By any other name...

I love hearing about baby names and have some new cousins coming along! There’s always the excitement of choosing a family name or something original or doing a twist on it. We were talking recently about how hard it is to see a family member as the alternate name—although nicknames abound, of course!

When writing novels, though, it is both easier and trickier. People have favorites and sometimes unconscious patterns about names. And when writing multiple books, and multiple versions of each book, it’s hard to keep them straight!

I’ve worked on a couple of bible options (that’s when an author writes a series and keeps track of all the ages, names, books, mentions, etc.). Some are done before you start the series (especially if it’s commissioned by a publisher or author group), and sometimes you do it afterward to keep track of babies and ages and family members and time passing. It’s time consuming at the start, but incredibly useful as you get deep into the story.

Recently I was working with an author who had two different series going on and had realized that she was going to have heroes with the same name coming out this year! Luckily, she was able to do a switch and now they have different ones. But it is something to worry about!

I suggested that perhaps she print out the top 100 baby names in the UK (where one series is set) and the top 100 baby names in the US (the other!). Then take four highlighters. One color would be the hero/heroine’s names (or potential hero/heroine names) the other the family/friends minor names. Do that for each series. Then post it on the wall near the computer!

That way, you can hopefully check the main characters from one series with already taken names in the other as you choose them. It can help solve—or prevent—issues down the road!

Choosing the top 100 (or more!) names in the UK is also a great way to think of some new ones for the American series. Or picking out the top 100 names from fifty years ago—those names are coming back! And looking at the international names can also challenge you to keep in mind making your characters diverse.

I’m not sure how rigorous these sites are, but they can be fun to explore…

http://www.babynamewizard.com/international-names-lists-popular-names-from-around-the-world

or

http://www.bounty.com/pregnancy-and-birth/baby-names/top-baby-names/the-most-popular-baby-names-around-the-world

or

https://www.momjunction.com/articles/baby-names-from-around-the-world_00395995/

And there are plenty more!

A couple of pleas, though. Try not to have hard to pronounce names without giving readers a clue (and yes, looking at you, Aoife and Saoirse and Siobhan from Ireland!). And though gender neutral names are very popular, try to give an indication of the gender on the back cover copy and early in the book. You want to make it clear to readers the roles of the characters! (Unless, of course, that’s the purpose of the story!)

How do you keep your character names straight?

Enjoy!

Mantle vs mantel

One error that’s cropped up a lot these past few weeks is mantle vs. mantel.

I’ve seen the error in two books I was working on (one historic, one contemporary) and on the closed captioning on the tv, and in a traditionally published book as well. It comes up pretty often!

 Of course, some people don’t think of this as an error—that it’s just a UK/NA distinction, that both come from the same word and it’s fine to use them, etc. And that may be true in another decade or two.

But for now, I—and many editors and readers—do think of them as separate words.

So here’s a hint for recognizing the difference between the two.

One—mantle, is like a cloak, or like “The Layer of Earth) (tle are the last letters of this spelling)

Two – mantel is like over a fireplace—where you might put a TELephone (tel as the last letters)

 It’s a minor thing, but I do think it gives a more polished/professional gloss to the novel to keep the two words distinct.

Any other ways you distinguish between the two? Or do you pay attention to the difference?

Wild hairs when editing a book...

I still remember one of my first edits, way back in 1990. An author had written a wonderful western and I was doing my earnest best to be a good editor.

But one phrase stopped me. “She took a wild hair.”

I remember trying to look that up. This was back in the editing on paper, hours standing by the copier with each version of the manuscript time. In fact, it was really pre-computer on the desk days! We had typewriters, carbon copy pages and I was the lucky assistant editor with two balls (italics and roman) for my typewriter!

A further digression—when computers came about, the office got two (or three?) and they were in general areas and you had to book time to use the computer, and your floppy disk (those 5 1/4” ones!) was quite valuable! Happily, they were mostly free after five and I remember enjoying writing/revising my letters in a quiet office with no one waiting on line.

