Wednesday, November 17, 2021

Killing off characters is a balancing act

Something that came up in my writer's group once  was the question all fiction writers face: when and if should you kill off a character.  Death is a part of life.  And really, if there is no risk in a situation, there is not much tension either.  Unless you're writing a romance where the two (or more than two, in some subgenres) main characters need a happy-ever-after (or at least a happy for now) ending, any character should be fair game to get killed off, right?
Maybe not.  When you write a story, you're asking the reader to invest their time and a certain level of emotional involvement in that story, and that means making them care what happens to the characters.  Killing a character for a good reason is one thing, but killing them off just to show that you're willing to do it can leave your reader feeling betrayed, almost like they've invested time in a relationship and then found out it could never have worked out. I had a friend who is also a fan tell me that when she came to the part of THE SIXTH DISCIPLINE where a major character dies, she closed her Kindle and put it down like it was on fire.
So what constitutes a good reason to axe a character?  I heard a writer at the Pikes Peak Writer's Conference (and I wish I could remember her name!) articulate the best rule I have ever heard:  you kill off a character to change the motivation of another character.  That works for me.  But I would also say that, if possible, it should not be as simple as their death making the protagonist mad for revenge or anything like that.  Certainly you don't want a female character to get horribly slaughtered just to motivate the male hero to a blood rage (a.k.a., "Women in refrigerators syndrome"). I always thought killing off the First Lady in the movie Independence Day was really just a milder variant of shoving her body into a refrigerator. She wasn't seen as necessary to the story (she didn't fly a jet or otherwise act heroically) and her death, conveniently staged in her husband's presence, motivated him even further to kill those nasty aliens. When I killed off the character that my friend complained about, I answered that he or she was in the way of the plot.
The revenge angle is not totally bad, but I think it works better when one character's sudden, abrupt absence actually changes the other character's circumstances.  Maybe now they have to support themselves, or rule their country, or face their fears, or go on a quest, or even just finally grow up.
Of course, in spec fic, an added complication is that magic/advanced technology may make it possible to bring the dead back to life, and I don't mean as zombies or anything like that.  I mean that spec fic writers have to be careful they don't make death meaningless.  That happened on STAR TREK TOS a little bit and TNG even more so.  The damn transporter got too powerful!  If a machine can basically copy a person's molecules and later spew out a copy on demand, no character ever needed to stay dead. 
So, have you ever read a book and gotten really angry at the author for killing a character?  Or have you seen an instances of too-powerful-transporter syndrome?  Alternatively, have you ever ready a story and thought (as was said at my writer's group once), "Really, the author should have just killed off x?"

Thursday, November 4, 2021

Travel to Wakanreo for only 99¢!

NOTE: the sale is over! 

 From today through November 10th, ALIEN BONDS, the first book in my Wakanreo trilogy (usually priced at $3.99) is on sale for 99¢. Grab it now!





 Alien Bonds is undeniably a love story. It concerns two people, a human woman and a Wakanrean man, who meet at the beginning of the story on his world, called Wakanreo, and instantly mate from a  biological reaction that occurs only in Wakanreans. But even though Dina goes home with Kuaron that night, she does not love him.. You cannot love someone you don't know. It is over the next several months that her love for him grows, as does his for her. But at the same time, the story explores the culture and history of Wakanreo. It's an attempt to show what a world would be like if looks didn't matter—if people had no choice in who they paired off with. and thus sex had nothing to do with morality.  How would this uncontrollable mating affect the societies that formed on this unique world? In human history, much of the stratification of society was achieved by people only marrying within their own social order. What if it wasn't possible to enforce that kind of discrimination? 

Read the book to find out! Alien Bonds  is available in paperback and on the Kindle, and it's free in Kindle Unlimited. 





Tuesday, October 12, 2021

For self-published authors: What is Kindle Unlimited and should I put my books into it?

Amazon, or the Zon, as some call it, has by far the lion's share of the ebook market. They also have an audiobook platform called Chirp, but I'm not going to talk about that. Today's post is about only about ebooks.

eBooks & eReaders

Amazon calls its ebooks Kindle books, because its ereader is called a Kindle. However, you can read Kindle books using the free Kindle app on almost any PC, Mac, tablet or phone. Basically, Amazon's market consists of anyone who has an Amazon account and some kind of reading device, including iPads and iPhones. 

