On Naming Fictional Characters

Posted on September 30, 2021 by Energyflux2012 under Uncategorized

Good names help both writers and readers move through a story smoothly.”
— Dan Schmidt

Naming characters in a fictional universe may seem like a simple task, but it can stump some authors. How do we approach this issue? Is there a method to naming characters? In this post, I’ll describe how I go about it, plus some helpful tools.

Some authors don’t name their characters in a specific way, instead opting for generic names without any particular rhyme or reason. Fred, John, Alice, Ryan, etc. I’ve found the generic naming system works better with simple, cheap plot themes. Even short stories or flash fiction. These ‘throwaway’ names, as I call them, work here.

A Little Research Goes a Long Way

Names have changed from era to era, at least in the contemporary world. Naming a post WWI character according to their era (e.g. the Depression-era 1930s) will seem more realistic than a 21st century trendy name. You can also go further and look up the root meaning of a name. Name.org is a great resource for that.

Fantasy Names

Other authors opt for unusual names like Legolas, Eragon, or Herä’eth. These name fit more of a niche role, with their uniqueness that speaks of a fantasy universe. That in itself grants the name attention. FantasyNameGenerators is a good website for those struggling to brainstorm.

Comic Names

For more humor, an author can name a character a funny name like Bananas. These comic names spell out the character’s attributes from the start; the author wants to make sure you to know this character’s name means something. In real life, people often name their pets in such ways, as it evokes comfort, warm laughter, or recognition.

Other Uses for Names

Names can influence how your reader views characters, particularly from their introduction. Using a scarier name, like Toothclaw, may evoke images of a bestial man, aggressive, proud, and strong. Others like Hymnfoot have a pleasant and comic feel.

Surnames

A character’s surname can be as important as their main name. Surnames are family or ancestral titles that imply characters’ bloodline, genetics, abilities, and even predictions about their future.The surname Brightshard has a fantasy ring to it, aye? It evokes images of crystals, magic, and even majesty. Meanwhile, the surname Worldscale also bears a fantasy vibe, but is more dragon-like and perhaps regal in its pronunciation.

With Blade of Dragons, one of my protagonists is named Gerald. The name Gerald means ‘Spear ruler of strength’ or ‘Rule of spear’. Gerald’s main weapon is a magical lance, his signature attribute. By using the name Gerald, I empowered his character and added depth.
My main protagonist, Pepper, doesn’t have a linguistic root meaning to her name. However, she has a fiery personality, can breath fire, and can summon wind magic that may make you sneeze. With her, I went with a name that was more reflective of her persona and magical aptitude.
A third character is named Tarie. In Zimbabwe, Tarie is short for Tariro or Tarisai, meaning ‘hope’ or ‘look’. Tarie happens to be a priest, representing the power of the Light, or hope, on Atlas. He dreams of bringing hope back to the oppressed people of Atlas, to help them see or look upon the Light again. In this way, the name Tarie is based off the character’s aspirations, his dreams.

Other than using the websites I linked above, you can check out ImagineForest, Writerswrite, and ElementalNameGenerators for all your fantasy needs. Here’s an article on additional tips for naming your characters effectively.

1. Genre

We’ve covered this, but you’re not likely to find a name like Legolas in contemporary fiction, unless it’s for intentional humor. Double-check your genre, and the era of your story, to maximize the efficiency of your character’s names. Things get a bit more complicated when you do niche genres, like fantasy-romance. In this case, fantasy names are appropriate.

2. Culture and Backstory Do Matter

Bonus points if you can incorporate world-building and backstory into your characters’ names. This helps tie plot elements together and gives off a wholesome vibe to the story.

3. Sometimes Simpler is Better

There are times when shorter, simpler names are nice because your reader can remember them. Other, longer names may throw a reader off. A dragon with the name Fyre’goras’thyr is certainly a mouthful, whereas the name Fyre works too. Which do you prefer, pray tell?

Character naming is vital in fictional universes. While it doesn’t have to be perfect, it can make or break your characters, the feel of your plot, or the details of your world-building. Taking time to refine your character names will allow them to shine and pull the reader in. Remember, this is but a part of building your story, and it can still be fun when you put your heart into it.

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Aspectä rey’lief, fair reader, and thanks for reading!
—Ed R. White

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The Hero’s Journey in Fiction

Posted on September 23, 2021 by Energyflux2012 under character design, Fantasy fiction, world building, writing, writing tips

Years ago, I read a fantastic book named The Hero with a Thousand Faces by Joseph Campbell. In it, the author details the Hero’s Journey. This is a powerful story element that every writer, artist, or spiritual seeker should understand. It illustrates a protagonist’s adventures, from a safe haven to the darkest dungeon—be they literal or figurative.

The Hero’s Journey is a story mechanic of the protagonist’s journey through the various acts of the story. Typically, there are four acts for each journey.

The first act of the Hero’s Journey introduces the hero. The second and third act elaborates on their ordeals, and the fourth finishes round circle. You may notice certain tropes or definitions used in each act. These are minor plot elements that form the Hero’s Journey. Some are necessary to flesh out the story.

The Ordinary World

The story begins in the Ordinary World, a mundane realm that may be a safe haven or even a prison for the hero. Here, the audience learns about the hero’s life situation, his/her abilities, fears, flaws, and personality.

The Call to Adventure

From the Ordinary World, conflict arises that stirs the hero from complacency. This may be something serious like an assassination or a minor incident like a strange phone call. The hero now has a choice to pursue the source of the conflict and resolve the issue, or remain in his or her realm.

Refusal

Initially, the hero may be hesitant to leave the safe boundary of the Ordinary World. The hero sees the risks involved and what’s to gain if s/he succeeds. Some stories skip this step with a willing or reckless hero who jumps onto the quest immediately.

The Mentor

The hero encounters the mentor, a wise or experienced individual. The mentor trains and/or guides the hero, providing new knowledge about the nature of the quest. This character is more often an elderly person but can manifest as a younger individual or inanimate object such as a legendary sword.

Crossing the Threshold

The mentor guides the hero away from the Ordinary World to the first Threshold—or the point of no return. The hero’s commitment is tested, determining if the hero is ready for the quest. The Threshold is the gateway to a new dimension, far away from the Ordinary World.

