What’s in a Character Name?

What’s in a name? Perhaps a rose by any other name would not smell as sweet.

Consider your name.

How was it chosen? What does it mean? How does it look? How do you feel about it?

My father John shared the name with a brother of his mother. My mother’s Alta Wavalene came from her father’s youngest sister and her mother’s youngest sister. There are no Vivian’s on either branch of the family tree. Were my parents consciously striking out in a different direction?

One story I heard growing up is that Vivian was the name of my father’s first girlfriend, and he liked it. So, does this reflect my father’s dominance or my mother’s confidence?

Vivian means lively, and likes bright or vivid colors. The latter definitely applies, and I like to think the former does as well. As for appearance, Vivian is all spikes and angles, especially when written in caps: VIVIAN. Hmmmm. No comment. But I do know I felt out-of-place among the Sharons and Shirleys and Barbaras. As a child, I wanted a nickname and it was never forthcoming. As an adult, I like that I have seldom come across another Vivian, and only an Italian chef ever called me Vi.

Consider character names.

Your characters’ names are as important to them as yours is to you. Give them some thought. As with everything, there are books out there to help. My personal favorite is Character Naming Sourcebook by Sherrilyn Kenyon. For one thing, it starts with an overview of things to consider. In brief, and paraphrased, the ten guidelines are

  1. Capture the persona
  2. Consider heritage, personality, and trade/profession
  3. Make the name harmonious
  4. Choose names consistent with time period (The Social Security Administration is good for US names)
  5. Consider the character’s social status
  6. Use nicknames
  7. Vary the names of characters
  8. Be aware of your genre
  9. If you choose a name that breaks the rules, make a point of it
  10. Avoid names that others have made famous

Your character’s name is the usual introduction to the reader. Lydia is harder than Nora. Cynthia is more upscale than Bertha. Bart is stronger than most two-syllable male names.

In deciding on names, avoid not only the beginnings but the endings. Alex, Alice, Amy, and Andrew will confuse readers and turn them off. At the same time, choose nicknames and/or endearments with care. I recently critiqued a manuscript in which William was Billy to the family, Victoria was Vickie,
Margaret was Maggie, Susan was Suzie, and endearments were honey and sweetie. Not a big deal, but if the reader notices, it’s too much.

I like Character Naming because of its breadth, and because it separates names by ethnic roots and meaning. But it isn’t the only book out there. Indeed, you can go to a local telephone directory and mix first and last names.

book covers of Character Naming by Sherrilyn Kenyon and The Secret Universe of Name by Roy Feinson
Character Naming and The Secret Universe of Names

And if you are interested in the humorous side of writing, consider these:

book covers of The Terrible Meaning of Names by Justin Cord Hayes and Don't Name Your Baby by David Narter
The Terrible Meaning of Names and Don’t Name Your Baby

That way you won’t inadvertently name two friends Barbara Smith and Barbara Morton and end up with BS and BM!

Book covers of four books on baby names you can use as character names
More books on baby names

Consider perception.

Consider the article “13 Surprising Ways Your Name Affects Your Success” by Maggie Zhang and Jenna Goudreau.  The main points of their article are highly relevant to writers. If your name is easy to pronounce, people will favor you more. If your name is common, you are more likely to be hired. If your name is uncommon, you are more likely to be a delinquent. If you have a white-sounding name, you’re more likely to get hired. If your name is closer to the beginning of the alphabet, you might get into a better school. If your last name is closer to the end of the alphabet, you’re more likely to be an impulse spender. You are more likely to work in a company that matches your initials. Using your middle initial makes people think you’re smarter and more competent. If your name sounds noble, you are more likely to work in a high-ranking position. If you are a boy with a girl’s name, you are more likely to be suspended from school. If you are a woman with a sexually ambiguous name, you are more likely to succeed. Men with shorter first names are overrepresented in the c-suite. Women at the top are more likely to use their full names (e.g., Deborah, Cynthia).
And one final point for authors: think carefully before giving your main characters long or hyphenated name. You are going to be typing those name a gazillion times!

What are your favorite character names?

Books for Writers: Deborah Tannen

book cover of Talking from 9 to 5 by Deborah Tannen
Talking from 9 to 5 by Deborah Tannen

Deborah Tannen has published numerous books that might be of interest to writers. Three titles that come to mind are You Just Don’t Understand (male/female communication patterns); Talking from Nine to Five (communication in the workplace); You’re Wearing That? (mother/daughter habits of communication). They are classics by now, but still relevant.

Book cover of You're Wearing That? by Deborah Tannen
You’re Wearing That? by Deborah Tannen
Book cover of You Just Don't Understand! by Deborah Tannen
You Just Don’t Understand! by Deborah Tannen

 

 

 

 

 

 

 

 

 

Read more in my Psychology For Writers series

Psychology of Uncertainty 

The Principle of Least Interest

Why Writers Need Empathy

Why Women Have Sex: Character Motivation Matters

Rational and Irrational Behavior in Your Characters: Guest Post on Thrill Writers

More Books by Deborah Tannen

You Were Always Mom’s Favorite: Sisters in Conversation Throughout Their Lives 

I Only Say This Because I Love You: Talking to Your Parents, Partner, Sibs, and Kids When You’re All Adults 

The Argument Culture: Stopping America’s War of Words 

That’s Not What I Meant: How Conversational Style Makes or Breaks Relationships 

 

The Principle of Least Interest for Writers quote

The Principle of Least Interest

The Principle of Least Interest for Writers quote

The Principle of Least Interest is one of those areas in which science has confirmed what common sense has long maintained: the person who cares the least has the most power. This principle works everywhere from the housing market to the marriage market. If the buyer is more eager to buy than the seller is to sell, the seller will determine the selling price. If he loves her more than she loves him, he could end up the proverbial hen-pecked husband of so many comedies; vice versa and she is a candidate for the downtrodden foot-wipe—perhaps abused—wife of so many tragedies. This principle is so well understood that sometimes people try to disguise their true levels of caring/interest (talk of other great offers forthcoming, flirting with or dating a rival). Inherent in disguise is the understanding that what counts is often the perception of least interest.

