Here are ten quick ways to come up with names for your characters (without using one of those online name generators)

1. Movie/TV Show Credits: one of the easiest ways I use for character naming is to take a glance at a movie or TV show as the end credits roll. Name after name after name, any of which can be mixed and matched to make new ones or kept as is for authenticity.
2. Census: If you dig a little, you can find a ton of old census records online. This will show you names that correlate to a certain part of the country or world, and often to a certain time period.
3. Baby Name Websites: Especially if you’re looking for ethnic names, these are invaluable resources for character names.
4. Book or Magazine: The acknowledgement section of any book or the list of contributors in a magazine will also provide many interesting names.
5. Ancestry Sites: This one could cost you if you’re not already a genealogy nut (or know one), but there are certainly lots of names listed, many of them by time period.
6. Cemetary: If you’d like to take a nice stroll for your health, try walking around your local cemetery. The older the graves, the more interesting the names in my experience.
7. Newspaper Morgue: This will likely require a trip to the library and a microfiche machine, but any newspaper, especially the classified section or want ads, will give you a list of names.
8. Phone Book: If you can find an old phone book or city directory, you’re in luck. They’re chock full of great names.
9. Company Websites: You can also find interesting names on a company listing of employees.
10. Club/Organization Rolls: If you can find the members’ list of a local club or organization (like the Rotary Club or Baptist Men’s Organization), you can find lots of names for characters.

Bonus: Five Name Generating Websites:

• Masterpiece Name Generator
• Reedsy Ultimate Character Name Generator
• Hiveword Character Name Generator
• Behind The Name Random Name Generator
• Bookbird Character Name Generator

Here’s what we got when we told the AI to give us some sensory details for that train story:

User

That’s great. Please give me a feel for the atmosphere. What are the sounds, the tempratures, the odors I can expect.

Brainstorming Assistant

Creating a vivid atmosphere aboard the Zephyry in 2050 involves blending sensory experiences that emphasize futuristic luxury and comfort. Here’s a sensory depiction of the atmosphere:

Sounds

• Soft Ambient Music: Gentle, soothing tunes play through hidden, high-fidelity speakers, adjustable to personal taste or switched off for silence.
• Whispering Technology: The hum of advanced technology is nearly imperceptible, with only the faint sound of servos or the whisper of the automated systems adjusting the environment.
• Nature Sounds: Depending on the selected theme, natural sounds such as flowing water, bird calls, or rustling leaves can be softly played to enhance the thematic experience.
• Isolated Quietness: Exceptional soundproofing insulates the interior from external noise, including the clatter of the train on the tracks, creating a serene bubble of tranquility.
• Interactive Sounds: Responsive sound systems provide feedback or ambient effects triggered by the occupant’s actions, like the soft chime of the AI responding or the subtle shift in audio when virtual windows display different scenes.

Temperatures

• Personalized Climate Control: Each zone within the car can be adjusted to suit individual preferences, whether it’s the warmth of a sunny beach or the coolness of a mountain retreat.
• Heated Floors and Surfaces: Walking barefoot is a pleasure with underfloor heating, and surfaces like seats can also gently warm to provide comfort on cooler days.
• Adaptive Environment: The train’s system anticipates needs based on time of day and outside weather, ensuring the interior environment is always perfectly balanced.

Odors

• Scent Diffusion System: Customizable aromas can be diffused throughout the car to match the mood or theme—fresh ocean breeze, crisp mountain air, or the subtle scent of a lush forest.
• Filtered and Purified Air: Advanced air filtration systems eliminate all external pollution and odors, ensuring that the air inside is always fresh and clean.
• Gourmet Smells: When meals are prepared, the aroma of fine cuisine can waft through the space, tantalizing with hints of exotic spices or the rich smell of gourmet coffee brewing.
• Subtle Fragrance: The overall scent is controlled and subtle, designed not to overpower but to enhance the sensory experience, like the soft fragrance of linen or the clean, minimalistic smell of high-tech luxury.