Tests, Allies, and Enemies

Now in a world of mystery and danger, the hero learns more about his/her new adventure. This strange world brings a host of challenges, allies, and enemies. Every obstacle is a stepping stone to unearthing the hero’s personality and capabilities. Abilities are sharpened, and pain is endured. Temptations are met, and the hero struggles with his/her inner shadow self.

Approach to the Dungeon/Inmost Cave

The hero prepares to enter the Inmost Cave. Setbacks occur, but the hero endures, priming for the Supreme Ordeal—an inner crisis that demands change from the protagonist. The hero must analyze personal flaws and push forward to complete the quest.

Supreme Ordeal

The protagonist faces a dangerous challenge, often against the antagonist. The antagonist can also be a dark reflection of a father figure, such as with Luke Skywalker and Darth Vader, with exaggerated flaws of the protagonist. The Supreme Ordeal is a highlight of the hero’s quest, and everything is at stake. The hero must draw upon all the experience from the journey to survive.

Reward, Seizing of the Sword

If the hero succeeds, s/he emerges as a changed person. The hero also receives an award as proof of victory; this might be a mythic sword, elixir, or artifact, signifying the change in the hero’s life. The hero now prepares for the last part of the quest.

The Road Back

With the quest completed, the hero begins to travel back to the ordinary world, which is the opposite of the call of adventure. Instead of worry or pain, fulfillment and satisfaction arise. The quest is not done, as the last challenge awaits the hero.

Resurrection

The hero faces a test or battle against the antagonist at the Final Threshold. This ultimate tribulation challenges the hero, requiring all the experience they’ve gained from their quest. Failure may result, leading to the hero’s death, a dearth of all hope, or even a severe injury that mars the hero.

The protagonist is reborn from the flames of demise, returning as a new person, transmuted into the true hero. Now cleansed of past flaws, the hero is equipped to end the adventure.

Return with the Elixir

The adventurer returns to the Ordinary World as a changed person—physically, mentally, and spiritually. Using the reward from the Final Ordeal, s/he improves upon the Ordinary World. A new era of peace and reflection results. The prize may be multifaceted, manifesting either as a damsel in distress, a powerful relic, or a shift in the climate of the realms. At this point, the hero finishes the journey, but things will never be as they once were.

Others Variables in the Hero’s Journey

There are extra elements in the Hero’s Journey, such as sub-journeys that stretch throughout a trilogy. Sometimes, the hero cannot return to society as they are, instead choosing exile.

How The Hero’s Journey Relates to Readers

The Hero’s Journey occurs in every good fiction. It’s a retelling of human life, the growth of a person into a mature and wise individual. It is also a blueprint from which anyone can appreciate the heroic archetypes and make changes for a more prosperous, happier life.

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Aspectä rey’lief, fair reader, and thanks for reading!
—Ed R. White

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Describing Sounds in Writing

Posted on August 12, 2021 by Energyflux2012 under essay, writing, writing tips

When we think of the word sound, the last thing we may associate it with are words and phrases. However, sound and writing go hand-in-hand. Recently, I learned from a writing class how important sounds can be for strengthening prose—what a shocker!

In this article, I’ll discuss the various definitions and techniques that are often used. Many thanks to Mark Nichol for the awesome advice!

1. Alliteration

Alliteration is the pattern of multiple words in the same phrase with the same consonant sound. Here’s an example:

“Squaring our performances with our promises, we will proceed to the fulfillment of the party’s mission.”

Notice how performances and promises ring together? It provokes the reader subconsciously, so to associate those two concepts together and highlighting a theme of success. Process and party could also be associated.

“They have served tour after tour of duty in distant, different, and difficult places.”

In this passage, distant, different, and difficult highlights the arduous adventure being described.

2. Assonance

Similar to alliteration, assonance involves the repetition of certain vowels, especially in stressed syllables, but with different consonant sounds.

“Men sell the wedding bells.”

“Go and mow the lawn.”

In the above examples, sell and bells followed by go and mow are what highlight the assonance.

3. Consonance

Can you guess what this term implies? That’s right, the repetition of consonants, particularly at the end of a word.

“Their maid has spread the word of their deed.”

“Cheer and beer go with sorrow and tomorrow.”

Here, you have maid, spread, word, and deed. Cheer and beer with sorrow and tomorrow make another pair. The word pairs doesn’t have to rhyme, only share the final sound—rhyming comes later. 🙂

4. Onomatopoeia

When you have words that translate as sound effects, this is onomatopoeia.

“A splash disturbed the hush of the droning afternoon.”

“Her heels clacked on the hardwood floor.”

5. Repetition

Repetition is, well, repeating a word or phrase to emphasize the message of a passage.

“When we arrive at the store, we will buy something. When we buy something, we will pay for it. When we pay for it, we will take it home.”

“When I find you, I will catch you. When I catch you, I will cook you. When I cook you, I will eat you.”

These examples creates a percussive effect on the reader’s mind to push the meaning of the passage.

6. Rhyme

This one should be a given, or else the writer may be forgiven (hahaha ehem…). Poetry often makes use of rhymes, but normal prose can too! In fact, here’s a nifty tool I discovered that helps with rhyme words. Enjoy.

7. Rhythm

With rhythm, the prose is altered to create tempo.

“The eager coursing of the strident hounds
And the sudden pursuit of the mounted men
Drove the bounding prey ever on.”

Here’s an example taken from Dr. Seuss:

“I’m Yertle the Turtle!
Oh, marvelous me!
For I am the ruler
of all that I see!”

Shorter tempo creates a faster rhythm, and vice versa. With the proper rhythm, sentence length, and prose structure, a writer can add depth and even emotion to prose.

When we describe sounds, we lean on the other four senses (touch, taste, smell, and sight) to paint a picture. Here’s a list of ways to describe sound in writing. Credit goes to Amanda Patterson.