In any case, I couldn’t figure out if this was a misspelling or not. Was it “hare” as in rabbit? They were farmers/outdoor characters, so maybe that hare was right?

Or was it a wild hair like the ones that grew out of your nose/ears in a different direction? But I couldn’t see that fitting in context.

I don’t remember much more, but I did flag it, figuring if I was stopped, others would be too.

And I vaguely remember the author coming back laughing at this native New Yorker who didn’t have a clue about a wild hair!

It turns out a “wild hair” is a sudden intense desire to do something. You’re “itching” and something is pushing you forward (like a stray hair after a haircut makes you squirm).

I have rarely seen that phrase in other titles, yet it always makes me think of that edit, of checking assumptions and the joy of discovering new words and new meanings to familiar things.

I did leave the phrase in, and it fits with the character and situation. But I do wonder sometimes about the balance between letting an author’s voice come through and making it easy for a reader to follow along.

These days, I will often trust the author, but question things I don’t know or aren’t familiar with. UrbanDictionary.com gets quite a workout on some titles! Though often that doesn’t help either. If it’s clear from the context, I’m more apt to leave it as is.

But there’s always the sheer pleasure of the possibility of words and sharing those phrases and twists with readers.

Any phrases that have delighted you?

After the Wedding...

I went to see AFTER THE WEEKEND this past weekend, and was fortunate to have Julianne Moore and Bart Freundlich come in afterwards for a Q&A about the movie. It’s a remake of a Danish movie (Oscar-nominated!) from a few years ago, and they switched genders in the remaking, and it made for a very interesting take on the whole situation and interaction between the characters.

Julianne Moore, Michelle Williams, Billy Crudup and newcomer Abby Quinn have a lot of emotional weight to carry and do a great job. And the contrasts between India (Michelle works at an orphanage there) and New York (where she goes to get funding from the orphanage) are both emphasized and linked, as the hustle and bustle walking in New York or shopping in a market are balanced. And there are quiet moments of fun and joy in India, with bit dark moments as well.

But what also struck me—and the woman behind who said to her friend that she thought his must be from a great summer read of a book—is the treatment of the quiet and the loud. The movie lets the silences linger and the actors show their anger and fear and unease, and that’s something very hard to do. These actors live their confusion and inner lives very well.

If it was a novel, I don’t know if Theresa’s (Julianna Moore) breakdown would be as effective as seeing it on screen. The loss of a control by a woman who lives to control others is personal and grief-filled, and getting that on the page would make it feel overwrought and require too much repetition and make me want to hold back. But on the screen, it worked for me!

On the other hand, that intense internal life leaves a lot to be desired. I want to know more about some of the motivations, some of the links that make the background of the characters clearer. There’s something about Isabel’s (Michelle Williams) background that’s tossed up that is so intriguing that I want a conversation about that. Or about other Grace’s (Abby Quinn) decisions regarding her marriage. (Trying not to give too much away!).

So yes, I think I enjoyed the performances in the movie, it was quite emotional and tears were flowing all around me, but I wanted a touch more and would probably have really enjoyed the book for the detail, but wouldn’t have wanted it to linger in the emotions in the way the movie allows.

I’m lucky I got the one at least, and will enjoy the memory!

Oh, some of the non-spoiler questions – the movie was done in a month in the NYC setting, and then they spent about four days filming in India. Which I think is amazing acting for Michelle to cram the whole arc of her character, things she’d already filmed with these scenes that were woven through the full movie.

The choice of Billy Crudup crying was specifically on the page of the script, as was the fixing of the collar of another character and such. In fact, when asked, Bart said when he talked to Julianne about the idea of gender-flipping the characters and was she interested, she said yes—but she had to see the script first. She loved the idea, but needed to know that the script was great and starts off with that basis.

And one thing she also talked about was how she was attracted to the anger in Theresa’s character. The role was tough in many ways, but being able to show Theresa’s anger in subtle, direct and overwhelming ways was something she enjoyed about the character.

