[found on writersdigest.com; by Elizabeth Sims]
There are many different styles of naming your characters, one is the ironic choice.
Large chunks of Alexander McCall Smith’s bestselling 44 Scotland Street series concern the difficult life of Bertie Pollock, an Edinburgh schoolboy. Two of his schoolmates are lads named Larch and Tofu. Though minor characters, they’re there for a distinct purpose.
The names interact with a savory irony. Tofu and Larch’s names obviously have been bestowed by parents with finely tuned ideals. Political correctness abounds: One boy’s name is a legume paste, the other a tree. Yet the characters, we learn from their actions and words, are as shallow and phony-hearted as their names are sophisticated.
Smith gives us, by contrast, the simple, direct, honest Bertie. He is worth more than both Tofu and Larch put together. His is an ordinary, unpretentious name; his surname, Pollock, is a common fish. Bertie, then, is the humble everyman who must endure everybody else’s idiotic, self-serving vanities.
But for pure triumphal irony, can anything top the Veneering family, of Dickens’ classic Our Mutual Friend? Such a vaguely grand-seeming name for a vaguely grand family. Simultaneously, of course, their name clues us in that they are nothing but surface. And we enjoy watching them try—and fail—to live up to their banal aspirations.
Ironic names are easy to create: Just think of your character’s opposite qualities and brainstorm liberally. Let’s say you’ve got a clumsy guy who lives with his parents and aspires merely to avoid work and download porn. You could give him an ironic name like Thor or Victor or Christian or even Pilgrim. Or you could give him a first name that’s a family surname, like Powers or Strong.
Authors who want to use ironic character names should strictly limit themselves to one per story or novel.”
To see other options of name choice from Writer’s Digest, click here.