Words Describing General Sounds

audible – a sound that is loud enough to hear
broken – a sound that has spaces in it
emit – to make a sound
grinding – a sound of one hard thing moving against another
hushed – a sound that is quiet
inaudible – a sound that is difficult to hear
monotonous – a sound that is always the same and never gets louder or quieter, or higher or lower
muffled – a sound that is not easy to hear because it is blocked by something
plaintive – a sound that has a sad quality
rhythmic – a sound that has a clear, regular pattern
staccato – a sound where each word or sound is clearly separate

Describing Pleasing Sounds

dulcet – soft and pleasant
lilting – a sound that has a rising and falling pattern
listenable – easy to listen to
mellow – a soft, smooth, pleasant sound
melodic – beautiful sound
musical – sounds like music
pure – a clear, beautiful sound
rich – a sound that is strong in a pleasant way
soft – quiet and peaceful
sonorous – a sound that is deep and strong in a pleasant way
sweet – a pleasant sound

Describing Noisy Sounds

at full blast – as loudly as possible
almighty – used for emphasising how loud something is
brassy – a sound that is loud and unpleasant
deafening – a sound so loud you cannot hear anything else
ear-splitting – extremely loud
explosive – a sound that is loud and unexpected
howling – a continuous, low, loud noise
insistent – a continuous, loud, strong noise
loud – a sound that is strong and very easy to hear
noisy – a sound that is full of noise
percussive – a sound that is short, like someone hitting a drum
piercing – a sound that is very loud, high, and unpleasant
pulsating – strong, regular pattern
raucous – rude, violent, noisy
resounding – a sound that is loud and that continues for a while
riotous – lively and noisy
roaring – a deep, loud noise
rowdy – noisy and causing trouble
sharp – a sound that is sudden and loud
shrill – a sound that is loud, high, and unpleasant
thundering – extremely loud
thunderous – loud
tumultuous – a sound that includes noise, excitement, activity, or violence
uproarious – extremely noisy

Words That Help You Show And Not Tell

babble – a gentle, pleasant sound of water as it moves along in a river
bang – to move, making loud noises
beep – a short high sound or several short high sounds
blare – to make a loud and unpleasant noise
blast – to make a loud sound with a car horn
bleep – a short high sound or several short high sounds
boom – to make a deep loud sound that continues for some time
caterwaul – an unpleasant loud high noise
chime – a high ringing sound like a bell or set of bells
chink – a high ringing sound when knocked together, or to make something do this
clack -to make a short loud sound like one hard object hitting against another
clang – a loud, metallic sound
clank – a short, loud sound
clash – a loud, metallic sound
clatter – a series of short, sharp noises
click – a short sound like the sound when you press a switch
clink – to make the short high sound of glass or metal objects hitting each other, or to cause objects to make this sound
cluck – to make a short, low sound with your tongue
crash – a sudden loud noise, as if something is being hit
creak – if something creaks, especially something wooden, it makes a high noise when it moves or when you put weight on it
drone – to make a low continuous noise
fizz – a soft sound that small gas bubbles make when they burst
groan – a long, low, sound
growl – a low, unpleasant noise
grunt – to make a short low sound in your throat and nose at the same time
gurgle – the low sound water makes when it is poured quickly from a bottle
honk – to make a loud noise using a horn, especially the horn of a car
hoot – to make a short loud sound as a warning
mewl – crying with a soft, high sound
moan – a long, low sound
neigh – to make a high loud sound like a horse’s neigh
peal – if a bell peals, or if someone peals it, it makes a loud sound
peep – if a car’s horn peeps, it makes a sound
ping – to make a short high sound like the sound of a small bell
pipe – to make a very high sound, or to speak in a very high voice
pop – a sudden noise like a small explosion
putter – a short, quiet, low sound at a slow speed
ring – to make a bell produce a sound
roar – to make a continuous, very loud noise
rumble – a continuous deep sound
scream – to make a very loud high noise
scream – to make a very loud high noise
screech – to make a loud, high, and unpleasant noise
scrunch – to make a loud noise like something being crushed
sigh – a long, soft, low sound
squeak – to make a short, high noise
squeal – to make a long high sound
squee – to make a loud high noise because you are excited or happy
thrum- to make a low regular noise like one object gently hitting another many times
thud – a dull sound when falling or hitting something
thump – to hit against something with a low loud sound
tinkle – to make a high, ringing sound
wail – to make a long, high sound
wheeze – a high sound, as though a lot of air is being pushed through it
whine – a high, loud sound
whirr – a fast, repeated, quiet sound
whisper – to make a quiet, gentle sound
whistle – to make a high sound by forcing air through your mouth in order to get someone’s attention
yelp – a short, loud, high sound, usually caused by excitement, anger, or pain
yowl – a long, loud, unhappy sound or complaint

Writing sound is a fun process that adds depth and life to prose. Becareful not to overdo it, though. We should make sure sounds make sense, have a purpose, and relate to our writing. In more serious genres, less is better. Poetry and inane novels (like Dr. Seuss) can get away with it more.

Thanks for reading, and Happy New Years!

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—Ed R. White

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Writing Sidekicks and Side characters into Fiction

Posted on August 6, 2021 by Energyflux2012 under Uncategorized

Everyone knows Robin from Batman, or Samwise Gamgee from LotR. How about Han Solo from Star Wars, or Luigi from Super Mario Brothers? These beloved sidekicks are treasured by many for the legacy they leave, what they help the hero create. That isn’t to say sidekicks lacks their own hero’s journey. Many sidekicks develop character arcs—and even series unto themselves.

Developing a Sidekick

“Behind every hero, there is always a wisecracking, obnoxious Nincompoop!“— Samos on Daxter

During the hero’s journey, the protagonist encounters companions to join the quest. Sidekicks are different. A sidekick fulfills a role of greater significance than a companion. They often have their own powers, story arcs, POV scenes, and inner tribulations. A sidekick helps lift the hero up and adds to the story sometimes serving as a foil to shore up the hero’s lack.

Interestingly, sidekicks are often of the same gender as the protagonist. If of the opposite gender, sexual tension typically arises in the form of a romance subplot. A sidekick often knows the protagonist better than most characters and can offer new ways to relate to the hero.

Sidekicks come in many forms. Some are competent, others are not. They help drive the plot and the protagonist’s arc. When heroes fall down, sidekicks are there to pick them up. Unlike the hero, a sidekick can afford to die, although at great expense—and usually towards the end of the story. Sidekick deaths should be carefully planned, for it will create a void in the hero’s journey.

