Home of Ane Ryan Walker, Teller of Tall Tales, Writer of Short Stories

Tag: building a hero

What’s in a name?

I recently had a visit from a long time friend I had not seen in several years. During the catch-up phase of our conversation, she informed me she had rescued two dogs. Being a dog lover myself, of course, I needed more information. “What breed,” I asked. She replied, “mixed.”

Finally, she got to the point and told me the mix of breeds–Chihuahua, and Yorkie. “Chorkies,” she declared.

I thought about it for a few moments, all the time wondering to myself who chooses how names are combined to determine a mix of breeds. Chorkie is a fine choice, but what’s wrong with Yohuahua? Isn’t that also an acceptable combination of Yorkie and Chihuahua?

Other options for mixed breeds, such as Labrador retriever and Poodle, are Labradoodle. Let me offer another option; Poodor retriever. After all, the dog is probably still willing to retrieve things.

Some other options I think may need revision.

  • Bogle – Beagle and Boxer. My suggestion, Beaxer, pronounced Beazer. Much more interesting.
  • Bugg – Boston Terrier and Pug. My take is Terrug. Interesting.
  • Cheagle – Chihuahua and Beagle. much like the Yorkie mix, I would go with Behuahua. Sounds like Bwaaahhhaaaa!
  • Golden Dox – Golden Retriever and Dachshund. Or a Golden hund, you pick.
  • Horgi – Husky and Corgi. This is just mean, who would be so mean to a Husky?
  • Jack-A-Ranian – Jack Russell Terrier and Pomeranian. How about PomTerr?
  • Lhaffon – Brussels Griffon and Lhasa Apso. Laff off, just for ridiculousness.
  • Cavachon – Cavalier King Charles Spaniel and Bichon Frisé. Charles Frise’. It’s a little more personal.

So thinking further on the subject I began to wonder, what’s in a name?

Romance authors choose Hero names with a sharp sound, Brick, Dirk, Clint, or Zack, no Tommies for us. We like real men with hard-sounding names who are durable and dependable.

And for Heroines, we choose languorous, sleep-inducing, sloe-eyed names with a musical lilt, Harmony, Cherie, Susannah. The more ladylike and sultry the name, the better for our heroines. Sexy, huh?

Anewyn, Gaelic for the blithe spirit, gets shortened to Ane and many people spend years pointing out your name is spelled wrong. Over the years I respond, my parents needed the second “N” for another child. Because of obvious criticisms from people you don’t really know, who are not in possession of all the facts, this is annoying at best. You should try to meet these situations with humor.

Generally, I do.

See the list of mixed breed names, revised.

 

 

Where does your story start?

There’s the sixty-four thousand dollar question.

I know many authors in various stages of their careers, and not a single one willing to say, “I know exactly where my story begins.”

Once in a rare while we know where to start the story, but not often, and certainly, not always.

As writers we have so many things to agonize over, such as “who does the story belong to?”, and “who will be the primary character?”

We need to decide so many things when we start a new story that we often overlook the obvious when we decide who will tell the story. For Romance writers, we know the story must be told by both sides, the “he said, she said” that keeps romance readers coming back. They love (no pun intended) a gripping story and so of course, they want to know why she behaved that way, and what he thought about it, and why he put the time and energy into winning her back. Did she make it worth his time?

If you have an audience that comes back again and again, you know you’re probably telling the story correctly. But how much do you agonize over the very beginning of the story? How do you decide when you’re just starting out who the story belongs to and how it should be told.

A general rule of thumb is when things change, the story begins. Always a good place to start. Change brings conflict. Conflict and its resolution or lack thereof, is often what keeps readers reading. But, unless we can identify and sympathize with the primary character, then you, as the reader are not likely to buy in for the long haul. And believe me, 400 pages is the long haul.

You must create and open with a character we love, or at least can identify with for the duration of the story. This simple direction is indeed a tall order.
How do I make you love my character? Or at the very least, how do I get you to accept him for who he is, like you but not like you, and still make him interesting.

In a word, backstory.

