Deadly Liaisons's blog

THE VALUE OF A NAME


If you’re in the middle of writing in a series, there’s a certain comfort knowing you’ve already determined the names of your main characters. Robert Crais knows detective Elvis Cole and his sideman Pike will be his main men. James Patterson will write about detective Alex Cross and his family or, in his Maximum Ride sci fi series, Max and the flock. Even into those stories, however, must come minor characters who also need names.

Because I’ve only written two series, I’m usually faced with the challenge of naming all my players from scratch. I tend to know who my people are before I select their names, and as I browse through possibilities I either sense or make a stab at what fits.

I suppose one might choose the name first and design the person around the name, but I haven’t done so. Nor do I know anyone who has.

It’s important to keep your characters distinctive. Avoid using the names of people you know or those other writers have chosen. Avoid beginning the hero’s and the bad guy’s first names with the same alphabet letter. Vary the number of syllables.

For suggestions, you can search the Internet for the most popular or the most common contemporary male and female names and sometimes locate names from history or foreign countries. In one of my novellas, I used the name “Madison” for a young woman because it was the most popular pick by new mothers for their girls that year. Today I understand “Emma” is the most popular. I haven’t checked the men out yet.

EXPECT THIS FROM A NON-VANITY, NON-SUBSIDY ELECTRONIC PUBLISHER

Networking in a Romance Writers of America* chapter five years ago, I learned of a contest Amber Quill Press was holding. I entered DARK STRANGER, and it was one of the winners. Every time I see its cover, a happy warmth rolls through me.

Amber Quill is one of the non-vanity, non-subsidy electronic publishers. As inexperienced as I was at the time, I'm grateful every day that I stumbled on this type of publishing house. My earlier experience with a subsidy press had been less than satisfactory.

With subsidy and vanity publishers, you "pays yer money and you gets yer book." Vanity presses print your book for a fee and you sell it to family and friends. The books may be hardcover (higher costs) or trade paperbacks. These publishers don't pay royalties. They're called "vanity" presses because it doesn't matter if your book's worth being published, they'll publish it because you paid for it.

Subsidy presses may be more selective in which manuscripts they accept, and they pay royalties, but you'll share the costs of publishing. For instance, you may have to provide your own cover or pay a set-up fee to go to print, perhaps even be required to purchase a minimum number of your paperbacks.

COMICS AND THE GRAPHIC NOVEL


I stared at the topic for the next Sisters in Crime/Los Angeles meeting. Why on earth this panel on novels with graphic sex? LOL. It didn’t take long to find out sex has little to do with graphic novels. I was discovering a genre I’d missed out on when I gave up reading the comics.

Wikipedia* describes a graphic novel as “a type of comic book, usually with a lengthy and complex storyline similar to those of novels and often aimed at mature audiences. The term also encompasses comic short story anthologies, and in some cases bound collections of previously published comic book series (more commonly referred to as trade paperbacks).” It also describes the term as “evolving.”

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