The role of the sidekick in literary fiction is sometimes hard to describe. They may be the friend or mentor of the hero; they may be the narrator & nominal main character of the story whilst the hero gets the credit and is more interesting (King’s “The Body for example) Some of them always save the hero’s bacon (Jeeves & Wooster) & others are just plain loyal. —CQSteve on List Challenges

The Many Roles of Sidekicks

Some heroes are amoral, confused, or simply need guidance. Unlike a mentor, who takes a big role in the protagonist’s development, sidekicks are closer to adjuncts. Sidekicks often provide:

Comic Relief—to contrast a hero’s temper, lack of morals, or as a foil to better emphasize the protagonist’s qualities.
Perspective—providing a different look at the hero. The sidekick may have a unique relationship with the hero, some trait that helps the sidekick stand out. They can also add useful POV scenes that reflect on the hero.
Conflict—creating soft tension that provokes thought in the hero or the reader; opportunities for character growth.
Plot Inertia—moving the story along should the hero ever stagnate.
Subplots—adding to the worldbuilding or depth of the plot.

Case Study: Ashia Worldscale

In my novel, Blade of Dragons, Ashia Worldscale fits the role of sidekick. She offers plenty of comic relief to offset Pepper Slyhart’s brooding episodes. Ashia also aids Pepper whenever the Dragonsoul, a draconic curse, seeks to control her. As a relative, Ashia had played a big role in Pepper’s childhood arrangements, saving Pepper and her father from the enemy.

Ashia and Pepper get along as sisters, with the latter having few if any friends. Ashia is peppy, upbeat, and always willing to pick Pepper up, should she ever fall into a malaise. Ashia also has her own subplot with the antagonist, threatening to assassinate her entire family and unmake her nation’s legacy. Quite a tall order.

Unlike Ashia, who is energetic and bouncy, Tarie Beyworth is a gentle, soft-spoken foil, who is more romantically engaged with Pepper. His plot is tied into to the main villain, as seen in later books. When I wrote the three characters, I had Pepper as the heroine, with Tarie and Ashia as supporting characters. It’s no coincidence that the three grew up together, in a sense. With Ashia’s long Dragonite lifespan, however, she served more the role as nanny early on—with Pepper’s mother having vanished, and Tarie an orphan.

It makes me reflect on the numerous aims behind Ashia’s character, how she started out purely for comedy relief in draft one, then expanded onto additional roles. I’m no expert, but having multi-faceted characters, particularly sidekicks, is always a plus, and I find it delighting in stories.

What are your thoughts on sidekicks? Have you any favorites? What do you feel goes well with a sidekick’s persona? Leave your answers in the comments below. Cheers!

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Aspectä rey’lief, fair reader.
—Ed R. White

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POV in Prose and Writing

Posted on July 13, 2021 by Energyflux2012 under character design, world building, writing, writing tips, writingcommunity

Points of View

POV (point of view) in prose is a vital storytelling element, likened to the camera of the reader. Imagine looking through the eyes of one person for the entire story. In that camera, there’s a degree of trust, faith that the reader holds in the storyteller. Maybe it switches to another character as the story progresses. However, if authors violates POV rules, they risk losing the reader’s trust. Deception is never good. POV is difficult to master, and for new writers, mastering POV is crucial.

Why is POV Important?

The storyteller’s perspective serves as a filter. If done wrong, the reader can be confused, or the way the story presents itself damaged. Switching from one perspective to another throughout a book can be startling, disturb story immersion, and create tension or distrust between reader and author. It can be done, but only by those experienced enough in the art.

Stay consistent and predictable with a POV. Establish the storyteller’s perspective early, and the reader will build trust and enjoyability with that story.

First-person

In life, we are all born in the first-person perspective. Even as someone reads this article, their brain absorbs it from this POV. I, me, my, we, ours—these pronouns define the viewpoint.

When using this POV in prose, it can be useful for exploring the character’s inner universe. Stick to one character’s perspective per scene, if possible. Avoid head-hopping, which is jumping from one character’s thoughts to another without a scene or chapter break.

Show the character’s emotions, why they do what they do.

Examples of First-person

I woke to the strident calls of my alarm clock as the morning rays stung my eyes. My heart pounded in my ears.

Flashes of my previous day returned. I was with my friends finishing our activities at school. Then, we saw it, the one thing a highschooler wished he would never see.

Attributes of First-person

The narrator becomes the character
Creates an emotional and intimate experience with the reader
Makes prose more objective
The plural of first-person is “we,” the singular is “I”
‘We’ or “our’ is an anonymous way to strengthen formality in articles
Avoids “head-hopping” from one character to another without scene breaks

woman crouching on dock pointing at water

Second-person

You are reading this article. I am talking to you or you all in second-person. This is second-person POV. The narrator, instead of jumping inside the character’s head, dictates to the protagonist what is happening. In this way, the actor “hears” the narrator rather than becoming one and the same.

Second-person is often used in emails, tutorials, and other dictatorial pieces. The narrator brings the reader into the story and encourages them to engage in the plot or prose rather than from the remote standpoint of a character. In this way, second-person is more intimate than first-person.

Attributes of Second-person

Dictatorial POV in prose, more often used in the present tense
The reader is in the story rather than inside a character’s mind
The pronoun “you” can be singular or plural—can also use “you all”
More intimate and emotional with the reader than first-person
Excellent for tutorials, certain novels, and articles
Perspective strictly limited to the reader

Examples of Second-person

You woke to the strident calls of your alarm clock as the morning rays stung your eyes. Your heart pounded in your throat.

Flashes of the previous day returned. You had just finished school activities with classmates. Then, you saw it, the one thing any high schooler wished they would never see.

Third-person

This perspective pops up in many kinds of novels, particularly romance, sci-fi, or fantasy. The narrator refers to characters by their name or as “he,” “she,” or “it.” Third-person also finds popularity in news reporting and business writing.

There are a several types of third-person perspective, as it’s one of the more complex perspectives.

1. Third-person Limited

With this perspective, the reader is a separate entity from the characters. The narrator tells the story from the perspective of a single character.

2. Third-person Multiple

Third-person Multiple opens additional information that Limited cannot convey. Multiple character perspectives are included, rather than just one.

3. Third-person Objective

This perspective comes from a neutral perspective as if the reader is an invisible spectator at the scene. The reader—separate from the characters—watches the scene play out. Descriptors that describe internal emotions are to be avoided here.

4. Third-person Subjective

Subjective perspective can use internal dialogue strictly through the words of the narrator. In subjective, the narrator takes a larger role in telling the story, rather than letting the characters do all the work. This creates distance between readers and the characters but may improve pacing.

