subplots. I had it end with a "holy crap," punch-you-in-the-face sort of moment. But honestly, the more I thought about it, the more forced it felt. I had a character reveal something in a fit of rage and it just felt like I was putting it there to be dramatic and it honestly didn't even fit his character. So I decided to push it back. Have him reveal this information earlier in the story and in a calm, natural way that feels realistic. Not only does this make the subplot more interesting earlier on, but it also left things open for me to end it in a different way. And this new ending feels more realistic for the characters and just less cliched in general. So I think it's going to work a lot better than the original. 

As far as the main plot goes, my aha moment was realizing that I could take something from the very last chapter, throw it like a grenade into an earlier part in the story and watch it blow everything up. It was such a scary realization because I never thought of the story going this way but once I started to figure it out, it just felt so right. It also kind of takes some of the pressure off the last chapter now so that I can make that feel more natural as well. 

I think my problem was that I was always forcing things to happen, particularly toward the end of the story. But if you keep your mind open and allow yourself to rearrange things and imagine different outcomes then your story might turn out for the better. I think it's better to leave your reader a trail of breadcrumbs leading up to the ending, or you may be forcing everything into the end and just hoping that they believe it. 

What are your thoughts on endings? Should they punch the reader in the face? Have you ever taken something from the end and moved it back? 

Don't Fight the Inspiration

Writers crave inspiration. We seek it out from music, books, and anything else that may inspire us. We sit around waiting for it to strike for what feels like forever, usually whining about writer's block and absent muses. But when that inspiration finally hits, do you use it to its full advantage? Do you write every possible second you can before it fades away? Or do you let it slip through your fingers?

One of the things I always do before I write out a scene is picture it several times in my head before I write down a single word. It helps me picture exactly how the scene is going to go, and I can make changes if things don't feel right before I even start writing. If a particular story is occupying my brain, it's pretty much all I can think about. I'll picture different scenes while trying to read, taking a shower, or even when I'm trying to fall asleep (believe me, that's when the best inspiration hits). My problem is that I don't always use this inspiration to its full advantage. So it feels like I'm fighting it.

I'm sure everyone has their own reasons for not writing even when they're feeling inspired. Maybe the images are in your head, but the words aren't materializing as easy. Maybe you have too many ideas and can't focus on just one. Maybe you just don't have time to write. Or maybe you're scared to.

I know, it sounds weird, but I think it's my problem so I figure I can't be the only one. Whether its a story idea that you've been working on for years, or one you just came up with, sometimes making the commitment to write is easier said than done. The story you've been working on forever may seem too daunting and exhausting, and you feel like you'll never figure it out. And maybe that new idea seems fresh and exciting, but who knows what will happen once you commit to it? Either way, those ideas feel safer in your head, so you don't write anything. And if you're like me, if you don't give in to the ideas, eventually they start fading away.

It sounds crazy, right? Shouldn't we be milking the inspiration for all it's worth? Why is it so difficult to actually start writing? Fear is a big factor, but I also think it's about self-indulgence. Just thinking about those ideas can be entertaining, and you don't have to worry about getting all the words right. It's just for you, so why should it matter? What you have to realize is that writing can be self-indulgent, too. If you like an idea enough, why not write it down? If nothing else, at least you would be able to read it. Having those pictures in your head be words on the page can be motivating as well. You'll want to write more. And if you think it's good enough, if you keep working on it, hopefully you'll want someone else to read it, too.

No matter what your reason is, don't fight the inspiration. Give in to it. Any chance you have to write is a chance you should take.

Out of Ideas

I know I've said in the past that ideas are everywhere, and they are. You can be struck by inspiration at any moment--watching a TV show, listening to a song, just observing people. You could get ideas from dreams or even turn something that happened to you into a work of fiction. But just because the potential for ideas is never-ending, it doesn't mean that you're going to stumble upon them twenty times a day. What if your ideas are dwindling, and you just feel stuck?

I always tend to feel like I can't come up with new ideas, which makes it even more frustrating when I don't want to work on my biggest project. There isn't anything else to work on, so I do nothing. I even have a hard time coming up with blog post ideas. Sometimes I don't feel like I have an interesting story or a good piece of writing advice to share. And I can really only say how I'm having a hard time writing anything so many times before it gets old.

But how do you create ideas when you feel like the idea making machine in your head has broken down? What if you feel like any new ideas you come up with are terrible? Or maybe you feel like you're just reusing the same basic plot over and over, just with different characters and situations? I feel like any ideas I've come up with recently are just sub-par variations of the novel I should be working on, which I guess means that subconsciously I do want to work on it, but I just wish it was easier.

Maybe when we run out of ideas it's because we're trying too hard. No story is going to be perfect at that first moment of inspiration. There are so many details that will take time to figure out. It may not be easy, but we shouldn't let that stop us. And just because you don't have the entire complicated story mapped out in your mind doesn't mean you should give up.

