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Posts Tagged Barbara Vine
I’ve had this question from Kate Calcutt.
How important is the title of a book?
Good titles make you stop and wonder. Catch-22. Wow, what’s that? The Other Boleyn Girl. Wait, there were two? Nineteen Eighty-Four. Why then? What happens? (The book was published in the 1940s, so the forward-reaching, inverted date was startling.)
The more famous you are, the less hard your title has to work. Iain Banks graduated from The Wasp Factory to The Business. Would you have picked up The Business if it had been his first? Barbara Vine gets away with No Night Is Too Long because her name already tells readers what they’re getting. Which is just as well because No Night Is Too Long has zero stopping power and is darn hard to remember.
If you’ve got a long-running series, you can coast with the later titles. The first needs to audition with bells and whistles, but later titles can trade on insider knowledge. Mockingjay would be a challenge to remember unless you’d been primed by The Hunger Games. But it’s really a title that says ‘welcome back’.
But if you don’t have much already on the shelves, your title is your one chance to make a reader stop and consider spending time with you. It is your novel’s chat-up line in a place with hundreds of suitors. It needs to thrum with promise, intrigue.
Is this title okay?
Kate also said: I’m considering a title change from ‘In the Background’, to ‘Life, Captured’.
I’m afraid both of those fall at the first hurdle. They’re so vague that they can’t give a flavour of the book, and a reader is likely to pass them by in favour of a title that makes a strong case for what it’s about. Both these titles could describe just about any story.
Now, you might argue that we want our books to appeal to the widest number of readers. And I’m sure if there was a genre category called ‘for anyone who likes a good read’ we would all hope our book belonged in it. But marketing can’t be about ‘vagueness’ or ‘everyone’. It’s about specifics, individuals and distinctiveness.
Let’s get specific
So what are the specifics of Kate’s book? She described her novel to me as contemporary female fiction – the story of a woman’s life as observed by those in the background of her holiday photos.
Now this is an interesting concept and I can understand why she’s toying with those titles. But they didn’t make me want to pick the book up. In The Background might work with a stunning cover. But titles are seen just as often without their artwork, so we can’t rely on that.
So what shall we do to find a better title? We need to brainstorm.
I’m not saying I’ll get a better title in this post, but here’s a starter. Only Kate knows what really mirrors the soul of the book.
Find words that suggest photos, snapshots, images, likenesses, portraits. Exposure. Shot. Frame. Lens. Subject. Picture. I got down to ‘image’ and I found ‘angel’ – a nice emotive word. Photos aren’t the only interesting concept here. Let’s look up watchers, onlookers, witnesses. And moments. Even jigsaws, as this novel seems to present a life in pieces. Or chorus, as the piecemeal narrative is like the commentary of a Greek chorus. What about biography, as it’s the story of a life? Make a huge list of possible nouns.
Now start another list of verbs and adjectives that could go with those. You’re looking for something surprising or emotive. The blurred girl? Background is a good word if we use it strongly. Could that go with something?
Don’t stop with single words. List questions, enigmas, dilemmas that might arise from the book’s concept.
2. Go for the familiar – and twist
Find idioms that use all the words you’ve listed. And book titles – Amazon is useful for this, as is my beloved Library Thing. Song titles too. As good titles set up a frisson, you can get a powerful effect from altering a phrase that’s already familiar. Look at Anthony Burgess showing off (as ever) with a novel called Nineteen Eighty-Five.
In my scoot around LibraryThing I found a novel called Autobiography of a Family Photo by Jacqueline Woodson. That’s got an intriguing vibe so it’s definitely worth looking at other titles that are similar. There’s also The Photograph by Penelope Lively. The descriptions of these two novels necessarily explain the title, which could give you extra ideas to explore.
3. Look in the text
The perfect title might already be in your novel, hidden in a line of dialogue, or introspection, or a description.
4. Look at the genre
Your book needs to woo the right kind of readers, so you need to capture the right tone. Note, especially, the emotions that titles evoke – that’s the promise to the reader. And avoid misleading ones. Although ‘witness’ is good for the brainstorming list, if you put it in the title you might give the impression that it’s a crime novel.
Write a shortlist of titles. Force yourself to come up with many more than you need. Then put them away and come back when you’ve forgotten what they are. Try the best ones out on friends, then go back to Amazon to see how your shortlist compares with the books already out in the marketplace.