5. Third-person Omniscient

This POV is a more extreme version of Subjective. The narrator acts as God and reports any and every thought or development between characters. This is perhaps the most difficult POV in prose, as it includes a large amount of detail and multi-tasking, or mandatory head-hopping without scene breaks.

Omniscient is a powerful perspective that can shorten prose and travel anywhere in a character’s history, but it can also be overwhelming for the reader if done wrong. If using this perspective, watch out for data dumps that slog the pace or may confuse the reader.

Attributes of Third-person

Places the reader in spectator mode, watching characters
May offer a variety of perspectives to suit the narrative
Provides a higher volume of information for the reader
Less intimate than first-person or second-person
Easier to confuse multiple third-POVs

Examples of Third-person

Tom woke to the strident calls of his alarm clock as the morning rays stung his eyes. Tom’s heart pounded in his throat.

Flashes of his previous day returned. Tom was back with friends, and they had just finished their activities at school. Then, Tom saw it, the one thing a highschooler wished he would never see.

black and white business career close up

FAQ For POV

This isn’t an exhaustive list, so feel free to include questions as needed. These are designed to help think about POV and which one may be best for a story.

How does the story relate with the perspective of the characters? The reader? The narrator?
What do I (the author) feel from watching the characters from a particular viewpoint?
What emotions or traits should be presented in the story? What POV best suits this?
What should readers feel as they progress through the book?
How should readers connect with the characters?
Is there an underlying message associated with the perspective chosen?

The Takeaway

Establish the POV early
Stay consistent with the story’s perspective
Don’t head hop
Stick to first or third-person perspective for easier writing
Show don’t tell, whenever possible, for a deeper POV
As with any set of rules, know when and how to break them while maintaining reader trust

Knowing characters on a intimate level and how they experience the plot is core to prose perspective. POV is the lens through which the reader receives the story. If the lens is clear and precise, the story is told well. If it’s dirty and cracked, that’s the type of tale readers will see.

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Life and Death in a Fantasy Universe

Posted on July 6, 2021 by Energyflux2012 under Uncategorized

Within fiction, some characters don’t share the typical life spans that Earth humans experience. Unusual lifespans in fantasy and science fiction can influence culture and plot considerably.

We all enjoy our fantasy stories about long-lived elves, immortal dragons, or extraterrestrials who supercede death. When writing or reading about these characters, it can be hard to sympathize with them. We humans have lives of 80 to 120 years at best.

Learning to Humanize

It’s important to connect characters with readers. With fictional races, ensure the reader understands the lifespan beyond each creature. Ask if a particular lifespan serves a purpose. Are elves, as an example, long-lived because of certain worldbuilding elements in the story? What the pros and cons of living this long?

Use immortality or long lifespans to an advantage. If used to create tension, all the better. Maybe the protagonist will outlive all her friends. What emotions does that create? Is it fear, sorrow, or worry?

Cultural Impacts

If a race of elves outlives a race of humans, how might that change the way each society views each other? Are the cultural functions of elves slower, more ponderous? Are the humans ever envious, or perhaps angry at the elves? Are the elves are arrogant and see the humans as lower-beings. Michael J Sullivan’s book, Age of Myth, does an excellent job of this.

Politics

If elves are long-lived, how does that change childbearing laws, if there are any? Do they procreate often, or not very much? How is it impacting the government’s role in regulating the population? We can ask a million questions with these. Take time to explore each one and world build.

Religion

A society’s view on death can be a good way to world build and even build a cast of characters up. Weave spiritual principles into the life and death narrative. The more one examines each of these facets of a fictional race, the stronger the reader’s grasp on things.

Due to changes in the sun and gravity compared to Earth, the people of Atlas live 150 to 250 years on average. Full-blooded Dragonites may reach 1,000 years, whereas half-dragons are closer to 500 to 750 years.

Because of these variables, the characteristics of Atlasian society is different than here on Earth. Lives aren’t as short and years may pass quicker for an Atlasian than an Earth human.

Culture in Ethereal Seals

Atlasian culture is advanced, to the point of space travel. Technology allows anyone to summon food at will through crystal devices. Healing technologies and magic also exist, which can mitigate the risk of death.

Death is looked upon as a somewhat foreign phenomenon. Oftentimes death is the result of battle, rather than starvation or old age. When it does occur, it creates a visceral reaction in most Atlasians, who might not be accustomed to it, nor the violence associated.

There is more consideration towards major societal changes, and families don’t procreate as often. A family might have a child once every 30 to 70 years at most.

Atlasian Politics

With longer lifespans, Atlasian governments handle things slower than here on Earth. Youth is considered anyone from the ripe age of 18 until 50, whereas anyone over 100 is of middle-age. Most leaders are chosen based on seniority for this reason. An Atlasian who has lived 200 years is much more experienced than someone at 100.

The main ruling body on Atlas, the Dragonite Empire, is more conservative, with the average Dragonite living up to 1,000 years. Some Dragonite families may only have a few children throughout their whole life, others have none. Due to their high vitality, Dragonites may act arrogant towards other races, and see themselves as protectors of Atlas.

To a Dragonite, long lives invite loneliness, as friends of other races die long before they do. Death is seen more as a release from their duties in that lifetime. A reprieve. Dragonites have a higher appreciation for death, whereas other races fear it.

Atlasian Religion

Whether through fear or respect, all Atlasians see death as an inevitable process. When one dies, it is believed they ascend into the Celestial Heavens and become one with the divine Aspects. Those of a wicked nature may visit the Celestial Hells.

After an unknown period of time, the soul is then said to recycle itself, returning back to the mortal plane in a different form. Reincarnation. This comes at a price, as the soul forgets who it was, carrying over trauma and tendencies from previous births.

Burial

Burial is a sacred process, called a Deliverance, which calls for priests or priestesses to evoke the name of the Aspects. If a priest isn’t available, certain prayers and mantras can suffice. Bodies are buried within the ground of Atlas, called the Earthmother, a deified form of the planet.

Priests are sought by kings, army generals, and cutthroat mercenaries alike. Most believe that if a corpse isn’t given a proper Deliverance, the killers may experience horrible repercussions from the Aspects, for the soul will be unable to reincarnate.