Start with what's easy. What kind of characters do you want to write about? What kind of conflict do you find interesting? Find some detail that you find so exciting you just have to write about it. That's how I started my current WIP--with a very simple story idea. I basically thought, "oh, I'd really like to write about that." Once I committed to it, then more details started developing. Suddenly my characters seemed very clear, then more plot details, and pretty soon I had a complicated story idea that I was really excited to write.

So find something, just one tiny detail that intrigues or inspires you. Maybe you'll realize you're not out of ideas after all. You just need something to spark them.

Know What Your Character Wants

One of the most basic things you need to know when describing your own book is what your character wants. I can't even begin to list how many times I've read this when looking up tips for query writing. What does your character want, and what stops him from getting it? That's your basic conflict, and that's all anybody really wants to know when you're summarizing your book. But here's my issue with this concept: at any point in your life, whether you're making a big decision or a little one, do you always know what you want? So what if your character doesn't know what he wants? Is your story set up for failure?

I'm still avoiding my book like the plague, but I have given it a bit more thought, and I've broken it down into three parts. I've mentioned before that I feel the third part is the weakest, and it's not just because I can't write the last chapter to save my life. I think it has something to do with the fact that my MC doesn't know what he wants. In the first two parts, he didn't exactly have everything figured out, but he at least had a good idea about what he wanted. He just had to figure out how to get it, and how much he could get. But as the story progresses and things get more complicated, what he actually wants is hard to figure out.

I don't necessarily think this is going to kill my story. Whenever you're reaching the end of a book, the characters are probably going to have to make some decisions that help wrap up the whole story and bring it to its conclusion. If your story is about a love triangle, then your MC is going to have to pick one person. If it's an epic quest, then your hero will probably have to choose whether or not to complete it even when it seems impossible. A lot of stories will have decisions being made in the final act.

This thought process has helped me feel a little better about the fact that my MC has a hard time figuring out what he wants in the final act. Where I think I went wrong was in the execution. He's very wishy-washy about it, which just doesn't fit his character at all. He also doesn't seem to realize that a choice even needs to be made until the very last minute (which is a big part of why I think my last chapter doesn't work). Maybe what he wants is just to figure out what he wants, which is ok, but it can't just dawn on him out of nowhere. He has to be constantly aware of it, which I don't think I pulled off.

So a decision may be a big part of the final chapters of your book. Even if your character knows what he wants in the beginning, things can happen throughout the story that make it harder to figure out exactly what he wants in the end. But as long as he knows a decision needs to be made, then it won't throw the reader off when he finally makes it.

Your character may not always know what he wants. It isn't the end of the world for your story. You just have to help him figure it out.

Making Things Up

No matter what kind of story you're writing, there's a lot of work that goes into it. You have to create realistic and compelling characters, map out an entire plot, make sure everything not only fits and makes sense, but entertains as well. I've written both fantasy and realistic fiction, and while creating the worlds in these stories is very different, I can't really say that one is easier than the other. When you're writing something realistic, it's more about research. With fantasy, you get to make things up. 

You'd think making up your own world and all of the tiny little details in it would be fun. Well, it certainly can be. But it can be difficult as well. I recently came up with a two book medieval fantasy story that I'm trying to map out in time for NaNoWriMo. I never outline any book before I write it, but in the case of this particular story, I need to figure out a lot of things before I write a single word. 

While creating a fantasy world can be fun, it's also a lot of work. You may need to start from scratch. You could certainly write a fantasy novel that takes place in any time period within the structure of the real world. But if you want to take it a step further, you can literally create an entire new world. This has its ups and downs. You can basically make this world whatever you want it to be, but you also can't leave any room for error. It has to be consistent, and it also has to make sense. 

There are a lot of details that go into creating a world, and I'm trying to figure all of these things out as I craft this story idea. I have the basic story line mapped out and all of the characters at least partially created, but there's still a lot to figure out. I have to at least have a vague idea on so many things--geography, religion, laws--so that if I need to insert a tiny detail into the story, I'll have it ready to go. It's even taking me a while to name my characters, since I'm not sure if I want to use real names or make them up. It can be fun to create names, but they can also sound silly. I want people to take my characters seriously. When creating this kind of story, you have to decide what elements from the real world you want to use, and which ones you want to completely make up. 

