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Posts Tagged Suzanne Collins
I have bought your book, Nail Your Novel, and it has been really helpful. I was having a blast. Loving my characters, villains, setting, plot. But after 70.000 words I have a huge abyss in my story, I hit this blank between the middle of act II and the climax. Everything before and after that is just fine, but it seems that no matter what I do, I can’t resolve this blank spot.
Eric Alatza, first-time writer, Brazil. (Oh my: Brazil. I know the web is world wide so this shouldn’t give us pause, not for even a picosecond. Especially as you might be reading this in Brazil too. But it reminds me, in London, how much I appreciate that self-publishing and social media lets us reach …. anywhere. #momentofawe #howmuchdoIlovetechnology)
Okay, here’s how I’d attack Eric’s problem.
1 Does your story climax really fit?
You’re trying to join the end to the rest of the book, but does it fit? Has the story evolved beyond your original plans? Do you believe in this ending?
I had this problem with Lifeform Three. In my first draft I had written a storming finale, planned from the start, and indeed it had a lot of material I was chuffed with. You will never see it because it wasn’t the ending the book needed. As I wrote, the characters had taken on deeper issues, confronted essential questions – and my original ending was logical but disappointing. So I nuked it – yes, the entire final third of the book – and started again.
I’m wondering, Eric, if your spider sense is telling you this, which is why you can’t jump the chasm to the finale you planned. Ask yourself:
- Is the ending unsatisfying in terms of themes explored, questions posed, other threads left dangling?
- Are you forcing the characters in a direction they don’t want to go?
- Will a character have to be uncharacteristically stupid to bring about this climax?
Is a new ending too painful to contemplate? Well, it costs nothing to brainstorm. Just as an exercise, cut loose and see where else you might go.
You mention you have problems with the story’s middle. Is that because your ideas so far don’t seem significant enough?
If so, ask why. The middle of act II is traditionally a turning point. Perhaps the story stakes magnify, or an event turns everything on its head. Mr Darcy proposes to Elizabeth, which surprises and appals her. Nothing can be the same after that conversation. Perhaps there are new alliances that change the nature of the conflict – as in The Hunger Games. It might be the point where the character’s flaw, inner problem or true self first emerges as a dominant force – in Fahrenheit 451, the midpoint is where Montag meets a new mentor character. In the film of The Godfather, the midpoint is the scene where Michael Corleone commits murder, setting him on a new path. It might be a transformation that is subtle but deep. In My Memories of a Future Life, it’s where my narrator truly surrenders to the future incarnation. (I tried to write that without giving spoilers…)
So is your midpoint important enough? Have you got that sense of transformation and escalation? If not, brainstorm ways to find this significance. (And allow yourself to think of solutions that might mess up your planned ending.)
3 Get fresh inspiration
As always, you might be running on empty. When I’m stuck, I go to LibraryThing.com and search for novels that tackle similar themes, issues and situations. I also post an appeal for recommendations on Twitter and Facebook. (I’d do it on Goodreads too if I could work out how.)
Dissatisfaction is progress
There is a reason why you’re balking, although you may not consciously know it yet Our instincts are rarely articulate, but they are usually right. You know the rule about inspiration and perspiration? To fill a plot hole, do more digging.
Drafting is more than transcribing your notes
All the stages of novel-writing are creative. We’re constantly triaging our ideas and refining them. Whether we’re outlining, drafting or editing, we might find new insights and directions. Be ready to make the most of them.
The ebook of Writing Plots With Drama, Depth & Heart is now available for pre-order and will be at a special launch price until it goes live on Twelfth Night (5 Jan). Even available in Brazil.
Thanks for the pic Corinnely
What would you say to Eric?
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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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