Character names are sometimes a point of contention from my readers. And also a subject that gives rise to a number of questions. Not least: where do they come from?

I often get picked up on my character names. Even before The Berylford Scandals were a thing and the 10-year-old me was writing stories about French vampires… And much as I have visited this subject in a previous post long ago, I thought it worth another look. Especially as people often ask me where I get these, often unusual and ‘complicated’, character names from. This post explores some of the places I’ve found inspiration, and where you can find it too.

FAMILY NAMES

This really ought to be a goes-without-saying go-to for all aspiring writers. I often think that an interest in one’s own family history and the stories there associated is an invaluable asset to authors. If you deal in stories set in real-life settings, and in the past, as I do, then having a knowledge of your roots and what your ancestors got up to can provide a wealth of inspiration. Not least in giving your characters realistic but no less memorable names. Some of the fan favourites (the loves and the love-to-hates) were named after ancestors of mine. The Whitlockes and the Warwicks, just to name a couple.

PLACES

I took a leaf out of the book of everyone’s (or… well… still some people’s) favourite witchcraft and wizardry writer for this one. J.K. Rowling borrowed a number of place names to assign as surnames for her characters in Harry Potter. Snape, Flitwick and Dursley are examples. And you don’t have to use the place name in its exact form either; just use it as a base from which to manipulate. The Lancashire town of Urmston got modified slightly when it came to creating Mrs Urmstone in the Berylford books; the same goes for Hathersage in the Peak District, which was reworked a bit to become Haffisidge.

As a side-piece of advice: don’t just look to villages and towns and other such locations. Even something as simple as road names is just as valuable for inspiration.

MANIPULATING OTHER NAMES

Off the back of that previous point, a number of names that I created had relatively commonplace, or at least less flavourful origins. Take Lady Vyrrington, my chief Berylford anti-heroine, for example. She began literary life with a name at which I can barely write without cringing — Lady Selina Goodsby — before I decided that was hardly becoming of such a character. It needed gravitas and memorability. I settled on the final surname far quicker, beginning with Barrington, a fairly commonplace “posh” surname. It just took a bit of letter play. Barrington became Berrington, then Berrington to Verrington, and finally Verrington to Vyrrington. It’s original, memorable, and, if people actually take the time to read it properly, not actually difficult to pronounce.

RESEARCHING REAL-LIFE FIGURES

The former three suggestions work perfectly fine when you’re writing a story set in your home country. There’s no language or culture barrier to fight against; you know that these names will belong with such characters. So, when it comes to my current work-in-progress, You Can Hear Chopin from the Attic, set in Germany, I have no such luxury. I have had to do a bit more research to ensure the correct style and flavour get captured. Where better to find genuine German names? By looking into real-life German people from the period. Names such as Upfauer (manipulated from Hupfauer), Verschuer, and Seyß came to me this way.

BE OBSERVANT

As should be the case with everything you do as a writer: pay attention to things and people around you. It doesn’t matter whether you’re a full-time author or working an office job for 40 hours a week — inspiration for characters, events, stories… it’s everywhere. I keep a list of interesting and/or unusual names that I intend to use for future stories. For instance, just the other day at work, I came upon the name Argyrides. Something that I would never have dreamt up myself. But already I can envision it belonging to some antagonist… of Greek extraction… for a new story that may come to pass. And now that I have it, I’m damn well keeping it!

FINAL NOTES ON CHARACTER NAMES

Just a last bit of passing advice when it comes to naming your characters. Be mindful of period, style, flavour, and setting. This is where your all-important research skills will come in useful. Reading other works set in that time, with that setting, will give you more knowledge in terms of what names were fashionable at the time. Or the naming conventions observed by certain cultures. For example, you couldn’t have a story set in 19th Century Russia wherein the main character’s name was Alice. Alice becomes Alisa in Russian. Furthermore, the Russians observe a patronymic naming system, and so, at least at points during your story, for increased authenticity if nothing else, you or your characters would refer to Alisa as Alisa Mikhailovna (or whatever you choose to designate).

Like a lot of writing, it isn’t a simple matter of chucking any old shit on the page and thinking it works. There is so much more to it than that.

