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January 14, 2015

Developing voice


I read something interesting some months back about how a writer can develop their voice.  (I just wish I could remember who wrote it and where I found it.)

The writer said that they develop their voice by choosing an author whose voice they admire and then copying down by hand a few pages of that author’s best work.  They said this gets the rhythm and the diction and style of the author more deeply into their consciousness.

I don’t think this is about turning into a chameleon.   I think this is about widening the range of tone a writer can access.  It gives you the ability to create characters that have their own distinct style.  That’s pretty powerful. 

I can remember once after reading Pride and Prejudice to my grandma, I went and wrote in my journal and found Austen’s diction flowing out my pen.  Rather fun.

January 2, 2015

Ways to name your characters


When you want to write a story or a book, one of the first things you’ll want to do is name your character.  There are easy and hard ways to do this.  The hard way is to sit and think of names.  The easy way is to generate lists of names you like ahead of time and pick one that you think will work.

As I’ve read different stories, I’ve noticed that authors sometimes have a pattern in the names they choose for characters.   Often, they will choose names that have different first initials so that readers will be able to tell at a glance who the character is.  A_____ is the hero, and D______ is the love interest, and  Q_______ is the villain.   You know you are a fantasy author if you lean toward names that start with or contain X, Q, Z, V, K…  (wink)

Some authors like to create names that have lots of strange consonants but which are nearly unpronounceable when reading them out loud.  Like a hero named Soiuwrdoimcsxz.  As a reader, I personally don’t like this because it makes it hard for me to read the book out loud to my family and hard to discuss the book with family or friends.  I’m sure the poor souls who have to read out loud to create audio books hate it.  (Just a thought--if you as an author must have tongue-twisting character names and a particular way you want them to be pronounced, why not make it a little easier for your readers and include a pronunciation guide at the back of your book?)

It’s much better to make or use names that sing and zing.  Good names feel good to say, so much so that when your reader is done reading your book they will want to give the name to one of their children someday.  Or their next pet.  (Doesn't mean they should, but they will want to.  ;-) )

Some fantasy novels make all of their names unusual.  The function of this is to cue the readers that the culture is very different because naming conventions are different from our culture. I have noticed a cost to this--the names often seem blah or they seem to sound a lot alike.  (Terrick, Jarran,etc.) It could be argued that it could establish the naming conventions of the culture in the book, but I think a little more care with naming could help names feel interesting.

Another method of naming I’ve noticed is common names uniquely spelled.  These names look usual to readers eyes while evoking a different place, yet it also helps those who read the story out loud and gives a subconscious feeling of familiarity.  (Alison >> Alesyn)  Or, you can take a name you like and then mutate it beyond recognition.

When main character names are more recognizable or familiar than secondary characters or redshirts, readers instantly feel closer to them.  It’s a little trick for making a character sympathetic and cuing the reader to pay more attention to them.

Another method of naming is to smash together common names to make something that sounds different, but whose pieces are recognizable.  (Brandon + Christopher = Brandopher or Chrisdon.) 

You can name your character something exotic. For instance, a Japanese name is going to stick out in a list of Anglo-Saxon names.   This conveys that your main character is very different from his or her culture, like in fish-out-of-water stories or stories about misfits.   You can even put in your story that your character always has people joking about their name or asking about where they got their name.  If your character has an unusual name, call attention to it.

You can name characters after their attributes.  This works best for giving criminal types their names because it aids their anonymity.  Maybe you’ll call the guy with the short fuse “Stomps” after the way he stomps around.  Maybe the guy who inspects all the stolen merchandise with a magnifying glass for serial numbers will be called “GlassEye.”   Keep in mind, though, that trait names are very memorable, so if you use trait names for your criminal element then you’ll have to have very strong names for your main characters to make them easier to recall.  (If all your main characters are criminal, however, then you don’t have that problem..)

Attribute names aren't just for your criminals.  Remington Steele has the “steele” to make it strong and the “Remington” to give it sophistication.  

You’ll want to develop an ear for names.  This means noticing when you find a name that appeals to you.  Think about what part of it is appealing and why.  Is it the sound?  Whatever you may think of Kim Kardashian or her family, you have to admit that her name is lovely to say.  It has those enviable qualities of sing and zing.  (It has alliteration with the double Ks, the “dash” in the middle makes it both strong and hip, and the “ian” at the end gives it a very classical sound, like Marian, Dorian, Julian, etc.)   Can you make other names that sound similar?  