General Atmosphere

• Visual Harmony: The visual design complements the auditory and olfactory atmosphere, with colors and textures that evoke a sense of calm and luxury. Soft, ambient lighting adjusts automatically to the time of day or mood.
• Tactile Comfort: Every surface is crafted for comfort, from the plush carpets to the silky-smooth fabric of the furniture, creating a tactile environment that invites relaxation and comfort.
• Dynamic Ambiance: The overall ambiance is dynamic and can change based on the passenger’s preferences or the time of day, always maintaining a core feeling of sophisticated, understated luxury.

This sensory-rich environment aboard the Zephyr in 2050 ensures that the journey is not just about reaching a destination, but about experiencing a personal, luxurious retreat that engages all the senses in a subtle, yet profoundly satisfying way.

So I’ve been playing around with AI. Not to write anything for me, but for research purposes. One of the stories I’m working on at the moment involves a train so I decided to ask the AI what it knew about private train cars. Here’s how that went:

First, you need to specify what you want the AI to do, giving it specifics such as when the story is set and where it takes place. This is your prompt – we’ll be looking at “super prompts” in a later post. This is what the AI came up with for my train story:

Brainstorming Assistant

Creating a futuristic, luxury train car experience set in 2050 offers a wealth of possibilities for integrating advanced technology, comfort, and unparalleled service. Here’s a list of 100 amenities, luxuries, and experiences that could be included in your character’s private train car on the Zephyr:

Technology and Entertainment

1. 360-degree panoramic windows with adjustable opacity
2. Advanced VR (Virtual Reality) entertainment system
3. AR (Augmented Reality) windows that display information about passing landscapes
4. Personal AI assistant for each passenger
5. Holographic display units for work or entertainment
6. Ultra-high-speed Wi-Fi connectivity
7. Gesture-controlled interfaces
8. Voice-activated room adjustments (lighting, temperature, etc.)
9. Surround sound audio system
10. Digital art displays on walls
11. On-demand movie and music streaming
12. E-books and digital magazines library
13. Interactive floor projections for entertainment or exercise
14. Smart glass for privacy and mood settings
15. Retractable roof for stargazing or sunlight
16. Wireless charging surfaces
17. Sleep-enhancing technology in bedding
18. Mood-enhancing scent diffusers
19. Personalized climate control
20. Automated wardrobe management system

Comfort and Design

21. Spacious lounge area with designer furniture
22. Ultra-comfortable, ergonomic seating and sleeping arrangements
23. Customizable interior themes (e.g., ocean, forest, space)
24. Heated flooring
25. Mini spa with hydrotherapy tub
26. Rainfall shower with adjustable settings
27. High-end toiletries and grooming essentials
28. Walk-in closet with automatic clothing selection
29. Noise-canceling walls
30. Luxury linen and robes
31. Adjustable gravity settings for comfort
32. Art installations by renowned artists
33. Library with classic and contemporary literature
34. Zen garden for meditation and relaxation
35. Fireplace simulation for ambiance
36. Aquarium or terrarium options
37. Personal chef services
38. Gourmet kitchen with AI cooking assistance
39. Bar stocked with premium spirits and wines
40. Automated cocktail maker
41. Dining area that converts for business or entertainment
42. Private gym equipped with the latest fitness technology
43. Massage chair or personal massage robot
44. Medical and wellness check-up devices
45. Beauty and grooming station
46. Pet-friendly accommodations and amenities
47. Virtual personal trainer
48. Soundproof sections for undisturbed rest
49. Convertible spaces for different activities (e.g., yoga, pilates)
50. Organic and hypoallergenic materials throughout

Service and Experience

51. On-board concierge service
52. Virtual reality tours of global destinations
53. Live streaming of cultural events worldwide
54. Personal shopping and delivery to the train
55. Tailored cultural and historical briefings of areas passed
56. Private guides for off-train excursions
57. Helicopter landing pad for quick excursions
58. Submersible vehicle access for underwater exploration
59. Drone photography kit for capturing scenic views
60. Exclusive event hosting (e.g., private concerts or talks)
61. Celebrity chef dining experiences
62. Sommelier-curated wine tastings
63. Astronomy nights with expert guidance
64. Wildlife observation amenities
65. Language translation services
66. Security features including biometric access
67. Personal butler service
68. Childcare services including education and entertainment
69. Sustainable practices and amenities
70. Eco-friendly vehicle options for exploration
71. Private vehicle storage for personal use at stops
72. Networking opportunities with other elite travelers
73. Theme nights and costume parties
74. Virtual guest appearances (e.g., celebrities, experts)
75. Custom event planning and celebration services
76. Philanthropic opportunities linked to travel destinations
77. Workstation with office essentials
78. Secure, high-speed communication tools for business
79. Courier services for important documents
80. Advanced medical support and telemedicine services

