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Posts Tagged Library Thing
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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Once upon a time, an idea caught your eye. You wanted to spend tens of thousands of words exploring it. Maybe you now can’t remember that, or the work you’ve done has left you weary and muddled.
If we’re talking about an idea that hasn’t been written yet, the first thing I’d do is make it new again. Recreate the gut ‘wow’.
OMG I must write this
I forget everything I’ve tried to do with the idea so far. I identify what grabbed me when the idea was fresh and new.
I also forget what anyone else has done with it, if they have. It’s easy to end up intimidated by other treatments, especially if I’m frustrated. I disregard all that and find what originally demanded I work with the idea.
I create a mood board. I write down random phrases, images, dialogue snatches that the idea suggests to me. As a shorthand I might note moments from other novels or movies, or snatches of music. Anything to capture the excitement I first felt.
Make it fun
The chances are, I’m disappointed with the pointless work I’ve done so far. Ideas will flow better if I’m not reproaching myself. After all, the original idea came unbidden.
As much as possible, I make this process feel like play. Instead of typing on a computer, I write by hand. I often use the gaps in expired appointments diaries, scribbling notes in a different-coloured pen, or using the pages upside down. This lets me brainstorm without judging the results. Or I go somewhere I don’t usually write – cafes, a bench overlooking a view, a Tube train.
If you use Pinterest you could also start a board for your idea, but I’m not disciplined enough and will probably get lost on a browsing spree. :)
Where to take the idea?
Once I’ve made the idea feel new again, I start thinking about where it can go.
I start new lists for
- characters and what they want
- dramatic events that fit with the idea.
Batteries recharged, I can now face looking at what others have done. I search on Amazon for books tagged with keywords. LibraryThing has even better tags – here’s the page for My Memories of a Future Life and its tags, which I can click on to find other books that tackle the same subjects. (I would do the same on Goodreads but haven’t been able to work out how.) I also use the website TV Tropes (here’s how I use it to fill gaps in my story outline). All these resources will suggest the kinds of events, characters, conflicts and quests I could have.
Importantly, they’ll also help me discard some possibilities. In the novel I’m working on at the moment, I get a heartsink feeling whenever I look over some of my notes. Clearly I’m not interested in that aspect of the characters’ world, even though other writers have tackled it. So I’ll play it down.
When is the idea strong enough?
Ultimately the idea is strong enough when I know:
- who the hero is and who or what might oppose them
- what people are trying to do
- how it will get worse
- what the setting is
- why it will take a long time to reach a resolution
- a rough structure – what kicks off the drama and various twists that will form the turning points. Sometimes I decide the end beforehand, or I let it find itself once I’m writing.
You might have covered all these bases but the story still seems limp. In that case, beef up the material you have -
- increase the stakes so that the goal matters more to the characters
- make it more difficult for them to get what they want
- turn up the conflict between the characters.
You don’t have to get it all instantly
This is important. Some ideas need to be shut away and wiped from your fretting brain. If the idea looks feeble, don’t junk it. Give it a sabbatical. The Venice Novel, which I talked about in the TV Tropes post, has worn out my ingenuity for now so I’ve put it in the deep compost department. Meanwhile another novel I thought I’d worried to shreds has – to my surprise – woken up with real substance. I’m working on the detailed outline. For now I’m calling it The Mountain Novel.
Partner it with another idea
Sometimes an idea doesn’t have enough juice on its own. But it’s still worth working it as far as you can. A few key elements in My Memories of a Future Life and Life Form 3 began as separate story ideas. Negligible on their own, they harmonised perfectly in a bigger work.
Don’t be afraid to restart
Sometimes we go wrong with an idea or get lost. If I’m in the early stages, trying to work out what to do with an idea, I return to the pure inspiration and look for a stronger angle. If I’ve already drafted and the story doesn’t seem to matter enough, I look at ways to turn up the heat. (Speaking of which, thanks for the distillation pic Brankomaster.)
Have you had to strengthen a story idea? What did you do? Share in the comments!
You can find tips for researching, outlining and what makes a robust story in my book, Nail Your Novel – Why Writers Abandon Books and How You Can Draft, Fix and Finish With Confidence. Available on Kindle and in print. Book 2 is now under construction – sign up for my newsletter for details as soon as they become available. You also might like my multimedia course with Joanna Penn – more than 4 hours of audio and slides with an 86-page transcription – find it here.
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Today I’m being interviewed by historical and speculative novelist KM Weiland at Authorculture, a powerhouse blog she shares with authors Lynette Bonner, Johne Cook and Linda Yezak. Its manifesto is ‘to inspire, enlighten and unite writers and readers’, which sounds pretty necessary to me. And, with their combined background of writing, editing, publishing and mentoring, they certainly deliver.
They’ve long been champions of my book Nail Your Novel, and today they wanted to pick my brains about red-hot topics for writers today – how ghostwriting works, what to look for in a freelance editor, the mistakes I see most commonly in WIPs, the Borders closure, the recent upheavals in publishing – and the Kindle millionaires.
Terrific questions, and I do warn you Katie let me say rather a lot…
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- Self-editing masterclass snapshots: endings and epilogues July 28, 2014
- Revision and self-editing: masterclass snapshots July 27, 2014
- ‘The music of exile’ – The Undercover Soundtrack, Kathleen Jones July 23, 2014
- Ghostwriting FAQs: should you get a ghostwriter, do you want to become one? July 20, 2014
- ‘Abhorrent combinations… fear not as the music writes the story for you’ – The Undercover Soundtrack, Josh Malerman July 16, 2014
- How to fix a plot hole July 13, 2014
- ‘Music of raw power, pulling back from chaos and feedback’ – The Undercover Soundtrack, David Penny July 9, 2014
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