Apple Books, however, can only be bought via an iOS device, an iPhone, Mac, iPad, etc. There are ways to move them over to Windows but it is not the effortless transaction that most Mac users are looking for.  Kobo and Barnes and Noble both offer a dedicated ereader but also have an app that runs on tablets and other devices. 

So, why does this matter to self-published authors? As an author or publisher, you can upload your books into the self-publishing platforms of Amazon (Kindle Direct Publishing), Barnes & Noble (Nook Press) Google (Google Play Books Partners Center), Apple Books and others, either directly or by using Smashwords or Draft2DIgital. But if you load them only into KDP and opt for the KDP Select designation, your books will be available to borrowers via an Amazon subscription service called Kindle Unlimited. The author is paid based n the pages read, not on the borrow, an important distinction.

Basically, by putting his or her books in Kindle Unlimited (an ironic name in a way, since all KU books are limited only to Kindle), an author promises not to put them in any other ebook store (print versions have no affect in KU status). How can this possibly benefit an author? 

A lot of times, it doesn't. In my experience, whether or not KU is profitable for a book depends on three factors: genre, book length, and ebook price. 

Genre

The only genre I personally have had any success with in Kindle Unlimited is romance, which in my case is actually science fiction romance, Romance readers are voracious. They read so much, it is worth it to them to pay the KU subscription fee. There may be other popular KU genres, but I have not found them. Certainly my YA books never went anywhere in KU. If you have books doing well in a KU, please let me know what genre they are! 


Book Length

Because the author is paid based on pages read, a longer book automatically earns more money than a short one, assuming the reader finishes the book. Of course, if the book is truly short--a novella or a novelette--it probably sells for less, too. But length is something to keep in mind when deciding on KU, yes or no,

Price

If you price your ebook modestly (none of mine are more than $3.99), and the book is long enough, you may well make more money from a KU borrow and full read than from a sale. Of course, price will also have some impact on sale rates, too, so it's all balancing act.

Things to Remember

An important thing to remember is, the Kindle Unlimited signup is for 90-day blocks of time. You can take the book out of KDP Select after 90 days, or you can sign up for another 90 days. I usually launch with the book signed up or KDP Select but pull it out after 90 days if it's not getting enough KU reads to make it worthwhile. 

Also, one benefit to keeping the book in KDP Select status is, you can run a sale or even make the book free for a select number of days per 90-day cycle. The advantage to just changing the price yourself is, the book looks like it's on sale. The regular price appears, but is struck through and the sale price shows as discounted.

You should be aware that Amazon makes no future promises on the per-page rate for KU borrows. It sets aside a chunk of money to pay KU authors/publishers, and then pays out at a rate determined by the number of reads. Right now the rate is approximately $0.004 per Kindle Edition Normalized Page.  My book Alien Bonds is a tad under 130,00 words and that translates to 649 KENP pages. I made about $2.60 on the last full read. At $3.99 retail I make $2.72 in royalties on a sale, which is 12 cents more than the KU borrow. On book 2 of the Wakanreo trilogy, which is shorter, I make less on KU but on book 3, the longest book, I make more from a KU full-read than I do from a sale. 

A non-financial benefit of KU is you can tell when people are actually reading your book because the page count shows on a daily basis. 

And once your pull your book from KDP Select, it is no longer in KU, and then you can load onto every platform available. There is no reason not to! But always, do what's best for your particular book! 




Wednesday, September 29, 2021

A few words on pricing ebooks

If you are planning to self-publish, unless you plan to concentrate on print publishing, you will need to look into your options on pricing ebooks.

In my opinion, ebooks are the reason self-publishing took off as it did. First off, ebooks are relatively easy to create, and second the per copy cost to replicate them, once you have the files in place, is zero. This means that if you are not a well known author, you can price your book very competitively (as low as 99) and thus compete with better known but more expensive writers. The big publishers seem to want ebooks not to sell especially well, at least when they are new, because they price them so high.  Quite often the ebook version is more expensive than the paperback version, defying industry past practice that a higher price meant a more expensive to produce product.

