About Clare Langley-Hawthorne

Her first novel, Consequences of Sin, featuring the Oxford graduate, heiress, and militant suffragette Ursula Marlow, was published in 2007. This was followed by two more books in the series, The Serpent and The Scorpion (2008) and Unlikely Traitors (2014). Consequences of Sin was a San Francisco Chronicle Bay Area bestseller and a Macavity Award nominee for best historical mystery. http://www.clarelangleyhawthorne.com/

Are You a Rereader?

Today’s post is inspired by last week’s NYT ‘By the Book’ column in which Michelle Obama was asked “are you a rereader? What books do you return to again and again?” – two questions which prompted me to think long and hard about my own habits when it comes to rereading. Growing up my father reread his faded paperback copy of ‘The Lord of the Rings’ every year – it was almost a rite of passage and when we saw the book appear once more on the coffee table it signaled something both familiar and comforting. Growing up, I was also a great rereader – all my Enid Blyton books are well-worn and dog-eared from countless reads and rereading my Chalet School collection (an obsession of mine well into my twenties as I sought to find all sixty books in the series) was an annual event (which reminds me, I need to reread them all again – it’s been too many years!).

As an adult, however, I find (like Michelle Obama) that with limited time I prefer to read new books – though there are a few books which I’ve read more than once (or even twice). My Jane Austen collection certainly gets reread (especially after visits to Austenish places like Bath) and I have to admit Charlotte Bronte’s Jane Eyre and Emily Bronte’s Wuthering Heights have had a few goes over. I also have (perhaps a bit embarrassingly) reread my Georgette Heyer collection more times than I care to remember. Going back to these books is like settling into a comfy chair with a box of chocolates – a relaxing indulgence (maybe…) but perhaps also a version of hygge:)

Rereading provides a host of different pleasures to the initial read – there’s familiarity as well as enjoyment, there’s a different kind of anticipation as the book progresses, and a different level of satisfaction when the book is finished. When I think about the books I reread, however, I notice that they really only represent a small part of my overall reading taste. If I’m honest they probably represent the more romanticized and escapist portion:)

So TKZers, are you rereaders? If so, what books do you turn to again and again? What do you think distinguishes a book that you want to reread from one which, while you certainly enjoyed it, you feel no need to pick up and read again?

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The Value of Libraries

“A library outranks any other one thing a community can do to benefit its people. It is a never failing spring in the desert” – Andrew Carnegie

My local library is a hive of activity with a bustling cafe attached, a used book sale area, and a busy downstairs where almost every table is occupied by 10am with people working on laptops, reading newspapers, or logging on to the free wifi on the row of public computers available. Upstairs, there is wonderful children’s section with story time and other parent-children activities, and meeting rooms that hold an array of community events and speakers. I remain thankful that my local community and government values a library such as ours because in many other places, the very existence of community libraries is under threat. In the UK for example, nearly 500 libraries have closed since 2010 and many libraries are now being run by volunteers due to budgetary costs and restrictions. The results of this are heartbreaking, especially since, by many accounts library use is actually on the increase (see The Guardian’s report on library closures here).

After seeing posts on Twitter about the rise in volunteer-run libraries in England, I began to think more carefully about what libraries mean to me and my community. They are more than just a place to borrow books or DVDs or CDs – for some it’s a safe, warm, place to read or study, for others it may be a way to find social connection in their lives, and for some people it might be their only way of accessing the internet (which could be crucial in terms of a job search or education). The more I thought about libraries, the more I realized how lucky I was to have such a fantastic one in my community.

Growing up in Australia, our local library was really my only source of research (yes, this was in the dark ages before the internet) and it was a family outing to go there to borrow books or to get material needed for dreaded homework assignments. Now, although I can access much of my book research online, I still find myself drawn to my local library – and I’m frequently seen laden down with books as I struggle back to my car. Our library recently updated their online ebook lending system (the app is called Libby) which makes it easy to borrow ebooks and download them to my Kindle. So for me the library has immediate, work related value, in that it enables me to undertake research without completely draining my bank account:) For my twin boys, the library is still their ‘go to’ place for books and they have discovered many new series and authors simply by making a decision to try something new (no risk as no money was expended!).  For many others, the library provides intangible benefits too – offering a means of attaining social mobility, self-improvement and providing opportunities to reach beyond the limitations of social or economic class.