Repeat until satisfied.
You’ll find some more notes on titles in this post by Ray Harvey aka Journal Pulp.
Do you struggle to think up titles? Do you have any tips? Share in the comments! And if you want to continue brainstorming Kate’s book – or if you think of a possible title share it here!
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Is it the writing? Do literary novels do it better than genre novels? You’d certainly expect them to, and it’s true that some writers of genre have a tin ear. Equally, many genre writers are terrific wordsmiths – Ian Fleming, Thomas Harris. Anyway the best writing suits the job – whatever that job is.
Is it insight? You definitely can’t have literary fiction without it. Although some genre writers get close. Is John Le Carre a spy novelist or a literary writer?
Is it that literary fiction doesn’t follow rules?
With a genre novel, tropes must be respected because they are what the reader enjoys. A family saga must run a well defined gamut of black sheep, poor relations, blissful marriages and disastrous elopements because otherwise the reader feels that the writer missed the obvious opportunities. The entertainment is in how these obligations are met in a fresh way, the individual writer’s ingenuity within this formal structure.
If genre authors bust out of their boxes, they risk disappointing their readers. Ruth Rendell, who you’d think has a reliably adoring fan base, was careful to adopt a different name to explore beyond conventional crime fiction. When Iain Banks wrote sci-fi as well as lit fic, he stuck an M between his names. But then some writers jump categories and face their public with no disguise – Robert Harris with his modern thrillers and historical fiction. Perhaps it all comes down to how hard he can argue with his publisher.
If rules, or the lack of them, are the crucial difference, does that make genre benders literary? Maybe, if the blend creates a provocative and resonating tension. But sometimes fusing genres is no more than a simple exercise of this-meets-that (or adding freshly boiled zombies).
If a literary novelist writes about a murder, they certainly don’t have to meet the expectations that a crime novelist or detective writer would – think of Donna Tartt’s The Secret History. If genre is about the reader’s expectations, perhaps literary is an anti-genre.
Let’s take Woody Allen as an example. Yes, his medium is celluloid, but it all starts with words and pages. His body of work includes character pieces (Annie Hall, Vicky Christina Barcelona), madcap sci-fi comedies (Sleeper), cosy mystery spoofs (Manhattan Murder Mystery) bleak examinations of morality (Crimes And Misdemeanours). Sometimes, but not all the time, he breaks the bounds of reality by adding time travel (Midnight in Paris), fantasy (The Purple Rose of Cairo). Or singing, flying and ghosts in Everyone Says I Love You. In his latest, To Rome With Love, a character turns invisible.
With Allen, you never know what rules will be followed – and yet you do. They are Allen’s rules, created by his own themes, obsessions and humanity. They’re what we come back for.
So perhaps each literary writer creates a genre of their own, invents the colours they paint in. Like with genre fiction, it makes its own expectations. Perhaps the two are not so very different.
What do you think? Is ‘literary’ a genre? What makes a writer literary? What makes them not? Are there any writers you’d say were both genre and literary?
Annie Hall, authors, Barbara Vine, books, crime novelist, Crimes And Misdemeanours, Donna Tartt, Everyone Says I Love You, family saga, Fix and Finish With Confidence, genre fiction, genre novels, genre writers, having ideas, how to write a novel, Iain Banks, Iain M Banks, Ian Fleming, John le Carre, literary fiction, literary novels, literary writers, literature, Manhattan Murder Mystery, Midnight in Paris, My Memories of a Future Life, novels, Robert Harris, Roz Morris, Ruth Rendell, Sleeper, The Purple Rose of Cairo, Thomas Harris, To Rome With Love, Vicky Christina Barcelona, woody allen, writing a novel - Nail Your Novel, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel
I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- ‘Five characters, five musical identities’ – The Undercover Soundtrack, Jessica Bell October 29, 2014
- Novels aren’t movies – how to handle passage of time in prose October 26, 2014
- ‘My word-hand is singing’ – The Undercover Soundtrack, Marcus Sedgwick October 22, 2014
- Science fiction – have we forgotten what it should be? October 19, 2014
- ‘Is there life after death?’ – The Undercover Soundtrack, Christina Banach October 15, 2014
- Novels aren’t movies – how to write great description in prose October 12, 2014
- ‘A hushed, whispered jingle mimicking a drizzle of rain’ – The Undercover Soundtrack, Anjali Mitter Duval October 8, 2014
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