The image above is a the Amazon page for the best seller, Golden Girl, by Erin Hilderbrand,  As you can see the hardcover price is very slightly more expensive than the trade paperback at $17.40 and the Kindle version is priced at  $14.99, less than $2.40 in difference. Well of course, this is a brand new book, But what happens when it has been out for a decade or more? 

Here's the Amazon page for Twilight, a best seller first published in 2006. The hardcover is way more expensive at $22.49 but the Kindle book is more expensive, at $10.99 than the paperback is at $9.43! And by the way, the ebook price is the same on Barnes & Noble and Google Books

Publishers fought with Amazon to be able to control the price of their ebooks. Publishers wanted to be able to protect hardcover sales, which are very profitable. Amazon lost that battle, but you will notice Kindle books usually say "price set by publisher." 

The good news is, if you're self-publishing, you (mostly) control the price! On Amazon, you get the best deal on royalties by pricing your book between $0.99 and $9.99, which is frankly, the range it's best to be in unless you're already a best-selling  author. 

You also control when the price changes, which means you can experiment with different prices.  Be aware that Amazon price matches, so if your book is cheaper in other ebook stores than it is on Kindle, Amazon will drop the price of your Kindle version to match the others' lower price. That is, by the way, the method used to make a Kindle book free on a long-term basis. A book that is in Kindle Unlimited can be free for up to five days every three months, but except by using price matching, you cannot make a Kindle book always free,  It is only because other bookstores allow free ebooks that price-matching can work to make a Kindle book free.


Sunday, September 12, 2021

Re-launch of ALIEN BONDS!

 Based on reviewer feedback, and to achieve a more uniform series look, I have relaunched Alien Bonds with a new cover! Only the Kindle version has the new cover, so far. I have to do some tweaks to republish the paperback.  But here it it is! 




Tuesday, July 13, 2021

Snippet from Saronna's Gift

From Chapter One: Duncan Trushenko and his father own and operate a large intergalactic grading company, headquartered on a tax-free but very backward planet called Kruegger's World.

---------------------------------------

Duncan smiled to himself but was careful not to let his amusement show. His father had been curious about his breakup with Emily Pulaski since it happened, but Duncan had no intention of satisfying that curiosity, especially as his father had been right in his assessment of Emily’s intentions. “If you disliked her so much,” he said instead, “why did you hire her?”

“I didn’t dislike her,” Vladimir said. “When it came to navigating the seas of interstellar trade regulations, she had excellent skills. I’m happy you seem to have learned a lot of them from her. I just didn’t want you to marry her.”

“You can’t have it both ways, Dad. Either you want me to get married or you don’t.”

“Don’t be silly,” Vladimir said irritably. “Marrying the wrong person is worse than not getting married at all.”

Duncan didn’t know what to say. His parents had lived apart ever since he was a baby; the few occasions they had been together for any length of time had resulted in epic quarrels. Another awkward silence ensued.

“I’m sorry, Duncan,” his father said. “I wasn’t trying to cast any aspersions on your mother.”

Duncan put his glass down. “I know, Dad. Why all this eagerness to fix me up with someone? I thought that was Mom’s job.”

“Well,” Vladimir said, sounding oddly hesitant, “Your mother and I both want you to find someone—get married, have a family of your own. If nothing else, I’d like to think that someday there’ll be someone for you to pass Cameron Trushenko on to. It’ll all be yours someday. I won’t live forever, you know.”

Duncan grinned openly. “You’re not giving me the ‘I’m getting old’ speech, are you? You look pretty hale for that. Naomi must be taking good care of you.”

“She is, she is.” Vladimir’s face lit with affection. “I can’t tell you what a change it makes in your outlook to have someone who cares about you in that way. It’s meant a world of difference to me to have her with me.”

Almost the only good thing about his parents’ intense dislike for each other was it took away any guilt he might have felt for being pleased when one of them found consolation elsewhere. “Good. I’m glad you’re happy.”

“The thing is,” Vladimir went on, “poor Naomi had no one to keep her company. I mean, she looks after the house for me, but really, she had no close friends, nothing to occupy her leisure time. And sometimes I get tied up for days on end.”