So yes, there were some coincidences—and things that turned out not to be coincidences—and some contrivances and some unanswered questions and motivations and some that worked. But overall, the movie did what movies and books do best—take me on an emotional journey, let me understand some of the pain and internal life of the characters and make me think about what I might do in the situation.

I was moved in the moment and the fact I wanted to know more about the characters, their reactions, what was behind their inner lives and the emotional outbursts is a good sign!

Have you seen it? What did you think?

Building a series...

I’ve been working with some authors who are building their worlds and developing new series, and it can be an exciting thing!

One thing I do want to caution authors about, though, is that if you’re doing a fantasy or science-fiction world, or even a more traditional story with an involved arc, it can be best to write the first book, draft the second book and lightly plot the third book before publishing the first book.

There are so many times that an enthusiastic and proud author has published the first book in the series, wanting feedback and direction—and hopefully some money to support the second book!—only to discover that the rules of the world, the motivations of the characters, the background of the protagonists or the direction of the story in the first book limits what she wants to do in the second one.

Exploring the world in more detail, understanding where you are going on the journey and then going back and tweaking the first book before publication is crucial.

Sure, if you’re seeking an agent or a publisher, it’s fine to submit the first book (if it’s as strong as can be!) to agents and publishers while you’re developing the rest of the series. You might get additional feedback or direction, and that will help you on a final revision of the first book in the series.

And yes, it’s true that you can also take down/update/revise the first book after publication. But I do think many readers grow wary of authors whose books have been frequently updated. They’ve read one version—should they read another? What has changed—grammar and typos, or characterization and motivation? Does it make a difference to their memory of the book? Do they have to reread it before the second book comes out? Should they bother with the second book if something changed that they liked?

For those authors who are often tinkering and updating, I have a reluctance to buy a book that might need to be revised a couple of times. I believe that a story can be posted and developed on a site and get feedback for improvement, and I’ve worked with authors who are tweaking and revising often—though you do have to give up the search for perfection at some point!

But it is a bit that you have one chance to make a good first impression. And putting something out that needs more tweaking might mean you have an even better book for any new readers, it also can cause more doubt in your original readers.

It’s a fine line to balance and one you’re going to have to play with as an author.

But still, I think it’s worth not hitting publish until you’re really sure you’re ready for the next stage!

What do you think? Do you trust authors who are always revising once they’ve published? Once for a cleanup of errors I can see, but three or more times? Let me know!

Entering the Medieval World...

This past week I’ve been working on a fun project set in Norfolk in medieval times (1204 to be precise!). And it’s a different kind of challenge for me!

In a fantasy or science fiction novel, you can make things up as you will and play with what your characters might know or how they’d speak. In a contemporary, you have usually assimilated enough that you know what to do in most situations (though I am often doublechecking!).

For a Regency novel, I’ve read enough (starting with the great and wonderful Georgette Heyer!) and know many of the rules or can find wonderful resources to check them out.

But it was hard to settle into this world at first. I know that it’s not going to be written in Old English, so forbidding any words from after 1205 isn’t going to make it readable (at least for those who haven’t been devouring The Canterbury Tales recently!). But where do you land between inspiring the “feeling” of the times and the demands of the contemporary reader?

It’s been an interesting project and has expanded my search browsers and temporary knowledge of King John (boo, hiss—yes, he of Robin Hood infamy). And luckily the author has done a lot of research and can answer my questions or concerns with why this was so, or agree that maybe this is pushing things a bit too much and can switch to another thing.

The heroine is brave and independent—but it makes sense within the context of her upbringing. That’s one thing I often do wonder. How does a woman of that time grow to know about the world beyond what she’s shown ever day? Here she has gaps of knowledge (can’t read or curtsy), but it is balanced with practical knowledge (herbs and forest survival)

I’m wrapping it up and handing it back to the author this week as she does the final polish. I’m looking forward to the next book in the series and settling deeper into this new world. (In case you’re interested, check out https://www.amazon.com/Defending-His-Lady-Medieval-Romance-ebook/dp/B07V39VP7D at the end of September!)