Would a location name work?  Indiana Jones and John Denver are memorable because a common name is combined with an intriguing place name.   In Indiana Jones, the “Indiana” is a nickname that suggests some kind of skill, though we don’t quite know what.  In the name “John Denver,” the “Denver” evokes a sense of location and that of a common man who has risen to the top.  If you met guys named John Chicago, John Phoenix, or John Seattle, what would you expect them to be like?

Finally, as I mentioned earlier in this post, I think it is best to collect lists of names you like, whether by chance or by consulting the many name generators on the internet. (One of my favorites is Seventh Sanctum, which I have linked to in my sidebar.) When you need a name for a character, you can then choose something from a list and get back to your writing more quickly, rather than losing your flow. 

December 16, 2014

How to fix head-hopping in your fiction manuscript


What is head-hopping?

Head-hopping is when your narration in a particular scene bounces between several character’s points of view without a scene break of some kind.  It’s like the narrator is hopping from head to head to head.  Hence, the name “head-hopping.”

Maria was thinking Bob looked hot today with his bowtie.  She loved it when guys wore bowties.  Bob, however, was hating life and Maria too, for that matter.  Joe just wanted to go swimming.

That’s head-hopping.  You get Maria’s thoughts, then Bob’s, then Joe’s, when you need to stick with just one point of view.

Head-hopping is easy to do when you’re learning to write fiction.  I’m finding that I did it a fair amount in the early parts of my first novel before I learned that wasn’t good.

Head-hopping is generally frowned upon these days and seen as a lack of control of one’s craft. 
  
Now, how do you fix it if you discover you’ve got a head-hopping problem?

There are two ways to do this, I’ve found out.

If you have an extended scene, there may be parts where you’ll want to change points of view because one character’s POV is more interesting/painful/dramatic and you want readers to get the story from that angle.  Try to keep the lens of narration coming from the person who has the most to lose or who is in the most pain.  As the focus of interest changes, do a scene break and take a new character POV.

What if you find your head-hopping scene is short?  How do you fix it? 

It may help to highlight in different colors the different POVs.  Color all Maria’s internal dialogue and opinions with red.  Color Bob’s POV in blue.  Color Joe’s in green.  Then print out the scene so you can see it all in front of you.  The color makes the unique POV of Maria, Bob, and Joe stick out so you can see how much of it is there.  It makes it easy to decide how important to the scene that character’s internal dialogue is. The character with the most important internal dialogue is probably the POV you should retain for that scene.  Everything else you can edit out or find a way for your favorite parts to be conveyed in other ways.  (Or if you have to, you can do the scene over again from the other characters’ perspectives.)

December 11, 2014

When and how making a story timeline helps


As I’ve been working on my novel, I’ve been writing my scenes non-linearly, working on what I find interesting rather than going in a straight line from past into the future.   With a first novel, I figure that any measures I take to keep me writing rather than quitting are allowed. 

Of course, the result of this was that I wrote a lot of scenes with one side of the love triangle, which left the other side of the love triangle rather undeveloped.  I was then left with the problem of trying to figure out where I could insert scenes with the second love-interest.

This is when it became important to me to make a timeline of events in my story.  Day 1, Day 2, Day 3, etc.  

In my timeline, first I put in what I’d already written according to the time cues that I’d already written.  (Time cues are like “two hours later” or “two days later.”) 

When I looked at that list of days and events, I realized I could compact my story and make it happen faster, so I adjusted my timeline and started adjusting my story. 

(Adjusting the time cues in my story took less time using the program Scrivener than it would have taken if I’d written in Word because in Scrivener you can easily jump to any point in your story without having to search for it.  Fabulous time-saver!)

With a timeline, I could tell where interactions between the overwritten love interest happened, and therefore see where interactions between the underwritten love interest needed to be.

I don’t know if I could have planned my novel on a timeline at the beginning because I was still fuzzy on my plot.  It was only when I had written a pretty decent amount—like 70,000 words-- that it became necessary to be so clear about when things were happening.

July 9, 2014

Three Dwarfish Poems

If dwarves had Mother-Goose-type rhymes..

"Ruby-Digging"

Ruby-digging in the dark,
Dwarfish eyes asearch and mark.
Diamond-sifting in the light,
Overseen by dragon sight.