Duncan frowned. What was the old man leading up to? “I know you’re busy. Cameron Trushenko is a major concern. Why don’t you just hire more help?”

“Well,” Vladimir said, a nervous edge creeping into his voice, “the thing is, Naomi wanted more than just to have me free up some time. She needed a friend—a woman friend.”

Duncan sat up straighter. “What’s going on, Dad? Are you trying to tell me something?”

Vladimir glanced at the window to the courtyard. He seemed almost reluctant to meet Duncan’s eyes. “Well, yes, I am, son.”

“Son?” Duncan moved to the edge of his chair in alarm. “Son? You never call me ‘son’ unless something’s wrong. The last time you called me ‘son,’ we had just lost three million credits.”

Vladimir looked almost relieved at the accusation. “Oh, it’s nothing like that. It’s just that, as I said, Naomi needed someone, and the people on this world are so stuffy. There are off-worlders, and there are natives and the two just don’t mix. There was no one Naomi was comfortable making friends with, no one who didn’t look down her nose at her. And native women almost never leave their homes. They don’t need friends, because they all have hordes of relations. And then I found out you were coming home, and I knew you’d broken up with Emily a while ago. It seemed like a perfect solution to both problems.”

“What did?” Duncan said, more mystified than ever.

“Well,” Vladimir said, still apparently finding it difficult to come to the point, “the thing is, son—Duncan, I sort of—well, I bought a woman for you.”

Duncan’s mouth dropped open. He must have heard his father wrong. “You did what?”

“I bought a woman for you.”

No, he had heard right. But the idea was incredible. “You bought a woman for me? You bought a sentient being?”

“Now, Duncan—”

The more he thought about it, the angrier it made him. “You thought I’d want some down-trodden, complacent, hapless little female to make use of in my free time? You thought I’d take advantage of a woman like that?”

“Well,” Vladimir said, “no, not really. Actually, I just needed someone to keep Naomi company, but there’s no way I could get someone on those terms. And besides,” he added as an afterthought, “she’s not little.”

“What?” Duncan jumped to his feet. The old man had gone crazy. There was no other explanation. “I don’t give a damn how tall she is! You just send her back where she came from, Dad. I won’t have any part of this.”

“But, Duncan,” Vladimir said, his voice filled with righteous indignation, “when I brought Naomi home, you didn’t act like this. You were proud of me for stepping in.”

Duncan brushed aside this argument with a wave of his hand. “That was different. Her husband had put her up as his stake in a poker game. You kept her from ending up with some gun-running scum.”

“Saronna’s father was desperate to sell her.” The indignation in his father’s voice gave way to a virtuous note. “She’s twenty-two in Standard years, and she’s never been married. A year ago her mother died, and her father stopped looking for a husband for her and tried to sell her. None of the hill men were interested, so he came into the city. You know very well where she could have ended up if I hadn’t made him an offer.”

Duncan cringed. Just when he thought Krueger’s World couldn’t get any worse, he found out he was wrong. “Her own father?”

Vladimir nodded.

“All right,” Duncan said, “if he needed the money so badly, let him keep it. Just send her home with no strings attached.”

His father shook his head. “I can’t do that. If I did, they’d assume she’d been unsatisfactory in some way. If they let her live, it would be as a nameless drudge without any rights.”

“God!” Duncan clutched his hair. “Why the hell did you have to move to this miserable, primitive hunk of rock? What kind of place is this, where men sell their daughters to strangers?”

“It’s Krueger’s World.” Vladimir almost snapped the words out, as if he were losing patience. “And you know as well as I do why I moved Cameron Trushenko here. Krueger’s World is an ideal location for interstellar trading, and when you add in the tax break from operating outside of ThreeCon, we’re in much better shape than we were five years ago. Even your mother approved the move. The combination of New Hong Kong’s taxes and ThreeCon taxes was crippling us.”

Duncan turned away, unwilling to concede the argument. “We’re doing really well now. My two percent of the corporate profits certainly reflects that. Can’t we move back into the civilized universe?”

“Not yet,” Vladimir said firmly. “I don’t know how long it’ll be, either.”

Duncan shot him a skeptical look. “Are you sure taxes and location are the only reason, Dad? It wouldn’t have anything to do with Naomi, would it?”