The first take-away for writers:

For your characters, know who has the power and who is perceived to have it. And if your work has more than two characters, you need to understand the power relationships for each pair.

Unlike a credit score, people can’t go on-line and check out their power ratings.The primary reason that power relationships are often unclear is that the bases of power are virtually limitless: expertise, physical attractiveness, intelligence, wealth, athletic ability, knowledge of secrets, ability to make the other’s life miserable, being popular, great sense of humor—anything and everything that is important to that pair. Knowing the facts doesn’t tell you/the reader who has the power. If she married him for the money and he married her for the Green Card, who cares more? What if we add in that she is beautiful and he’s a great problem-solver; she’s moody and he’s uncommunicative; he’s a natural athlete and she manages their money; they’re both extremely intelligent and care mightily for their two children. As the author, you can determine who has the power by giving weight to these factors based on the characters’ perceptions of what is important.

The second take-away:

Power is seldom one-dimensional, and if you don’t recognize the complexity, your characters will be flat and unrealistic.

In many relationships—for example, boss/employee, parent/child, older sibling/younger sibling, teacher/student—the general expectation would be that the total power package would favor the former. But my guess is that most readers don’t read to confirm the norm; they like to be surprised.

The third take-away:

You should at least consider writing against common power expectations.

And just to end on a high-brow note: according to Lord Acton, “Power corrupts. And absolute power corrupts absolutely.” Consider how less-than-absolute power might corrupt your character(s).

Recap

  • Know who has the power and who is perceived to have it
  • Power is seldom one-dimensional, and if you don’t recognize the complexity, your characters will be flat and unrealistic
  • You should at least consider writing against common power expectations

 Learn more

“Who Has the Upper Hand? Power, Sex, and Seinfeld” by Dr. Benjamin Le

The Personal Use of Social Psychology by Michael J. Lovaglia (2007)

Social Psychology and Human Sexuality: Essential Readings by Roy F. Baumeister (2001)

Why Writers Need Empathy

Why Writers Need Empathy

The interview with Fiona Quinn started me thinking about the myriad ways that psychology and writing intersect. In particular, I’m now thinking about empathy—the feeling that you understand and share another’s experiences and emotions; the ability to share feelings. Psychology long assumed that empathy is a purely human emotion, though there are many who would disagree (witness observational studies of animals who form bonds of what appear to be friendship across species).

In any event, when a writer chooses a point of view character s/he is choosing the character with whom the reader is to identify. When done well, the reader sees the world through this POV character’s eyes and heart, understands the driving motives, and cheers for a positive outcome for that character. Perhaps empathy is a characteristic one either has or not. But (in my opinion) all good writers must have it. If you don’t care, if you don’t laugh or cry, why would the reader?

Thrill Writers, The Company You Keep - Does Your Character Act "Out of Character" in a Group Dynamic?

Rational and Irrational Behavior in Your Characters: Guest Post on Thrill Writers

Thrill Writers, Rational and Irrational Behavior in Your Characters: Info for Writers with Dr. Vivian Lawry
I was thrilled to do an on-line interview with Fiona Quinn for her blog, Thrill Writing. Here’s a snippet from “Rational and Irrational Behavior in Your Characters,” a post I hope will give insight into writing believable characters. You can read the full interview at Fiona’s blog.

Today, Vivian,  we are going to wrestle with a complex part of the human psyche. In our plots, we try to make the story conform to what a rational person would do, but the truth is that given the right circumstances, motivation, and perception, anyone is capable of anything. Would you help us to understand this concept?

Vivian – 
Circumstances refers to options and constraints.
Motivation refers to what drives the person.
Perception is what the person thinks is going on.

All of these offer writers lots of room for making anything happen—believably.

Fiona – 
Can you describe the famous Zimbardo prison experiment to give context?

Vivian – 
The Zimbardo prison experiment is classic! Here’s a quick and dirty overview that hits the highpoints:

The basic question was whether ordinary people would/could be as cruel as Nazi concentration camp guards, or whether the Nazis were truly aberrant.

So they advertised in newspapers around Palo Alto, CA, for people to participate in a paid psychological study. Volunteers were screened with all the psychological tests they could think of to make sure they were healthy, stable personalities. Then they were RANDOMLY assigned to be either prisoners or guards. The guards were issued uniforms and reflecting sunglasses.

The prisoners–all men– were picked up from their homes by real police cars, sirens blasting, handcuffed, and taken to the “jail”, which had been created in the basement of a campus building. They were stripped of their street clothes and issued night-shirt type garments, flip-flops for shoes, and stockings on their heads to simulate a shaved head. The prisoners were given no directions (as far as I recall).

The guards–also all men–were told to maintain order.

In a matter of days the prisoners were depressed, plotting a break-out, weeping, and compliant with the guards. The guards, for no apparent reason, had become controlling and abusive. They told the prisoners to stand in line and count-off repeatedly, or do push-ups till they collapsed. One guard made them do push-ups while pressing his foot on their backs. The experimenters terminated the experiment early. And I should mention that everyone involved got counseling and so forth after. But the strength of this work is demonstrating the incredible power of circumstances in shaping behavior. These two groups of people differed only in which circumstance they were randomly assigned to.

Read my full interview here.

Thank you, Fiona! And thank you for reading.