All of the things I, as the writer know, about the character, who he or she is, how they came to be in the moment fraught with conflict and change, and I must make you care about him and want to know why that happened.

You can love him or hate him, but he must arouse your curiosity, make you ask why? and also wonder, what happened next?

If you fail to incite this interest, you haven’t found the the right character, or the true beginning of your story.

How does that sound?

More on naming your characters.

The sound of a name says it all. For the strong, alpha, bad boy, totally masculine character you will probably want a name that sounds sharp, short and strong. Names that garner attention.

Bad boys, particularly villains, who deserve as much attention as heroes, have specific name needs.No villain should be Snidely Whiplash. Too routine, too ordinary, too boring. In fact, you might say “cookie cutter”.

The real bad boys in fiction, whether leading men, alpha heroes, or second fiddles have sharp, snappy, memorable names. Especially the anti-hero. Names that sound sharp, snappy or have sizzle built-in.

Count Dracula, the primary bad boy of fiction has a sharp sounding name. Count–with the k sound for an opener–followed by Dracula–another definitely sharp sound. The D defines and the k is repeated in Drac, brings in another sharp k. Hard edges are defined by the name. You know instinctively this guys going to be a problem.

Sometimes the sound is suspicious. Le Stat, another vampire of literary fame. The s sound is slithery, and sneaking. This character is not at all what he seems. Tah Dah! He is conflicted. Suspicious. This character is unpredictable, no one can say exactly what will happen with him next.

Long after the story ends, writers are remembered for their compelling characters. Often the properly named character is remembered once story specific are long forgotten. So make sure you ask yourself, “what’s in his name?” before you name the character.

This is one place where the use of subtext is not acceptable and encouraged.

 

About Writer’s Block

  “You don’t make progress by standing on the sidelines, whimpering and complaining. You make progress by implementing ideas.”

― Shirley Chisholm

Writers write. Ask any writer. If they could stop writing, they probably would stop writing. For the rest of us, we write to still the voices in our heads. We write to get our stories out into the world.We write, publish, and repeat the process. Endlessly.

If you ask me about that thing known as “writers block”, I’ll tell you it doesn’t exist. I can pretty much prove it. No other profession allows its practitioners to claim that no work can be accomplished today, tomorrow, this week, next week, or anytime in the near future, because they are suffering from a “block”.

Plumbers block? No. Dentist Block? No. Nurses Block? No. Accounting Block? No.

Trust me, if you are a writer and you’re not writing it’s because you choose not to write.

But wait, you say. I really do have writers block. What can I do? The answer is simple. It’s a choice you make, either a form of procrastination to avoid criticism, rejection, or some other form of negativity. So, you ask, how can I fix that? Start writing. Yes, that’s right. Make a plan and stick with it. Just start writing.

Writing when you have fear is difficult. Fears need to be faced in order for you to overcome them. So of course, the answer is simple. Start  writing.

Having difficulty with your story? Keep writing. Many writers know, you can not fix a blank page, so fill the page, then worry about fixing it later. Nobody–or let me say rarely–does anyone love a first draft. Usually it takes a lot of work, self editing, story restructuring, critiquing, and professional editing to get a story into decent shape.

Did I mention the upside of continuing to write in the face of adversity (i.e, laziness, fear, procrastination, martyrdom, or anything else that prevents you from writing)is you will find your true voice and your writing will improve if you just keep writing.

Secondary Characters

How important are secondary characters?

Very Important. Think for just a minute how you might see The Harry Potter series without Neville Longbottom. Or perhaps Pride and Prejudiced with Jane Bennett.

Not so interesting, huh?

Important to remember the names for secondary characters. They should not be similar to the hero or the heroines name. The first names of these character should never start with the same letters. Names that sound similar or start with the same letter can be confusing to your reader. You don’t want the reader to confuse Crissy the servant with Sissy the villain. That would not be good. Remember, sound alike–Katy, Kathy, Cody–can confuse as well.

Where some writers will provide a full interview to get to know their primary characters, it isn’t always necessary for secondary characters. Does that mean they are less important? Less well-developed? No.