When there's fantasy involved, it can be easy to fall back on that as an excuse. If something doesn't make sense, you feel like you can say, "Because magic, that's why!" While this can work to some extent, overusing the fantasy elements just to move the story forward can be annoying for the reader. I actually just figured out something that was bothering me about this story. I knew that two of my characters will have a protection spell over them, but I had to figure out how this spell actually worked. The point is so that these characters can't be seriously harmed, but can they feel any pain? Like, if they stub a toe, would they even feel it? One of these characters goes his whole life without even knowing he was under this spell, which I thought was a little unbelievable. I also have the other character sentenced to death at one point. But if he's protected, can he even be killed? It was a lot to consider, and the easy way to deal with it would just be to say, "well, it's magic so it can be whatever I want it to be." Well, the reader is going to see right through that. Sure, it's fantasy and magic, but it still has to make sense. I did some brainstorming and thought, what if this spell only protected the characters in an instance where blood would be shed? So, maybe these characters can't be cut, but can still bruise, or the threat of hanging would be something to worry about. I haven't figured out all the details yet, but I came up with something specific that will help this idea to work. 

I think my best advice would be to constantly ask yourself questions. Don't get so caught up in your fantasy world that you can't see what's wrong with it. After I wrote out a quick synopsis for the first book, I immediately started a list of questions I had--things that needed figuring out, potential plot holes I saw. I'm hoping I can actually figure out every detail of this story before November so I can write this thing. 

Anyone else working on fantasy? How do you go about creating a world? 

Writing Coincidences

Let me start off by saying that I don't really believe in coincidences. Small, everyday ones, sure. But the bigger ones? I look at those as more of an intervention of fate. It can happen with a lot of different things--your eye just happens to fall upon an advertisement for something you need, or you just happen to run in to someone you know. I once went shopping at a Kohl's with my fiance (just boyfriend at the time) and we ran into my cousin's husband, then literally five seconds later my sister comes around the corner with her husband and daughter. We all just kind of stared at each other, wondering if we'd opened up some sort of wormhole.

Weird things can definitely happen in real life. So how do you work these kinds of moments into your writing? It's a rather tricky concept, because it's easy to feel forced. There's a good chance the reader won't believe this sort of coincidence will happen in real life. And if they don't believe what's happening, then you've lost them.

First of all, you really need to assess whether or not a coincidence is even necessary in your story. If you can think of a better way to make something happen, then you should probably do it that way. A coincidence should really only be used if it is absolutely necessary, if there is no other way to bring your character to a certain place or realization, or even bringing two characters together. My second tip would be to have your character(s) acknowledge it. Have them think, "hey, this is weird," or even wonder if fate is somehow involved. It may seem cheesy, but if it's just a passing thought and you don't hammer it over your reader's head, then by all means, play the fate card. Or heck, call it what it is--a coincidence!

I think my biggest bit of advice would be to not overdo it. Unless your entire book is about coincidences or the power of fate, you should probably only have one or two coincidences in there (if you need them at all). If you make something unbelievable happen over and over again, the reader is going to get annoyed. They're going to find themselves saying, "This would never happen!" And again, unless that's the point you're trying to make, this is not good.

Example time! I think (or hope, anyway) that I only have one coincidence in my WIP. Basically I had to get one character to another character's apartment for a pretty important scene, but with one major problem: he didn't know the address. In the short story version, the other character gives him his address, but as I reworked things, I realized this would never ever happen. So I had to think it over. I didn't really think this scene could happen anywhere else, and having the element of surprise when he just shows up at the apartment seemed to help. But where does he get that address?! I realized there was another character who had it--the MC's mother. Of course, he couldn't just ask for it. I thought about him rummaging through drawers and address books trying to find it, but that seemed silly.

Anyway, I'm rambling as usual, so I'll cut to the chase. Here's how I did it. Throughout this scene, my MC, Jordan, has been talking with his mother and the whole time she's been putting stamps on a stack of envelopes. He gets annoyed with her and announces that he's leaving. Then this happens:

            She threw the stack of envelopes at me. “Drop off the mail, then.”

           I would have glared at her but she wasn’t even looking, so I reached for the envelopes with one foot pointed toward the door. And then I had one of those perfect moments. If I hadn’t looked down for just a second, it might not have happened. But clearly it was supposed to happen, since the universe so conveniently placed the answer right in the palm of my hand. I mean, I’m used to getting my way, but this was more than that. This was a sign. Because guess whose name was on the top of that pile? And not just a name, but an address. 

Now, I certainly don't claim to be perfect with my writing, but I think I worked this coincidence in the right way. He acknowledges how this moment is weird and convenient, a sign, even. But he doesn't over think it. Once this paragraph is done, he doesn't mention the coincidence again. He just acts. He goes to that address, and the story moves forward. 

That's what a coincidence should do, really. It moves the story forward when it reaches a road block. You don't want to spend pages and pages over-analyzing the significance of this coincidence. Just let it happen, acknowledge it briefly, and move on. Let the coincidence do what it needs to do and then forget about it. Sure, sometimes coincidences are unbelievable, but you still need your reader to believe it. 

How do you guys deal with coincidences? Do you try to avoid them? Any examples in your books or ones you've read you'd like to share?