Again Vladimir wouldn’t meet his gaze. “I won’t deny that the thought that Naomi might not want to leave this planet worries me. However, it’s a moot point for now. We can’t afford to move, and that’s the truth.”

Duncan sighed. “All right, so Cameron Trushenko stays here for a while longer. Is that any reason to go around buying people?”

“Maybe it is,” Vladimir said. “So long as we’re here, we might as well try to make things better for at least one person when we get the chance. If I hadn’t bought Saronna, her father might be walking the streets right now, looking for someone to buy her. As it is, she’s safe and comfortable. I presume you don’t plan to rape her?”

Repulsed, Duncan put a good deal of heat in his voice. “If that’s supposed to be a joke, it’s not very funny.”

“I wasn’t joking at all. I brought her here, and I feel responsible for her.”

“Then why didn’t you just buy her for yourself?” Duncan demanded. “Why did you have to bring me into it at all?”

For the first time, guilt suffused Vladimir’s expression. “Well, I thought about that, but Naomi got very jealous when I mentioned it. She was much happier when I agreed we could find someone for you.”

Duncan snorted with disgust, but Vladimir continued.

“Anyway, fortunately, I could tell Naomi that this woman stirred no twinges of passion in me. She’s not homely or anything, but she’s not in Naomi’s league.”

Somehow his father’s reasoning made Duncan even angrier. “And what the hell am I supposed to do with her?”

“You don’t have to do anything,” Vladimir said, his voice as soothing as it had been sixteen years before, when Duncan had broken his arm and cried all the way to the doctor’s. “But it would be nice if you made friends with her. I’m sure she’s a little scared. She may have been brought up to think this was all perfectly natural, but still it can’t be easy to leave your home so suddenly and move somewhere where you don’t know anyone.”

Duncan groaned and resumed his chair. “Good god, Dad. When did you buy her?”

“This afternoon.”

Less than a day. Just his luck to arrive right as the old man suddenly went crazy. “Damn! Do you mean if I’d gotten here last week, I could have talked you out of this nonsense?”

“No, no. I waited until you were coming home, that’s all. Like I said, Naomi was jealous until I told her Saronna was for you.”

Duncan groaned again and covered his eyes. It just got worse and worse. “Will you listen to yourself, Dad? You sound as if you were talking about a house pet. You’ve been here too long, and that’s all there is to it.”

Saronna's Gift 

Wednesday, July 7, 2021

Self-Publishing 101: W is for Workflow

The thing about self-publishing is, it's up to the author to establish a viable workflow, either by paying competent people, doing the work himself, or some combination of the two. To be clear, by workflow, I don't mean writing the book, I mean turning a manuscript into a printed book and/or or an ebook. I won't talk about audiobooks because I haven't created any.

I worked in publishing for almost 30 years, and those years saw a lot of change. As I was working for a publisher of legal and regulatory information rather than fiction, it was a very different workflow from producing novels. Over that span of time, my company's focus changed from print to digital because our customers were better served by information that could be delivered faster, updated more easily. and accessed from multiple places, as opposed to having to open a book or a binder on a shelf. 

Espresso Book Machine

In fiction publishing, that transition hasn't happened as thoroughly. Print is still very viable, but there is also a digital market—both ebook and audio. But the biggest change in fiction publishing has been the advent of self-publishing. Print-on-demand technology allows booksellers to print a book only when it has been ordered. The availability of ereaders (such as the Kindle), tablets, and even cell phones have created a market for ebooks, which are delivered via the web. Because of these two developments, self publishing has taken off. And now, individual authors are learning things abut producing books that traditional publishers have known for a long time . 



Workflow is a huge part of publishing. If your book is published by a major publisher, your part of its workflow will consist mostly of  turning in your manuscript, and reviewing and approving edits and the cover.  There may be a lot of back and forth between you and the editor and publisher but that won't involve you creating the print or digital pages. With self-publishing, unless you hire someone to do workflow for you, you are on your own. The one part of workflow I always hire out is doing the cover, because in additon to artistic talent, it takes a lot of specialized skills I don't have. Page layout and ebook production are, for me, much easier tasks than creating a good-looking, marketable cover. 