Unique Features and Innovations

81. Weather simulation controls to match desired mood or theme
82. Personalized journey planner with AI suggestions
83. Interactive cooking and mixology classes
84. Art and creativity workshops
85. Environmental control to simulate different ecosystems
86. Augmented reality educational experiences
87. Personalized fitness and wellness programs
88. Simulation room for extreme sports or experiences
89. Time capsule messages for future passengers
90. Participation in research or scientific experiments
91. Quantum computing access for data analysis or gaming
92. Space weather forecast and viewing tools
93. Anti-gravity room for unique physical experiences
94. Memory-making kits (e.g., scrapbooking, digital albums)
95. Customizable souvenir creation
96. Enhanced reality escape rooms
97. Personalized dream recording and analysis
98. Ethical wildlife interaction experiences
99. Adventure planning with virtual previews
100. Legacy project contributions (e.g., planting a tree for each journey)

These amenities and experiences can make the journey on the Zephyr a pinnacle of futuristic luxury and adventure, providing your character with a uniquely immersive and opulent environment as they travel to San Francisco.

As a series writer, I am sometimes asked how I keep everything straight. You know, how do you make sure Cousin Effie’s eyes aren’t brown in Book 1 and blue in Book 5?

The best way I have found to stay organized is to use a program called Scrivener. This allows you to keep all of your research (including websites), character notes, character designs, etc. all in the same location as your manuscript.

I also use what writers call a Series Bible, which is where you simply create one massive volume with every single tiny detail you have ever put into your novels. You can even hire people to create these for you if you have the money. This way, you never have to worry about remembering what your lead character’s third cousin twice removed was named–it will be in the Bible.

One of the biggest problems facing new writers is description. How much should you do and how do you do it?

You may think you need to describe everything in specific detail so your readers can picture exactly what you are thinking about. This is not only a bad idea, but it’s not even what you really want as an author. You should think of the descriptive process as more of a collaboration between you and your reader. Your job is to give them enough information so they can create a realistic image in their minds. They’re creating the images with you, if that makes sense.

Remember how annoying it is to go to a movie and the characters look nothing like what you’ve imagined based on the book? That’s because you and the author of that book collaborated to form an image within your mind as you read their words. This is one reason you don’t want to lay down the law with those too-detailed descriptions of your characters and their setting. Your vision may clash with what the reader has been imagining, which will jar them from the story.

When you understand that you don’t need pages and pages of specific description, you’re well on your way to writing a better story. You do need to convey some idea of your character’s physical characteristics and the environment they live in, but you don’t need long paragraphs to give a good idea. Let’s look at some expert examples:

PG Wodehouse gives us “a tubby little chap who looked as if he had been poured into his clothes and had forgotten to say ‘When!’” in the novel Very Good, Jeeves. Not only do we know this guy is overweight, we also know he has poor fashion sense (wearing clothing that’s far too tight) and is a little comical, perhaps without realizing it.

And here’s how JRR Tolkien described his famous wizard: “Gandalf was shorter in stature than the other two; but his long white hair, his sweeping beard, and his broad shoulders, made him look like some wise king of ancient legend. In his aged face under great snowy brows his eyes were set like coals that could suddenly burst into fire.“

And one more: “Her skin was a rich black that would have peeled like a plum if snagged, but then no one would have thought of getting close enough to Mrs. Flowers to ruffle her dress, let alone snag her skin.” This is from I Know Why the Caged Bird Sings by Maya Angelou.

These descriptions work well because they’re not just dry recitations of physical characteristics. They tell you what the character is like, not just what they look like. Try not to over-do the metaphors, though, or you’ll run into the opposite of the dry description: the over-flowery, pretentious one, which can be just as bad, if not worse.