So readers, what do you care most about for novels set in the past? Getting the language and customs right? Seeing heroines who are breaking the rules of the time? Or are you happy just falling into a strange world where a hero and heroine learn to love and trust despite their differences?

Happy reading!

When in doubt...

My nephew (Innes Chalmers, second from right) is in South Africa with the High School of Dundee’s Rugby team.

One of the shirts they are wearing (check out the Twitter feed!) says “When in doubt, sit them out”—encouraging coaches, parents, and players to consider the impact of concussions immediately and long-term.

It’s an important message to share!

RWA 2019--whew!

So RWA 2019 is over. :)

I’m always delighted to have it in NYC—no flying anywhere! No packing! And I hate it—heading back home on the subway and carrying things all day long!

But of course the best part of RWA is seeing the authors and readers and editors and agents and friends who fill the place. There are the usual hotel things you hate (escalators down, long elevator waits, searching for rooms!) but the Crossroads bar is great to see the people you didn’t expect.

I attended some workshops but mostly took the time to meet with authors I have worked with—and was delighted to meet with authors I’ve just started working with in the past year or two. It’s great to just sit and talk—or wave in passing—and put faces to the names on the paper, phone and Skype calls.

I was said to see the end of the Golden Heart contest—I think I’d found nearly a dozen authors over the years from that conference—and am eager to see what RWA is planning with the upcoming mentor program.

I was happy to see Allson Kelley in person and get a chance to thank her for all she’s done for RWA over the years and wish her all the best with her travel and next stages in life! The rest of the staff made things run smoothly (from my POV at least!).

Cheering on authors at the RITAs and the other contests is also affirming the best in business. And I enjoyed sitting at open seats and meeting authors who were first timers at the national conference, debut authors, bloggers and other knowledgeable authors sharing their experiences in publishing.

It’s also exhausting! :) But I’ve got a list of interesting things to do, new projects to look at, and renewed enthusiasm about the power and potential of romance.

Excelsior!

(till next year in San Francisco!)

Keep your eye on the ball....

My niece has now decided I should write about soccer (her second week at soccer camp this week inspired this request!).

My experience with soccer pretty much extends to watching from the sidelines and cheering her on. So I had to think about how it connects to this site.

One thing I did realize from those games is that the best players automatically turn their bodies and attention to the ball at all times. They don’t look to the sidelines, obsess over the miss they just made, check the time, or stop to chat. The focus is on the ball, teammates, opponents, goal, rules, coach and muscle memory. When on the field, their attention is absolute—and even off the field they have an awareness of what’s going on.

It’s a lot of work! And these girls practice hard for those games. It’s amazing to see the levels of improvement from year to year.

In some ways writing/publishing is like that. At first you just like the game/watch it. Then you participate and work at it. Learning to write, the commitment of time, getting critiques, practicing, and letting the myriad details become muscle memory.

Filter or no?

I love taking photos—particularly of flowers—and took a few the other day. And my phone just got some filters added to the pictures, so I played with them a little.

Although I did like some (vivid cool is appealing), in the end, I think I liked the “real” unfiltered flowers best. They seem truer to me, and the memory is “real” when I see those colors (except for one pink one which is a blue. I don’t know why (well, scientifically it’s to do with wave lengths and such), but that shade of blue is so hard to capture!

I did find I liked the filtered building, though—it gave the shadows more definition I think.

So how does this tie into writing? I think it’s the difference between when an author follows her own voice and when she puts on another. Not when she’s voicing different characters with different attitudes—that is necessary and should be true to the character. But when the overall writing is forced as if she’s trying to follow a pattern put down by someone else rather than making her own path.

Voice is something authors debate intensively. I’ve been in those discussions! Still, when it’s right, there is a sense of effortlessness to the flow. It’s natural, realistic, vivid, crafted, but real. And when there’s too much tweaking—too much filtering—that’s when I can potentially admire the writing without experiencing it.

But enjoy Georgia O’Keefe, waterlilies, and early autumn at the Bronx Botanical Gardens if you get the chance!