Got any other ideas? Let me know in the comments section. For more author news and views, my Facebook and Instagram pages are here. And drop a subscription to my YouTube channel to remain informed of the latest, plus some exclusives. Furthermore, my fortnightly podcast, The Dale Hurst Writing Show, is available to listen to here on Spotify.

In order to craft a fully three-dimensional main character that your readers will want to follow to the end, you need to have these basics in the bag…

A story needs its central character. Or characters, if your story world and narrative are broad enough to encompass more than one point-of-view. With these characters, you ought to be pouring your heart and soul into making them as real as possible. After all, they are who your readers are going to follow throughout your story. Often, your main character (s) will evolve during the writing and development processes. But there are (at least) five things that you ought to have designated before you put fingers to keyboard on their journey. Those things are as follows:

THEIR ROLE IN THE STORY

This might seem an odd and/or self-explanatory place to start. They’re the main character — that’s their role. No — think deeper. Are they a hero or an anti-hero, for example? Are they a romantic lead or a lovable loser? A tragicomic figure or a straight man? Having this down from the beginning will help you formulate their specific characteristics later. Such as their personality, behaviour, and relationships with other characters.

WHAT THEY WANT

I studied theatre in school, and in acting classes, it was often drilled into us the question, “What does your character want?” Stanislavski had a point and it transfers into creating characters in literature too. Your main character needs to have a clear desire or motivation. If I take my current work-in-progress, You Can Hear Chopin from the Attic as an example, the main character Heinrich Oeunhausen wants two things. Most importantly, he wants to protect his wife from the Nazis; his secondary want is to run his business with as little interference as possible.

In knowing what your main characters want, you can generate conflict, a crucial element to any story (and we’ll come to it a bit later in this article). It also leads you to decide how they deal with said wants. How do they go about achieving them? And how do they respond to the challenges along the way? Do they get what they want very easily? If so, how, if at all, do they lose it? It spawns an entire list of questions that, as you answer, you build a fuller, broader picture of both the story and the characters.

WHAT THEIR ARC IS

I have had occasion to refer to the very core basic of storytelling as: your character has a Point A and a Point B. Writing the story is very much a matter of filling in the gap in the middle. How do they get from A to B? It’s a very simplistic way of describing the character arc (or story arc).

In other words, from the beginning you have to know where the character starts and where you want them to end up. Like a lot of things in writing, this will change the further along you go. It isn’t always necessarily a physical destination, either; it can just as easily be a mental or emotional development. In some cases, you may find it fitting that their journey is not so much an arc, but that they come full circle. As long as it is a satisfying payoff, of course.

THEIR CONFLICT

As mentioned before, there is no real story without some form of conflict. I was taught before that The cat sat on the mat is not a story. But The cat sat on the dog’s mat is. Once you’ve fleshed out your main character out a bit, you can designate the conflict in their journey. Who or what is the conflict with? What causes or has caused it? How does it prevent the character from getting what they want?

Again, to refer back to You Can Hear Chopin, Heinrich faces conflict in both his primary and secondary wants. His wife, who is mentally ill, is at constant threat by the Nazis, who just so happen to be frequent guests in Heinrich’s hotel. Indeed, a couple of them are even close friends. With that in mind, his desire to run his business as smoothly as possible is also incommoded by the Nazis’ presence there.

WHAT MAKES THEM… THEM

Okay so maybe this isn’t a majorly important point. However, I think it’s always good to have a recurring motif or behaviour, or a centric personality trait, to help you along in fleshing your main character out. That motif may end up not being massively important in the story, but it helps you towards working out the character’s greater personality. Or it’s a part of their character that your readers can pick up on. I have written Heinrich Oeunhausen as being very conscious of time all the time (in his line of work as a hotel manager, everything has to be on schedule) so I often have him checking his watch. Meanwhile, in the Berylford novels, when designing Abel Stirkwhistle, the first thing I knew about him was that he was bad-tempered and fearsome. So, even before I turned him into the sunken, twisted old man he became, I had him walking around grumbling, grunting, snarling, and so on.

Got any other ideas? Let me know in the comments section. For more author news and views, my Facebook and Instagram pages are here. And drop a subscription to my YouTube channel to remain informed of the latest, plus some exclusives. Furthermore, my fortnightly podcast, The Dale Hurst Writing Show, is available to listen to here on Spotify.