Still, I wonder in this day and age whether people still value libraries the way I do – so I was heartened to read the American Library Association’s annual report (which you can view here) that indicates that American libraries are still receiving the funding and attention they deserve (though that’s not to say there aren’t still challenges or threats to that!).

So TKZers, I’d love to know what libraries mean to you. Do you still visit your local community library on a regular basis? What do you think is the value of a library today?

 

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First Page Critique: Titan’s Fall

Happy Monday! Today’s first page critique is entitled Titan’s Fall. My comments to follow. Enjoy!

Title:  Titan’s Fall

Steel gears grind overhead along thin aluminum girders. A red glow illuminated the gray cinder block wall to my right. The weighted anodized-pistol warms my palms. As I wait for the targets to line up, two questions rotate on heavy cycle: Why did my brother have to die? And, will Ms. Reddington remember I prefer chocolate cake over spice this year?

The panel next to the speaker box embedded into the wall beeps and ten cardboard birds drop down from the ceiling. According to my father, the gaming system is the latest in target technology. I wouldn’t know. My siblings and are allowed to leave the compound. The birds’ tails flash red, blue, and green. It doesn’t matter how quick they move or in which direction, blue is always first. I adjust my stance and squeeze the trigger. One by one, the targets return to the rafters.

GAME OVER.

“Kade Maddox,” Mother’s voice shrills from the intercom. “Upstairs! Now!”

My eyes flick to the red START button. Two-tenths of a second and I’ll have beaten the high score. Perhaps I can squeeze one more–

“Double-time, mister. Your father and I have to leave.”

But you just got here?

My dress shoes squeal along the glossy anti-static tiles as I sprint across the open atrium to the staircase. Spotless glass gleams all around me. Like the gaming system, the three-story, fully-staffed house in the heart of the Appalachian Mountains is supposedly hi-tech. Again, I wouldn’t know. My brother’s unexpected death changed a lot of rules.

“You promised this time would be different, August,” Mother barks. I press my back against the wall and lean closer to the door. The smell of Ms. Reddington’s overly-peppered roast beef mixes with chlorinated-air of the basement.

Father sighs. “He has been here two years longer than–”

“Don’t say his name.”

Comments:

Overall, I really enjoyed this first page. The first paragraph in particular combined just the right amount of description, intrigue and character. I thought the character’s voice was already compelling and that the humor as well as the anger and grief came through effectively, particularly in the first few paragraphs. I liked how the mystery of the brother’s death is introduced – although it did get a little confusing as we don’t really know why his death changed a lot of rules or who Kade’s mother and father are talking about in the final paragraph (I assume his brother?).

At times it was also difficult to picture the whole setting – for instance why would the air of the basement still be mixing with the kitchen aromas after Kade has gone up the stairs and through an atrium and (possibly) up another staircase? I was thrown by the reference to ‘dress shoes’ as I wasn’t sure why Kade would be wearing them to target practice. I am also assuming it is a typo in the paragraph beginning ‘the panel’ that Kade and his siblings are  allowed to leave the compound (I’m assuming it should be that they aren’t). As we always emphasize, authors should be vigilant for these kind of typos as they do have a nasty way of sneaking in and staying in!

Overall, my main recommendation would just be to add a tiny bit more in terms of background so the reader isn’t confused by some of the off-hand references to the compound or ‘supposedly’ high tech features. Just a sentence or two might help ground the reader. Are we talking a dystopian society here? What ‘rules’ were there before Kade’s brother’s death? If they could leave the compound before, what was the outside world like? What level of tech is there? and where are Kade’s mother and father going (especially since they just got here according to Kade)?

However, these are all relatively easy fixes that help ground the reader in the novel, and overall I thought this was a very promising start to a novel. TKZers, what advice would you give our brave contributor?