While they may not require the same depth of development, secondary charterers require the same amount of attention to the in development. Supporting characters who are well-developed are those who provide the proper support for your hero and heroine. Their development provides depth for the story and layers of interest to your novel.

Secondary characters provide a unique perspective through which the main characters can be viewed. What they see, hear,  and think about your hero or heroine and the behavior gives additional insight to the main character.

Characters, like people, are often judged by the company they keep. If you wish to define a characters moral core, the companions they choose are a good gauge of moral compass.

Sometimes the secondary character allows us as readers to compare and contrast the desirable qualities between heroes and secondary characters.

Secondary characters can contribute to a story by the use of valuable dialogue. They will know–and so will your editor–which questions should be asked and which subjects the hero wishes to avoid, but shouldn’t. They hep to increase the conflict by introducing the taboo subject, and sometimes outrageous behavior.

Secondary characters are not held to the same high standards which we impose on our heroes. They do not benefit when they advance to primary status in follow-up stories. And be assured, romance readers love to see the secondary characters follow-up with their own story.

 

 

How do I make that hero shine?

Interviewing the hero is a good start, if that works for you. If not, I’m going to give you some guidelines about what a hero should–and shouldn’t be, and how he might act.

Remember, writing doesn’t have a lot of “rules” per se, but if you want your hero to be likable, you will at least consider the following things:

  1. Heroes are strong people, not only physically, but emotionally. They don’t hold other people to blame for every misfortune in their lives, but they do hold the people in their lives accountable. So if your heroine makes a promise or a commitment to the hero, he expects the promise to be kept.
  2. Heroes have an excellent sense of humor. They do not make jokes in poor taste or at the expense of the weaker characters, but they often exercise a dry wit, and they know how and when to be able to laugh at themselves.
  3. During social encounters heroes are aware of their surroundings, and are not likely to be the center of attention, but are aware of the tensions in the room or situation. They are often the person who will diffuse a tense situation or control activities which have the potential to get “out of hand”.
  4. They do not wear flashy clothes or make odd or awkward fashion statements, but have a classic, quiet,  dignity which is always in style.
  5. While the hero is often aware of what others think of him, his actions, his choices, the opinion of others has no effect on the hero’s behavior.
  6. True heroes know the art of romance. They always treat women like ladies, regardless of age or station in life. This behavior towards women is what starts the ordinary man down the path to true hero.
  7. Heroes don’t typically seek out others to help them. They like to resolve their difficulties alone, but are strong and secure enough to ask for help when they need it.
  8. Heroes know how to say no. The have mastered the art of saying no rather than the art of apology. No means no.
  9. Heroes know what they want and are focused on getting what they want. They pursue their desires by doing what is necessary to achieve their goals.
  10. Heroes are decisive, not reactive. No knee jerk reactions. No panic. Again, heroes know what they want and focus on making their desires their reality.
  11. Heroes command respect. Others follow the hero because his is to be admired, not feared. He earns the respect of others by demonstrating the qualities of a true hero. Not by instilling fear into the weaker of the species.
  12. Heroes are problem solvers. The others in their social circle, friends and family know they can count on the hero in their time of need. Heroes are reliable.
  13. Heroes exhibit a calm and serene dignity. The trick to this is not to react, but rather to collect all the available information before making a decision, whether it is personal or advice to a friend or loved one. A calm and serene demeanor is the face a true hero shows the world.
  14. Heroes do not hesitate when a decision is needed. They assess the situation, and make a decision based on the need at that moment in time. They do not hesitate. They are not afraid of failure.
  15. Heroes command the attention of everyone when they enter a room. The exhibit excellent posture, make eye contact, give a firm handshake when introduced to others and always exhibit confidence. Their body language–confident, competent–tells everyone who they are as soon as they arrive in a room.
  16. Heroes know the secret of good communication. They speak less and listen more.
  17. Heroes assume the leaders role rather than wait for others to offer it to him. He is not a jerk, and is not aggressive, but he will stand up for what is right. Every time.

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