Posts Tagged titles
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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I had an email the other day from a writer who wanted to hire me to critique his novel, and said he’d already had it proof-read and copy edited at considerable expense. He wasn’t pleased when I pointed out that his money had probably been wasted.
Most professional critiques will raise enough points for a major rewrite, so you need to be prepared for that. Paying to get your manuscript copy-edited and proofed before this is not terribly sensible.
But if you’ve never been through the publishing process before, how do you know when to hire what help?
Here’s a critical path.
1. Write, revise etc. Send to beta-readers. Do you need to have the manuscript proof-read for them? No. Just try to make it as clear of errors as you can. There may be a lot of changes to come. When they give you feedback, revise as necessary.
2. When the book is the best you can make it, hire a professional editor.
3. When you get the report back, allow plenty of time for an in-depth rewrite. You may not need this, of course, but too many first-time writers tell me they’ve allowed just two weeks to whack through points raised in my notes. But what if I said a couple of characters needed to be spliced together, a sub-plot needed to be strengthened, your novel’s middle had a sludgy bit where nothing happened, the relationship between a pair of characters needed more complexity, your dialogue needed more spice? Any one of those points would probably take you more than a few weeks to sort but these are typical problem areas. Even seasoned novelists might find a critique throws up a fundamental problem – and so they know to allow plenty of time for this phase.
Why couldn’t these problems be spotted by beta readers? Obviously it depends who your beta readers are, but they tend not to have the book doctor’s eye. They’ll react like laypeople and fans of the genre. They’re extremely good for highlighting places they’re confused, losing interest, don’t believe what’s happening and characters they like and don’t like. But not for the real diagnosis and surgery.
4 Once you’ve rewritten – and preferably run the new version past some more readers, you’re ready for copy-editing.
What’s copy-editing? It’s checking the niggly details. Does Fenella always have blue eyes? Have you got a consistent style for spellings and hyphenation? Are the facts straight, as far as facts are relevant? Does the timeline work? Do any characters accidentally disappear? Are passages repeated from the inevitable cutting and pasting that went on in all the editing phases? As you can see, there will be a lot more changes from this stage. So sort all these questions out and only then…
5 …. proof-read or hire someone to do this. Proof-reading is for the final text, when you are ready to publish.
Another big mistake authors make is to get their cover designed too early. Yes, it’s so exciting to have a cover; believe me, I know. It means you’re Really Going To Publish It. But your cover must reflect the emotional promise of the book.
With some genres that will be easy because the story elements won’t change, but if your thematic emphasis might, you might not be fit to discuss covers until you’ve done your post-critique rewrite.
Don’t get your cover designed until you’ve made a final decision about the title. The title is part of the visual design, and a designer will position pictures, textures and so on so that they fit with the shape and size of the words. The images might have been chosen to go with the words too. If you change the title, chaos beckons (and probably more expense).
Once you’ve made the decision to self-publish and do it properly, it’s easy to panic about things being rough. But don’t rush to complete too quickly. Use my schedule to make sure you’re not putting the cart before the horse.
Do you have any advice to add? What mistakes do you see writers making when they hire professional help? Have you had to learn the hard way yourself?
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. 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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If today’s little wedding in London is sending your head awhirl with thoughts of court and nobility, you might like to know how to get your royals right
First of all, there’s a general hierarchy. Emperor beats king; king beats viceroy; viceroy beats archduke; archduke beats grand duke, who beats duke, then prince, marquess, count, earl, viscount, baron, baronet, hereditary knight, knight and dame. Of course, we don’t have all of those in England. And plenty of other countries have their very own courtlies such as csars. More about royal hierarchy here, plus how long those titles have been in use for all you historical fans.
Then there’s how you address them. If you’re talking to a duke, it’s ‘I say, Duke’, as though you were addressing John Wayne. Marquesses and their wives are Lord and Lady with their place name – Lord Bath. But you don’t use the place name when addressing dukes and duchesses, unless you had several dukes in earshot at once. Clear?
In Scotland there are chiefs who are called Macdonald of Macdonald, or use The as their forename (The Chisholm).
If all that’s getting you in a royal flush, drop a knee at Debrett’s.
The wife of an earl is a countess but if you’re addressing her in person you call her Lady Wherever, not Countess. Unless she’s Countess of Wessex. Most earls are earls of Somewhere, although a significant number do not use the ‘of’ – like Earl Spencer. Most of the noble ranks should be addressed as lord or lady. Their children are too, except if they’re The Honourable, although that’s only used in correspondence and formal documents, and never on visiting cards or invitations even though you might think those are correspondence. And if the Hon is female she’s ‘The Hon Jane Smith’ but if she gets married she’s ‘The Hon Mrs Newsurname’ with no forename. Honestly, only Debretts can save you.
And if you’re writing about the royal household of the British monarchy, we have a few colourful roles such as a Lady in Waiting (when they’ve waited for long enough they might qualify and actually become a lady). But did you know there’s also an Official Harpist to the Prince of Wales, an Apothecary to the Household, and the Clerk of the Green Cloth? Bustle over to here.
Fascinating as these details are, what’s most interesting is what they’re like as characters. So if you’re writing about people with extraordinary positions, remember their lives are not like those of others and neither are their personalities. This post of mine might help you – how to write presidents, kings, queens and superstars.
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