The thing to remember about publishing a book is, it's never going to be perfect the first time! You need to be able to make edits, right up to and even  after publication. And since you are publishing in multiple formats, you need to consider how those edits will be made. If you format the print edition yourself, you need to be able to create headers and possibly footers and paginate the main part of the book separately from the front and back matter. After some frustrating efforts to do page layout for my books with MS Word, I have been switched to Adobe InDesign for formatting my paperbacks (and two hardbacks!) partly because it can also output an epub file as well as PDF.  InDesign is not easy to learn and you can no longer buy a copy outright, but it is available on a subscription basis per month.  I find it useful because in addition to formatting books, it can create web page banners and similar files. It cannot edit individual images in the way that Adobe Photoshop does, but it lets you place one or more images on a page (print or digital) and add text and color. Also, once you know how, formatting a book in InDesign is very fast.


Again, I cannot emphasize enough that whatever workflow you use must allow for making edits. If you hand off your m.s. to someone who will do the page layout and/or convert your m.s. to ebook format, then you need to be sure either you can edit the files they send to you, or that they have a way to do it for you (either may well be an extra expense, so get that straight up front!). 

The publisher I worked for created an in-house system that had the authors and editors working in files that were stored in SGML (standard generalized markup language), which uses tags to identify what something is, not what you want it to look like. The tag names were things like "story", "headline""annotated,case" and "subhead. SGML also imposes rules to be sure the document you are creating has a specified structure. Then, when the document was printed or sent to the web or put onto a CD it could be reliably transformed into whatever format was required. This was called single-source publishing, and it it is very efficient, but it is harder to do on your own. The problem is that the epub file that you output from the print files might not come out exactly as you want it; you might in fact, need to edit the epub version. 

A good discussion and outline of how to create ebooks, including software recommendations,  is included in this post from Jane Friednman's blog

Good luck!

Addendum:  this post on using Kindle Create, a free app from Amazon, has a lot of good information.  Amazon says Kindle Create can also format a paperback version, but I can't speak to how good a job it does at that, as I have never used it for a print book.




Friday, July 2, 2021

The North Edge of Nowhere is free for a few days!

 The North Edge of Nowhere, the first half of the Nameless World duology, is free in the Kindle store until July 6.  Here's what an Amazon reviewer had to say about the story:

"The world building is great, the non-Terran animals are wonderful, and the nameless world is fascinating. Buxton's sleeper worlds aren't all grim places; the Northern Domain seems the best of all. Although Darius is young and angry, Nowhere isn't just a book for young adults. I highly recommend it as another excellent ThreeCon book."

The reviewer points out that although these book are not marked as part of the ThreeCon series, the story is set in the ThreeCon universe. 

Get Book 1 while it's free!





Tuesday, June 22, 2021

Character names: Why is he just Willoughby?


Characters' names can have meaning in stories. I try to maintain a pattern to naming characters, when I think it's important to the story. In my fantasy romance Bag of Tricks, I imagined an eastern European setting, so I named the male main character Zarek, a name found most often in Poland and Hungary. But because the female lead was a woman who had wandered far from her home, I gave her the French name Aveline (even though in my fantasy world, her country of origin was north of where Zarek came from. I mean, it is a fantasy). 

In the far future, on the other hand, I can see names merging and race and ethnicities blending.  In my science fiction romance Worlds Apart, some of the population of the colony world Celadon are Greek-speaking refugees, who didn't want to be assimilated, and so they lived separately on their new world, keeping their language while forming a new culture. Those characters all have Greek names, naturally, but in some cases I used names from Greek mythology, and the hero is actually named after the most famous sculptor of the classical age, Praxiteles. On a friend's advice, I gave him the nickname Prax so it was easier for readers who didn't have an art history teacher who drilled the name Praxiteles into their heads, as I did. 

In the same book, among the strangers who come to Caledon from more cosmopolitan worlds are a man named Hari Ijiomah (a South Asian first name and an African last name) and Rishi Trahn, another South Asian first name, but with a twist because it's a man's name and Rishi is a woman, the heroine, in fact. Trahn is South East Asian, so that gave me even more variety. And for a real mix there is a also a secondary character named Ingrid Nakamura. 