So aim to involve your reader. Give them just enough to form an image, and remember to convey a sense of character in addition to the physical description.

One of the easy ways to slip up we see in our critique group is the point of view. Staying in the same POV is often difficult, especially for novice authors. Let’s take a look at point of view and see what we’re up against.

The definition of point of view is the narrator’s position in the description of events. The term comes from the Latin term punctum visus, which means “point sight” or where in the story the narrator is pointing the reader. POV is sometimes also known as narrative perspective.

There are basically four points of view:

• First Person: this is the POV where “I” am telling the story.
• Second Person: this is the POV where the story is told about “you.” It’s not a very common POV in fiction (and devilishly difficult to write), but it is more common in nonfiction.
• Third Person Limited (or Close): this is the POV where “he” or “she” is telling the story, but the reader is limited to what the main character knows and feels.
• Third Person Omniscient: this is the POV where “he” or “she” can include almost any character as well as the protagonist.

One error writers make with point of view includes changing POV during the story. Don’t. If you start off with third person limited and suddenly give the narrator omniscience, you’re just going to confuse the readers and show your own lack of writing ability. There have been a small number of novels that got away with a POV shift, but they’re few and far between and it’s far easier to mess up than to get it right, so just don’t do it.

Another error is making an unlikeable protagonist and using first person POV for your story. If you’re using first person, the narrator must be someone the reader can identify with, even if they are unreliable or a rascal. There has to be something likable in there somewhere. And then there’s the first person narrator who tells you all about their thoughts and feelings without showing you what they’re doing. Try to avoid that pitfall as well.

The biggest mistake writers make in third person POV is “head hopping,” which is where you’re supposedly in third person limited POV, but suddenly you are given the thoughts or feelings of another character as if you are omniscient instead. This is not only confusing, but a red flag to editors that they’re dealing with an amateur writer. Stick with your character, as in first person, and show only what they would know, experience, or feel.

Can you have multiple POV characters within one book? Yes, although it’s hard to keep track of everyone if you do this. Remember not to “head hop” but switch characters at the end of a chapter or section, not within the same chapter.

Once you master point of view, you’ll find your writing becomes much more clear and your readers will enjoy it more.

I had a question about POV (point of view) at my recent talk, so I thought I’d revisit the subject today.

There are three basic points of view: first person, second person, and third person. Let’s dig into the nitty-gritty about each of these, then we’ll take a look at some of the sub-categories of third person POV.

1. First Person POV: The narrator is telling the story directly to the reader from their own experience. First person uses the pronouns “I,” “my”, “me,” “we,” “our,” etc. because we are inside the narrator’s head seeing their thoughts and feelings–and experiencing their opinions, prejudices, and cultural experiences. This is almost the closest a reader can come to a fictional character. It is also one of the more difficult to write because you must remember not to divulge any information the narrator cannot know or feel. Some examples of first person POV include Jane Eyre by Charlotte Bronte and The Handmaid’s Tale by Margaret Atwood.
2. Second Person POV: The narrator is supposed to be the reader themselves. This POV uses the pronouns “you” and “your,” and is the hardest to write and to understand. Nowadays, you’re not likely to see this point of view anywhere except in a “choose your own adventure” story, though several classic works of literature have been written in second person. One current example is Bright Lights, Big City by Jay McInerney.
3. Third Person POV: The narrator is neither the reader not the viewpoint character, but tells the story from a distance, using pronouns like “he,” “him,” “she,” “her,” “it,” “they,” etc. This is perhaps the most popular POV nowadays, and one you will see the most. Third person can further be divided into three sub-categories: limited, omniscient, and objective. Let’s look at those as well:

Third Person Limited: This POV is similar to first person in that you are inside of one character’s head and cannot know anything they cannot experience directly. However, rather than saying “I ran from the burning building” the text will read “She ran from the burning building.” As with first person, it’s sometimes difficult to stay within the main character’s head.

