Category Archives: Mary Pletsch

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.

 

Returning to the Lake

downloadLast year, fans of lovely monstrosities, dark secrets and long-lost nightmares ventured to Fossil Lake, a place where things perhaps best left buried stirred in the sediment beneath the water in an Anthology of the Aberrant.

This year, horror fans who’ve faced the darkness and find themselves hungry for more can return to the Lake in Fossil Lake 2:  The Refossiling.

“Red Ochre,” my contribution to Fossil Lake 2, allowed me to address one of my greatest regrets about my story in the first Fossil Lake.  I wrote a previous Fictorians article *here* about the experience of writing “Mishipishu:  The Ghost Story of Penny Jaye Prufrock.”  Mishipishu was set at a summer camp for kids and, like the summer camps I went to at that age, I gave the lake and its legend names from Native American folklore.  But I remained cognisant of the fact that there’s something culturally appropriative about the way summer camps used Native names to suggest wildness and closeness to nature, and yet rarely had any Native staff, Native campers, or instruction on any aspects of Native culture beyond the shameless borrowing (stealing?) of names and ghost stories.

I used the Native names as a matter of authenticity – this is something summer camps did, and some still do.  But I felt a certain lingering regret for the way that Native American identity had been stripped away from these names.  Longtime readers may recall an article earlier this year where I talked about how changing the point of view character helped make my contribution to Fossil Lake 2 into a stronger story.  If you missed it, you can find it here.

“Red Ochre” has been my opportunity to tell a scary story through the eyes of a Native American character, Meesha.  Meesha is torn between her shaman uncle, urging her to learn more about her heritage and her people’s traditional beliefs, and her parents, who want to see her as a successful, respected member of the wider society.  Meesha wants to fit in with the other students at her school, but she recognizes that elements of both her own history and her people’s change how others view her.  She had hoped that a camping trip with her friend, Perry, could give her a much-needed vacation.

Unfortunately, Perry is more than he first seemed.  And so, too, are those legends her uncle swears are true.  Meesha finds herself caught in the riptide of history, and its current threatens to drag her away…deep down into the waters of Fossil Lake.

If you’d like to take another dip in the Lake, Fossil Lake 2:  The Refossiling is now available in Print and Kindle editions.

And if you’ve never been, the first Fossil Lake Anthology is still available, also in your choice of Print or Kindle.

So come on in.  What are you waiting for?

The water’s fine.

April: In Love…and In War

In February we took a look at the different kinds of love that characters can experience, and the importance of allowing characters to feel love.  Whether that’s romantic love, love for family, love for friends, love for a belief or a cause, or any of the other myriad forms of love, stories convey intense emotion when it’s clear the characters care strongly for something or someone.

In April we’re taking a look at the other side of the equation:  conflict.

If a character strongly loves something, but there’s no threat to that thing, there’s no conflict and no story.  If a character strongly loves someone, and the other person returns the feeling without obstacle or hindrance, there’s no conflict and no story.  If a character passionately believes in a cause, and immediately puts that cause into effect, there’s no conflict and no story.

A strong conflict is essential to a strong story.  It’s hard to keep a reader’s interest when the characters don’t face any challenges, and there’s nothing to stop them from doing, having, and enjoying what they want.

Just as there’s many different types of love, there’s many different types of conflict.  Conflict can run the gamut from actual combat to a character trying to come to terms with her own thoughts on a subject.  Stories can include more than one conflict.  For example, two members of the superhero team might be rivals, fighting against one another to be chosen as team leader, while also fighting villains.

Conflict can include:

Fights against an antagonist adversary, whether that be a single villain, a government system, an opposing nation, a bully, a competing love interest, a series of foes, or a concept such as criminality or evil.

Rivalries

Physical fighting, ranging from one-on-one to armies in combat

Contests (sports games, chess matches, spelling bees, races…)

Arguing (fighting through communication, whether it be spoken, online, a series of gestures, etc)

Conflicting ideas or philosophies

Obstacles preventing the lovers from getting together, or the hero from enacting her master plan, or the apprentice from reaching his goal

A character struggling to survive against nature (ie natural disaster, trekking across the wilderness, being abandoned to the elements)

A character fighting to overcome (or live with) a disease or illness

Internal conflict.  This occurs when the conflict is in a character’s own mind.  Examples include ethical dilemmas, characters raised in one culture, faith, or belief system questioning whether what they’d always believed is in fact correct, or a character wondering if his current course of action is what he truly wants to be doing.