What are your views on life and death in fiction? Do you have a story that explores these concepts? Leave your answer in the comments below. Thanks for reading!

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What is Anger in Fiction?

Posted on June 28, 2021 by Energyflux2012 under Uncategorized

As one of the primordial emotions, anger has formed a significant role in humanity’s history. From righteous fury to barbaric rage, anger is a force to be reckoned with. Likened to an inferno. The flames of one’s rage can pave one’s destiny, destroying whole armies, or consuming the person in the process. How do we illustrate anger in fiction? What role does this emotion serve for the protagonist?

Many of us have experienced anger in our lives. It’s a violent episode that may pass as quickly as it comes. In writing, emotions are difficult to master. Anger, in particular, can be daunting to tackle, but it is a driving mechanism that influences characters, plot events, and more. Anger is used as hubris for characters too. Everyone enjoys their young hero with a short-temper, goading him to take unnecessary risks and adventures.

In short, anger is a compelling means to reveal a story and produce tension.

The Definition of Anger

From Psychology Today:

Anger is one of the basic human emotions, as elemental as happiness, sadness, anxiety, or disgust. These emotions are tied to basic survival and were honed over the course of human history. Anger is related to the ‘fight, flight, or freeze’ response of the sympathetic nervous system; it prepares humans to fight. But fighting doesn’t necessarily mean throwing punches; it might motivate communities to combat injustice by changing laws or enforcing new behavioral norms.

Synonyms for Anger

Below are synonyms and expressions of anger. Neither of these lists are exhaustive; there are myriad ways to express anger in fiction. Selecting the right ones for a scene is important. Consider the Emotion Thesaurus if you need a reference. I use this book all the time and highly recommend it.

acrimony
animosity
annoyance
antagonism
displeasure
enmity
exasperation
fury
hatred

impatience
indignation
ire
irritation
outrage
passion
rage
resentment
temper
violence

Character Expression of Anger

difficulty listening or speaking
flaring nostrils
face flushing
jerky movements
protruding eyes
laughter with an edge
screaming
aggressive behavior

noisy breathing
cracking knuckles
fists clenching
shaking fist
grinding teeth
muscles tensing
swearing
flourishing weapons or tools

Anger often leads to impetuous behavior and decisions. This can result in comical or dangerous situations for the protagonist, depending on the consequences. Anger can either come out altogether, or it can fester. The latter is an excellent choice for building tension internally for a character. Be careful how a scene builds up to a protagonist’s anger episode. If the trigger seems contrived, the emotional release will be too.

In storytelling, anger can be used to:

expose a character’s strengths and weaknesses
drive the plot
create comic relief
induce tension
reveal information

Calibrating Anger

According to David R. Hawkins’ book, anger calibrates fairly low on the scale of consciousness (calibrates at 150 out of 1000). Anger derives itself from fear, shame, and guilt. In essence, anger is a form of attachment. A character is afraid of so-and-so, be it from wounded pride or the massacre of millions.

Revealing Anger

That rage motivates the protagonist to act. To change the status quo. During these scenes, get inside your character’s head. Strip them naked of all preconceived values, and allow their primal identity to emerge. Consumed by anger, they can be an unstoppable avalanche—or a bumbling fool.

In these moments, the reader may see the true colors of the protagonist, his values, fears, doubts, and so much more.

In Blade of Dragons the protagonist, Pepper Slyhart, is a short-tempered heroine. Throughout the story, that rage often exposes her to tight and dangerous situations. Pepper’s anger is also associated with the Dragonsoul, a draconic curse that haunts her bloodline. Through use of meditation and mindfulness, Pepper tries to defeat her built-up rage; most of it stored from her childhood, bullied as a half-dragon. Subconsciously, she feels guilty for the rest of her species.

Pepper’s Calibration

Guilt, which calibrates at only 30, is among the lowest levels one can go on while living as a person. Below that is shame and annihilation.

Despite this, Pepper is a virtuous protagonist with tremendous courage. She doesn’t sit back watching injustice, is self-sacrificing, and helps drive the plot from start to end. She sometimes sees life as feasible and even hopeful. From a consciousness standpoint, Pepper calibrates at only 165 at the start of the story. Her low points resonate at guilt (30) and her high points at willingness (350).

By the end of book one, her calibration rises to 285, especially after her encounter with the divine Faber. Now she lingers more at the levels of courage (200), willingness (310), and even reason (400). Throughout book two, her consciousness remains at 300 until she encounters her next teacher. Although there are scenes and even chapters where she falls back into the lower levels of rage and despair, curtsy of the Dragonsoul.

For more info on Pepper, see my post on her.

Anger in fiction is a common tool in storytelling. Pepper Slyhart is a prime example of the ill-tempered youth trope who stumbles upon adventure, just as our own ego bumbles into trouble. Pepper uses her rage to drive tension and plot progression, while furthering her character arc and those of others.

We all share the same quest, the Hero’s Journey towards the higher levels of consciousness, and anger is one of the steps we must climb.

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Creative Writing Exercise—Depression

Posted on June 8, 2021 by Energyflux2012 under Uncategorized

We’ve all been there. Isolated, confused, bored, discouraged. Depression is a common hurdle we as humans face. Yet, there is little more satisfying than conquering that malaise. The spirit of victory fills our souls, driving us to new horizons; for as we sink to the depths of hell, we can only rise to the heights of the stars.

That said, a character enduring depression garners zealous interest and support from the reader. The misery of the character is relatable, gripping, and strengthens the story—if written well.

What is Depression?

According to the Emotional Thesaurus, depression is a state of withdrawal, sorrow, and reduced vitality. An individual may look gaunt, sunken, weary, or psychologically imbalanced. Eating or social misbehavior are common, as are feelings of pessimism. Other symptoms include:

lethargy, saggy posture, unkempt appearance, frequent crying
a vacant stare, no energy or motivation, an aged face, insomnia
nightmares, disease, poor concentration, shallow breathing
panic attacks, chest pain, numbness, sluggish speech, thoughts of suicide

Life becomes a chore, a swamp to wade through. A depressed person sees little joy or purpose in living. While depression is a normal, and even healthy response to severe loss or daunting challenges in life, if it lingers, it can fester upon the soul as any wound can. Modern terminology coins this clinical depression.