Don't you steal a jewel away;
You won't live another day.
Never steal a dwarfish purse,
Fifteen times this rhyme rehearse!
 (repeat ad nauseum)


"How Banking Came to Be"

Bob the dwarf, he made a sword
Put it in his treasure hoard
Guarding it, he soon got bored
He could ill the time afford

Hired he a dragon guard
Fed him well on cakes and lard
Soothed him with a singing bard
Counted cost and found it hard

Moved it all to cave so dank
Let his friends include their swank
Set him up a dwarfish bank
Hired him tellers in a rank


"Metal skills"

Digger gets the gold from ground
Smelter melts it down
Pourer makes the coins so bright
Beater makes the crown

Setter puts the jewels in
Scroller adds the frills
Charmer puts the magic on
All are metal skills

June 6, 2014

The Tip-off (fiction)


This was written in attempt to answer the question of what life might be like for a psychic pizza delivery boy.

            Just walking up to the front door with the pizza in hand, Jason knew it was going to be difficult to get his tip.  The reclaimed cement lining the front walk, the rusted metal welded into artistic shapes, the cds hanging from the tree branches all spoke of the homeowner as someone who was a determined recycler and confirmed tightwad.  He didn’t have to be psychic to see that.
            He rung the doorbell and waited.  The sun had gone down about ten minutes ago and the glow on the western horizon gave everything a golden outline.
            The door opened and a grizzled, bearded face poked out.  Seeing the pizza box in Jason’s hand, the door was opened a bit wider.  The man had heavy grey eyebrows and sunken cheeks, greasy fingertips and a hacking cough.
            “Pizza for Mister Hanover?”  Jason glanced at the receipt taped to the pizza box.
            “That’s Ha-nover,” said the man. 
            Jason’s psychic senses saw the tip level calculation in Mr. Ha-nover’s head drop a few dollars.  “You must enjoy correcting people who mispronounce your name,” he said.  “When did you decide to pronounce it differently?”  He enjoyed watching the man’s eyes widen and mouth open in surprise.
            “Freshman year of college, huh?  Yeah, I suppose that’s the age to break away from your family, especially when you’re trying to get out from under a dad who’s abusive,” Jason continued sympathetically.
            “Do I know you?” the man’s eyes narrowed suspiciously.
            “Not from Adam,” answered Jason cheerfully.  “Twenty-three dollars even, please.”
            “How do you know so much about me then?” asked Mr. Ha-nover as he pulled out his wallet and opened it.
            “Just throwing out crazy wild guesses,” said Jason, adopting an innocent-and-slightly-clueless attitude.   He accepted the two twenties Mr. Ha-nover gave him and handed back a ten and two ones.  “My mom always said I have a crazy imagination.  It starts when I begin making up stories in my head about why people do one particular thing so differently.”  He tucked his own wallet back in his pocket.
            “Really.  You got all that from the pronunciation of my name?”  Mr. Ha-nover leaned against his doorjamb with the pizza box between his hand and his hip.
            “Sort of.”  Jason wasn’t about to explain his abilities at length having pocketed a generous tip.  “We hope you’ll call Pizza Bob’s again soon!  See ya!”  He waved, turned, and jogged back to his car.
            Distraction got them every time, he thought.

May 22, 2014

How to register for classes at ASU

I ran across this thing that I wrote back when I was going to ASU and was having troubles with registering for classes.  Enjoy.


How to Register for Classes at ASU
1 Wait until the last minute, preferably just before tuition is due. 
2 Avoid visiting an adviser.  (I’ve heard of several people that visited an adviser and ended up taking two or three extra semesters to graduate.)
3 Search for classes.  (Remember, all the ones suggested on your DARS report to help you toward graduation do not in fact exist.)
4 Register for classes.  (Be sure to push the button to confirm your classes. Be sure to push the button to take your classes to ‘check out.'  Be sure to push the button that re-confirms that you REALLY wanted those classes.  You get points if you do this without rolling your eyes.)
5 Reregister for classes.  (Three were cancelled for lack of interest.)
6 Reregister for classes.  (Two were cancelled for lack of interest and because of budget cuts.)
7 Change your major.  (Your major was consolidated out of existence because of budget cuts.)
8 Beg an instructor to add you on the first day of class.  (Carry a supply of add/drop forms.)