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Compulsive Readability

A few weeks ago I purchased the latest Tana French novel, The Witch Elm, even though my TBR pile is almost to the ceiling. The reason? I buy every novel of hers as soon as it comes out. Why? Because of what I call ‘compulsive readability’ – closely aligned to the ‘trustability’ that Jim blogged about yesterday – meaning I automatically, faithfully, buy every book of hers that’s published. There aren’t many authors I’ll do that with – even J.K. Rowling missed the mark with me. I adored all the HP books and pre-ordered each installment, but then came her foray into adult books. I was uninterested in purchasing The Casual Vacancy and then with the Cormoran Strike mysteries, while I liked them, I didn’t love them (which means I got them out from the library but didn’t purchase them). In this instance, an adored author, didn’t necessarily become the compulsively readable one across all genres.

So what makes an author compulsively readable? What makes a reader buy every single book no matter the blurb or description? I think this aligns with what Jim was speaking about yesterday when it comes to ‘trustability’. I trust Tana French’s books implicitly and because of that level of trust, I won’t hesitate when it comes to buying her books. This, in essence, is what we are writers all strive for – to develop that degree of trust amongst our readers (this is what publishers are clearly looking for too!).

So what makes Tana French so ‘trustable’ to me? I thought I’d try and break down the reasons, as it helps highlight the key factors all of us should keep in mind as we build our writing careers.

First, and foremost, all her books are written to a consistently high standard – and by that I mean every single on of them is well-written, well-conceived, and (even when there may be plot holes) beautifully crafted. As a reader I have no hesitation ordering her books because I know I’m not going to be disappointed, even when they don’t appear to directly fit with the series she’s written to date (which is the case with The Witch Elm). Her writing is what has always stood out for me, not the premise of her books or the plots she spins, and this for me is critical. She never loses focus on what matters the most – the beauty of the words on the page.

Secondly, she consistently builds and maintains a world that I want to enter. Her Dublin murder squad series comprises different narrators/voices/characters but the world remains the same – which creates both an expectation and an anticipation in her readers. Whenever a new book comes out, I can’t wait to see what new spin or perspective she brings to this world (and the way she treats overlapping characters is cleverly executed – further enhancing the world).

Finally, her books never feel rushed. She doesn’t just pop out a book as if it’s merchandise. I’ve never got the feeling that she produces to a schedule (even though she almost certainly has to!) – so I don’t ever get the sense of being cheated that, now she’s successful, she’s resting on her laurels or producing ‘more’ at the expense of ‘quality’.

All these elements are worth bearing in mind as we, as writers, continue to try and establish or maintain our own careers. The difficulty is that there’s also an ineffable element – one I can’t pin down – that probably attracts me to these books over and above another (equally talented) author’s work. Nonetheless, what makes an author compulsively readable  is worth analyzing. Af all, if it was easy, we’d all be best sellers:)

So TKZers, who is your ‘compulsively readable’ go-to author? Which author are you committed to buying and why? What factors do you think go into ‘trustability’ as well as ‘compulsive readability’?

 

 

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First Page Critique: A Plan of Change

Happy Monday! Today’s First Page Critique is entitled ‘A Plan of Change’. I think this page provides a good illustration of some common challenges when it comes to foreshadowing. My comments follow.

A Plan of Change

Jenny Holland never intended to go through with her plan. Plotting revenge against them was just something to ease her anger and pain. Then she opened the newspaper, and a mini-headline on page two ignited a whole new round of hate:

“Dean Decker Honored at Banquet.”

She laid the paper on her work table.

Dean and a group of VIPs smiled in a photograph below the bold type.  All the men wore tuxedos, except Dean.  He had on a gray suit and striped tie.  He was the center of attention and yet he found a way to make himself stand out even more.  In another photo, Carolyn stood beside him, her head tilted demurely toward his. Her coyness made Jenny want to stab her in the throat.

Jenny read the article.  Each line of praise tightened the muscles in her neck a little more.  The last accolade was too much:

“Without him, our charity wouldn’t be able to help as many clients as we do.  Dean is so giving.”

Giving?

Her heart pounded double-time.

“He doesn’t give!  He steals!”