Writing Depression Into Characters

While depression is horrible in real-life, it serves as an excellent tool in writing. Depression provides tension, character development, and trials for the protagonist to overcome. Many known protagonists like Frodo, Harry Potter, Eragon, Batman, and Jon Snow suffered this ailment. It’s also seen in many prominent figures in history: Jesus, Gandhi, Buddha, and several others. Once one’s inner demons are vanquished, the true hero emerges. See my post on the Hero’s Journey for more on this.

When describing your protagonist’s depression, have the reader feel the visceral sorrow, anger, and loneliness that is crushing upon the hero. Depression needn’t be sudden, it is often slow and gradual, like a disease that smolders upon the soul. Drive the hero to the brink, the “all is lost” point. Drill surprise and suspense into your reader, and they will all-too-eagerly read on.

Depression can also nurture grudges between other characters and breed new tension. It will challenge the hero’s morals. It will pull them closer to the antagonist’s ways; attempting to kill the hero’s spirit in the righteous sense.

Coping Mechanisms for the Hero

Some heroes will, instead of dealing with depression, mask it with peculiar techniques. They may try to block it out entirely, using a costume, armor, new personalities, new home, or a new profession. They are hiding from what they know still festers in their hearts. Eventually, the issue rises to the surface, forcing the protagonist to evolve or suffer.

If the latter, heroes go through a much longer ordeal, witnessing the Inner Hell over and over through their own thoughts and actions. Or that of others reflected back at them. This Hell can be a persistent, helpful tool for the plot and character arc. It allows for deep, inner exposition, the kinds you wouldn’t ordinarily find.

As writers, our job is to weave together that inner journey for our protagonists. To help them grow. Let me repeat myself: there’s nothing more satisfying to a reader than watching a sympathetic underdog rise from the dregs of hellish depression.

Uses of Depression

drives the plot and character development
provides tension and challenge
enables rich exposition
relatable to readers

Case Study—Pepper Slyhart

I enjoy tearing my protagonists down, ripping apart their hearts, and leaving their souls in shreds. Then I resurrect them in newfound glory. My own protagonist, Pepper Slyhart, makes an excellent example of this. As a half-dragon, despised by society, Pepper deals with a lot of shit from her countrymen. She is spat on, ridiculed, threatened, and attacked. It’s little wonder she has depressive episodes.

In the early parts of Blade of Dragons, Pepper is your token underdog, a farm girl with little hope in life. She looks up to her father, a role model. It takes a terror event and the words of a wiseman to encourage her to undergo the journey, as most heroes are reluctant to take.

Later, Pepper suffers horrible nightmares, the kind that can kill you in the waking world. She also experiences some setbacks in her quest. Depressed, alone, she engages in deep self-analysis of herself, her values, and why she still pushes forward. Scenes like these remind the reader of a character’s direction using depression as the fulcrum. It humanizes Pepper, despite the magical abilities she may have. Despite the fact she’s a half-dragon.

Confused and alone, Pepper is driven to the brink of madness by the Dragonsoul, threatening to take over her body. To defeat the spirit of the hero.

To date, Pepper has been my most dramatic protagonist to write. They say that each character is a piece of the author, and if so, she is a facet of my own inner demons. One day I intend to defeat them and fortify my spirit, as Pepper will succeed against hers.

Peace be with you, and thanks for reading.

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False Starts and Introductions to Novels: Too Cliché or A Forgotten Skill?

Posted on May 1, 2021 by Energyflux2012 under artist, essay, world building, writing, writing tips

“At dawn, the sun either shines itself or hides behind clouds, promising what the day will bring. So it is with introductions in stories.” —anonymous

Most agents and editors would balk at the suggestion of a false start intro. On its own, there’s nothing wrong with an exciting beginning, so long as it’s done well. Then again, the last time I read a false start in a novel was years ago. Is it now a forgotten technique, shunned by writers? The problem is that false introductions are usually poorly done and give off a flat feeling for the rest of the book.

First Paragraphs

The first few paragraphs of a book introduce an author’s style—his or her prose rhythm, subtle insecurities, and other narrative patterns. A book is like an onion; it has layers of emotional and mental components embedded into the prose.

This is especially the case in early drafts, where the author is still figuring out what he or she wants to do with the story. Analyzing one’s writing patterns in drafts can lead to improvement and growth for writers. It’s what I do. I read and reread over my manuscripts to analyze them.

A Handy Exercise on Introductions in Prose

There’s an exercise in this article that I recommend. An author examines the first 250 words of the story. Heavily. Dissect it, break it apart, and ask:

What is the purpose of this introduction?
Why is it set up like this?
Is there a hook for the reader?
Is the introduction short enough for the sake of clarity and pacing, but long enough to express its purpose?
What patterns does this intro reveal about the book as a whole?

These questions are by no means exhaustive. Invent questions and discover how many perspectives and shades of grey the introduction can produce.

The first 250 words are crucial to the rest of the story and should let the reader know what they’re in for. Most readers picking up a book at the store—or skimming it over on Amazon—will do this to see if the story interests them. If it’s worth their time, money, and energy. Books, writing, and reading are all about an exchange of energy.

Can the author provide a worthwhile exchange for the reader?

Keeping Introductions to Novels Interesting

I once heard a fellow writer say:

“Stories are like skirts. They have to be long enough to cover everything, but short enough to keep things interesting.” —anonymous

While that might not be the cleverest of examples, he did have a point. Stories, and particularly introductions—since introductions are a significant part of the prose—should be short and sweet, including everything that should be there.

Hooking Readers in the Introduction of a Novel

Here’s a helpful article on hooking readers in the introduction. The author mentions driving the prose with curiosity and conflict—elements that provoke the reader, tempting them to read further.

Internal dialog or exposition can hint at a character’s insecurities, flaws, or other issues. I’m not big on exposition myself—too many writers turn internal narration into a dry monologue that is boring to read, but that’s a topic for another time. Still, its a useful tool and it does have a place.

Stress is…Good for Readers?

Readers love stress and anxiety in a story; they hate it in real life—so, give them what they want, am I right? And do it early on, promising them the reward they will receive if they delve deeper into the story. Dangle that carrot! Gosh, sometimes I feel like a drug dealer with these dopamine-filled scenes. 😦

Don’t be Afraid to Use False Introductions

Approach the introduction with a sense of clarity and purpose for the reader. Have a plan for the intro, and reflect that throughout the story. The promises made in those first 250 words should come full circle. Otherwise, the introduction is nothing more than a prop that can not—and should not—stand on its own.