Sometimes. especially if I work on a book long enough, the characters' names become fixed in my mind. The Nameless World duology was written as one very long book and later split into two books. It took me so long to write and polish the book(s), that the characters' names became a part of them that I couldn't contemplate changing, even after a beta reader suggested that having two principal male characters' names both starting with D (Darius and Daniel) was not a good idea.  Too late! Darius and Daniel they stayed.  

I got to thinking about the importance of book character names because in the pandemic-induced isolation, I have been re-reading a lot, including some Jane Austen books. Let me add, if you're inclined to do this, I would not bother with Mansfield Park. I could not believe how prosy and long-winded it is! Pride and Prejudice holds up well, as does Sense and Sensibility, which brings me to my point. In 19th century Britain, there was more formality about names. Only good friends called each other by their first names. Indeed, in Pride and Prejudice, Elizabeth Bennet's parents called each other Mr. Bennet and Mrs. Bennet, at least in front of others. Darcy and Bingley are sometimes Mr. Darcy and Mr. Bingley and sometimes just Darcy and Bingley, especially in conversation. But in Sense and Sensibility, Marianne's love interest is almost always called just Willoughby. There are about a dozen or fewer instances of "Mr. Willoughby" being used but he is mentioned hundreds of times in the books as just plain "Willoughby." Even Marianne calls him Willoughby, not John. I wondered if, having named him John Willoughby, Jane Austen was in some way trying to signal the reader that just-plain-Willoughby was less of a gentleman than her other important characters? He certainly acts badly in getting Marianne to love him, all while knowing he won't ever marry a woman with no money.  I have no way of knowing if Austen did it on purpose, but I did notice the Willoughby difference. 

So, do other writers obsess about characters' names? Do non-writers? Just me? Oh, well. 

 


 


Monday, June 7, 2021

Musings on my muse: The care and feeding of my inner control freak

If you met me, you would probably think I'm perfectly normal.  But inside, I do have a quirk that makes me a tad different from most folks: on one level, I'm a control freak. This might surprise a lot of people who see me as reasonably laid back (except when I'm worried about my kids, and then I freak out).  

But I'm a different person when I write books. It's not just being a writer that makes me different. Technology has made it much easier to write and to publish, which has revealed that gazillions of folks have that ambition. Some of them write hoping to make money, some write hoping for recognition or fame, and some write because they enjoy it. I write because I want people to read what I have written. Let me stress that—what I have written. What appeals to me writing stories is that by writing them as science fiction or fantasy, I control not only the characters but the setting. I can create my own worlds, each with its own appearance, environment, inhabitants, and cultures. And I can populate those worlds with whatever characters I think would make for an interesting story.  

In the Wakanreo trilogy (Alien Bonds, Alien Vows, and Alien Skies), I created a world where  an alien people mate because of biological reaction that cannot be controlled. I wanted to create a society in which sex was completely divorced from morality, and where nudity was not linked to a desire to provoke a sexual reaction. I also foresaw greater equality between the sexes and among socioeconomic groups; because there was no such thing as marriage, either arranged or from affection, and divorce did not exist, class structures were too difficult to enforce. Also, since pairing off was purely pheromone-driven, looks didn't matter. Add to this the question of love; just because you paired off with someone doesn't mean you have to love him or her.


In Tribes, I wanted my readers to inhabit a world where there was one overriding loyalty, at least in a legal sense. Belonging to a tribe was a a life-long and immutable thing. One's tribe provided security, a safety net against disaster, and also determined what was legal for an individual. On the other hand, if someone had no tribe, his life was doomed to slavery, drudgery, and degradation. Interjecting a slave into such a setting provided a way to see how the other characters behave toward him.

But setting a story on another world or in the future isn't the only way to control all the facets of my story. In Hidden Magic, I gave some characters magical abilities, but plunked them down in a society that feared and suppressed magic. I made them brother and sister, and then, because I enjoy a romance, I had each of them find someone they loved.  

I don't only read science fiction and fantasy. I enjoy mysteries, historical fiction and historical romance, and even sometimes young adult novels. But I don't think I would ever write in those genres because I would be stuck with the rules imposed by reality.