Third Person Omniscient: This narrator knows everything. They will tell the reader what anyone is thinking or feeling at various times of the story, and can divulge things the main character(s) cannot know. This is another rather difficult POV to pull off, as it can become convoluted and confusing if not done properly.

Third Person Objective: In this POV, the narrator shows the actions of each character, but does not provide their feelings or thoughts except through dialogue and action. This is not currently a popular point of view so you may not have come across it in recent literature.

Do you tend to write in one point of view more than others, or do you choose the POV that seems to tell each particular story the best?

I use two –ok three–pieces of software to keep my writing life organized.

OK, I will admit that one of the three is Microsoft Word. I think nearly every writer uses this software. It’s easy to learn, most every editor and agent will accept it, and it gets the job done. If all you’re doing is writing a story down. I do like the pros of Word, so I’m not knocking it. It does what it’s supposed to do, which is record your writing for posterity. It’s just that my go-to software, which I’ll talk about next, goes above and beyond that.

I use Scrivener for almost all my writing, then transcribe what I need into Word. Scrivener will compile your stories into almost any format, even Kindle or Nook. With this software, you not only have a place to write your stories, you also have a place within the same project to record your notes, research data, photos, comments, and even character studies. So you never forget anything. What color were Cousin Emma’s eyes? See character study. Did the bedroom have two windows or three? See research data and imported website you used for inspiration. I don’t know how I worked before they invented Scrivener.

Another useful tool is Aeon Timeline. This is exactly what it says it is: a way of recording timelines for real life or stories. If you’re tired of tacking index cards up on your wall, try this software out and be amazed at how simple it makes your outlining and plotting. You never have to worry about mixing up a timeline again.

What software and programs do you use to make your writing life a little more organized?

Did you know that around 95% (maybe more) of writers support their writing habit with a day job? Here’s how you handle writing on top of a full-time job.

It’s tough finding time to write when you work 40+ hours a week. However, if you’re going to write, you need to take it seriously. And that means treating your writing as a second career instead of as a part-time hobby.

You need to write as often as possible. I try to get something written every day, even if it’s a blog post or newsletter. Those count towards your platform, which is supporting your writing career. The trick is to schedule that time, just as if it was your job (which, if you’re serious about writing, it is). Actually put it into your calendar: “My Writing Time!” And when that time comes around, don’t waste it on Facebook or Instagram–plant your butt in your seat and start writing. There’s a lovely saying: the water doesn’t flow if the faucet isn’t turned on. If you’re not trying to write, the muse isn’t going to show up. If you write every day (or as often as you possibly can), that muse will get the idea and start appearing during your scheduled writing time.

It doesn’t matter what sort of quality you’re writing at this point, anyway. Your first draft is going to be horrible–that’s the definition of one. You can always edit once you’re finished with the manuscript. But you can’t edit a blank page (another fine saying). Get the words down, even if you have to set your alarm half an hour earlier every day or stay up half an hour later. Sacrifices must be made if you want to make a career of writing. You can’t save everything up until the weekend because that’s when you need to catch up on everything else you’ve been putting off, like the cleaning, mowing the lawn, or getting that afternoon nap.

The thing is, most of us don’t support themselves just on their writing, so you need to go into this with that realization. It’s rare that a writer doesn’t have a day job (unless they’re retired), and we all just have to learn how to carve out the time we need for our writing. Get out your calendar and start scheduling!

I’m sure you’ve heard that you should “show” instead of “telling” in your writing. But what, exactly, does this mean and how do you do it?

“He felt angry” is an example of telling. Telling, in and of itself, isn’t necessarily a horrible thing. If you’re skipping over a long period of time, for example, you want to “tell” it instead of “showing.” “They marched on, across the blazing sands, for five more days.” is a much easier read than an entire chapter of day-by-day minutiae.

However, when you’re trying to move your plot along, it’s better to show what’s going on instead of telling. Rather than “he felt angry,” show his face going red, his heart thumping, his hands trembling, or his teeth gritting. Allow your readers to be deep within the protagonist’s mind, feeling and sensing with him or her.

So you “show” when you want your readers to live the plot and you “tell” when you want to skim over what might be long sections of description. Fairly simple, right? Now you can go over your last manuscript and look for places where you could “show” more.