Striking a Balance

A solid introduction to a novel is vital. Take time with it, and review it on a routine basis. Even after the twentieth read through, authors may discover new insights about themselves as writers. Even as souls. Each piece of the story, the characters, the scenes, are reflections of the author.

Ask:

Is it long enough to cover everything?
Is it short enough to keep it interesting?
Does it dangle the carrot appropriately, leaving the reader begging for more?

If a writer can bond the reader with the main protagonist and the story within the first few paragraphs, then congratulations! That writer has accomplished a feat that most struggle with. Beginnings are, for me, the funniest part of a new story, but they can also be the hardest.

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Aspectä rey’lief, fair reader, and thanks again for reading!
—Ed R. White

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Brandon Sanderson Lecture 2020 Notes

Posted on April 2, 2021 by Energyflux2012 under Uncategorized

By popular demand, I am reposting these lecture notes given by Brandon Sanderson of last year.

Hello, my readers, I’ve got quite a gift to share with you today. The other week, I watched Brandon Sanderson’s 2020 lectures on creative writing. The whole playlist runs several hours, but I’ve put together a concise list of tips that I found helpful. Enjoy.

(Note, the lecture # is just how I organized the notations, not which lecture videos they relate to.)

Lecture 1: On Writing

Always chase publication and book writing with a passion, but don’t be attached to it.
Just enjoy telling stories.
Try things, if they don’t work, try something else.
Pantsiers vs plotters; both work.
Know when to ignore the rules or the professionals.
With experience, you gain intuitive writing ability.
Make good habits for writing consistently. (This tip I bolded for emphasis)

Lecture 2: Plot and Character

Plot, character, and setting are glued together by conflict.
Setting is the least important of the three.
Stories make promises.
Introduction shows the promises.
Remember to detail a character’s desires and goals.
Indicate what kind of plot the story is about.
Promise–>progress–>payoffs.
Plot expansion twists can work.
Check out the Hero’s’ journey by Joseph Campbell

Lecture 3: Plot and Character II

Start the intro fast and explosive.
Sympathize the audience with your protagonist ASAP.
Multiple POV cast is a double-edged sword. It is good for variety, but readers will polarize towards certain characters and dislike others.
Subverting expectations and promises isn’t a good idea.
Exceeding expectations can make some subversions tolerable.
Escalate rather than undermine expectations.
Satisfying endings are better than a twist.
Writers’ block solution: don’t stop writing, finish the story.
Epistularies at start of chapters is a viable strategy.

Lecture 4: Magical Systems and Worldbuilding

Sanderson Law One: your ability to solve problems with magic in a satisfying way is directly proportional to how well the reader understands said magic.
Soft magic: unknown cost or outcome of a magic.
Sanderson Law Two: flaws and limitations are more interesting than powers.
Sanderson Law Three: before adding something new to your magic or setting, see if you can instead expand what you have.
Use world building in service of character and story building, not solely for showing off or building a world.
Use more concrete methods through the eyes of the characters to worldbuild.

Lecture 5: Characters, Dialog, and Humor

Characters as living tools to tell your story, the plot’s message.
Establish empathy between characters and readers.
Show others characters liking them.
Establish motivation: show something they want, but can’t have. Connect personal desires of a character to the plot.
Show character progress. How are they going to change? Show flaws or the journey taken.
Characters ruled by: likability, proactivity, competence.
Iconic hero does not change during the course of a story.
Flaws: things to be overcome.
Handicaps: the character does not have control over these.
Quirks: things that make the character imperfect, but unique.
Don’t write characters to a role.
Avoid bland monologues.
Dialog should convey likability, proactivity, competence, character arc, motivation, and humor.
Dialect: is a personal choice, but less is better.
Use dialog beats to slow down scene to focus on subtext.
Telepathy: italics with ‘said’ tag, but up to author’s choice.
Women in the Refrigerator: characters (especially female) killed off, tortured, or raped to further the plot or protagonist’s arc.
Killing a character properly fulfills an arc, or it is the direct cause of the character’s choices.
Wikipad, Dropbox, Hemingway are good programs to use.
Humor is difficult and subjective.
Comic drops to cut tension and induce humor.
Comic juxtaposition: contrasting qualities to create humor.
Repetitious scenario can create humor.
Rule of three cycles of humor with gradual escalation.

Lecture 6: Publishing Traditionally and Indie

Agents take 15% publishing profit, but do a lot of the business work.
Query letter->synopsis–>sample chapters->full manuscript.
Vanity press charges money to publish your novel. Stay away from them and agents who funnel to them.
A good agent will never charge you money.
Book offers with loan advances 10-20k for new authors split between costs.
The bigger the advance budget for publishing a novel, the better the publisher push.
Editors want to help you improve the story and make suggestions.
You can pay back advance and cancel contract if you change your mind.
Indie published authors get 70% of profit.
Platform writing via blog posts or website is important to have an online presence.
Need a good cover for your novel (300-500$ suggested).
Also need good copyediting (0.007-0.009cents per word suggested).
Content edits (0.012-0.015 cents per word).
Proofreading (0.003 cents per word).
Cross author promotions with other authors is a good idea.
Mailing lists like Mailchimp are important to form an audience and fan base.
Recommended Amazon price for epub novels is 2.99 to $9.99.
Be wary of scams or vanity presses.
Amazon is now a pay-to-play for advertising ebooks: thousands of dollars a month to advertise.
10-15% of cover contract for Hardcover sales.
6-8% of cover Paperback sales.
10% of cover Tradepaper sales.
As a traditionally published author, you want advances that you can earn out in a couple of years.
Indie publishing undercuts markets.
Less $ for lower word count, more $ for higher on indie publishing.
Book signing to improve reputation and make connections, but it is a lot of work and money to pay for travel, rent, etc.
Sales within first week is significant, especially for best seller list.
Niche genres: mashing two genres together.
Free short stories do work to promote for indie publishers, but not for profit.

Interested in joining my mailing list? Members will receive free poetry, special deals, messages to inspire and empower your life, and short stories. You’ll also get the latest news on projects.
Aspectä rey’lief, fair reader, and thanks for reading!
—Ed R. White

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