This month we’re going to talk about the different kinds of conflict, how to write about conflict, how to make conflict believable, and how to tackle conflicts you as the writer haven’t personally experienced.   Take up your shields (or your swords) and prepare to defend that which you love.

I Write For Money–Except When I Don’t

 

Money flows to the writer.

It’s a great rule, created to help new writers from being taken in by scam publishers who make their money by demanding payments from authors rather than from selling books to readers.

When I first began submitting my work, I made a deal with myself:  I was submitting only to markets that paid up front.  I wasn’t going to settle for “exposure in lieu of payment.”  If I wanted “exposure” I could post my stories on my tumblr.  I wanted to see cash up front.  And I wasn’t going to fill my garage with hundreds of copies of my books that would then be up to me to sell.

For the most part, this is a good rule and it’s served me well.  It’s a great feeling to be able to buy things and pay bills with the money I make from my writing.

But I’ve broken this rule a few times with short story anthologies, and I still feel good about it.  Here’s why.

 

Charity anthology 

I gave a short story to an anthology in support of animal welfare.  I give cash to the Humane Society, so I was also willing to give a story in lieu of cash, in support of a worthwhile cause.

Similarly, some of my writer friends have donated copies of their books or anthologies they are in from their stock (see below) to silent auctions and other fundraisers.  Although they’re out the cost of the book, they’ve increased visibility for their work and contributed to a good cause.

As with cash donations, writers need to strike a sustainable balance for giving away stories or hard copies.  You will need to decide for yourself how often you’re willing (or able) to give away your work for free.  If you’re gaining exposure in a way that counts–for example, appearing in a charity anthology with some big-name authors–or if you feel strongly about the cause you’re fundraising for, it’s worth doing this sometimes.

 

Payment in royalties

Payment in royalties is a gamble.  If the anthology sells well, I stand to make more than I might if I’d simply sold the story for a flat fee.  If it doesn’t, though, I risk seeing little if any return on those first publication rights.

The first time I took this gamble, I had a story that was shorter than my usual work.  It had been sitting on my hard drive for the better part of a year and I’d been having trouble thinking of where I might place it.  I finally found the perfect anthology call, but it paid only in royalties.  I decided to take the gamble.  It was accepted.  Currently, I’m still a little short of what I’d like to have sold it for, but the anthology is still in publication, meaning I will hopefully be seeing more royalties in the future.

Royalties are a lot more common when you’re writing in longer forms.   My first novella (written under a pseudonym) also pays entirely in royalties, so I’m waiting to see whether I get more, or less, than I would’ve gotten if I’d cut it down to anthology length and sold it to an anthology for a single up-front payment.

 

Stocking your work

On occasion I’ve paid more than I’ve earned getting extra copies of the anthologies my work appears in.  The first time, I looked at that box of books and my empty wallet and winced a little.  In the end, though, having a few copies on hand has proven to be worth the investment.

Earlier this year, I participated in an author launch and came away with cash in hand—even after giving copies to the event organizer, my fellow authors, and our fearless sales-table staffer.  I also attended Ad Astra convention in Toronto and sold enough books to pay for my food and travel expenses, making the con much more affordable.  The launch party and the convention gave me the ability to promote my work to a wider audience, something I couldn’t have done as easily without stock on hand to sell.

Another factor is when acquaintances, co-workers and party guests ask me:  oh, you’re a writer?  Can I see your work?  I’ve gotten my anthologies into a number of hands just by saying:  yes, I have some copies on hand, this one is $15…

So how much stock should you have?  I’ve had authors recommending five copies of each work as their ideal stock number.  Other factors to consider include how much money you can afford up front, how much space you have to store stock, how many anthologies you’re in, and how marketable each book is (for example, in-person I attend more sci-fi events than romance events, so I stock more of my sci-fi themed work.)  I also find that I get better shipping prices on 10-20 books than I do on 5; fortunately, I have family and friends who lay claim to most of the difference, which helps to keep my first stock shipment affordable.

 

Writing for fun

I enjoy online role playing, fan fiction, talking about themes in my favourite comics, and other kinds of writing that don’t pay me money.  I’ve scrutinized my hobbies to avoid wasting time I could spend on paying writing, and have decided that if I accomplish my professional writing goals, I am just as entitled to spend my relaxation time on role playing as on video games, crafts or any other form of entertainment.  Sometimes, when I’ve edited a story for the tenth time or a conclusion just isn’t coming together or I’ve received a disappointing rejection, I feel that I hate writing, and ask myself why I’m doing this.  And then I hammer out a goofy little fan-fic, fall in love with my craft all over again, and the next morning feel inspired when I return to my original work.