Remember, Jenny.  Dean’s only power is the one you grant him.

She sat back in her chair. “I know.”

She looked out the window of her home office as she tried to calm herself.

Under the maple tree a thrasher foraged for food.  It tossed dead leaves aside, again and again. Usually bird-watching made her smile.  Not today.  Dean killed any chance of that.

Soon the thrasher began hammering the ground with its bill.  She envied the way it jabbed and punched.  The only punching she ever did was in her imagination. It flew away when Mrs. Moon jogged up the sidewalk.  Sarah waved, like most mornings.  Mrs. Moon did the same.

Once their neighborly routine was over, Sarah dropped her hand on top of Dean and Carolyn’s photo.  Dean’s face peeked between her fingers.

It wasn’t right that Dean and Carolyn enjoyed life while Bobby couldn’t.  If she went ahead with her plan, neither would smile ever again.

Dean’s eyes said “I dare you, Jenny.”

It was like the words were whispered in her ear.

Comments:

Overall

Although I enjoyed reading this first page, I think one of the major issues is one of foreshadowing – namely too much is disclosed up front about Jenny’s plan when it comes to Dean and Carolyn. It’s a good example of how a little can go a long way, especially in the first paragraph where we are already told that she is plotting revenge. There is also a great deal of extraneous information in this first page which really doesn’t pull the reader in – like the observations about the thrasher (a little too heavy-handed) and the exchange of waves with Mrs. Moon (unless it provides a sharp contrast to Jenny’s current thoughts, do we really need to know the neighborly routine right here?).

There is also the question of who exactly is in the room on this first page. We start and end with Jenny Holland, yet about three quarters of the way into this first page we are suddenly introduced to Sarah ( “Sarah waved”, “Sarah dropped her hand”). I’m proceeding on the assumption that there aren’t actually two female characters in the scene, but rather the author changed the name of the protagonist from ‘Sarah’ to ‘Jenny’ at some point and that ‘Sarah’ is now a typographical error. Here at TKZ we’ve emphasized the importance of proof reading your first page to the nth degree – an error like this would turn off an editor immediately.

When it comes to the issue of foreshadowing, my recommendation would be to cut most of the explanatory sentences and leave the reader intrigued as to what Jenny is planning. This first page should set up the key questions the novel will address (why is Jenny so angry? What did Dean do? Who is Bobby and what happened to him?) and provide intrigue and tension (what exactly is Jenny planning – can she go through with it?). Telling the reader in the first paragraph that: “Plotting revenge against them was just something to ease her anger and pain” robs this first page of dramatic tension. Similarly, sentences like “If she went ahead with her plan, neither would smile ever again” seem unnecessary as well as cliched. Far better, I think to keep the reader in suspense about Jenny’s plan (as well as her mental state).

To this end I would also urge the author to reconsider the inner monologue/dialogue as it sounds confusing and a little childish at the moment (especially “He doesn’t give! He steals!”). While I don’t mind the idea of Jenny having an exchange that sounds like she’s speaking to a therapist that isn’t there – this would have to be executed with more finesse (and possibly raising the question of an unreliable narrator, which is tricky to pull off).

I suggest a rewrite that reduces the exposition/foreshadowing and removes the extraneous information that drains the page of dramatic tension. Here’s my initial suggestion (apologies for the presumption, but I think it illustrates the points I’m trying to make):

Jenny Holland never intended to go through with her plan, then she opened the newspaper, and the headline on page two ignited a whole new round of hate.

“Dean Decker Honored at Banquet.”

Dean and a group of VIPs smiled in a photograph below the bold type. Carolyn stood beside him, her head tilted demurely toward his. Her coyness made Jenny want to stab her in the throat.

 Each line of praise tightened the muscles in Jenny’s neck a little more.  The last accolade was too much: “Without him, our charity wouldn’t be able to help as many clients as we do.  Dean is so giving.”

Giving?

Her heart pounded double-time.

It wasn’t right that Dean and Carolyn enjoyed life while Bobby couldn’t.  But could she really go ahead with her plan?

Dean’s eyes said “I dare you, Jenny.”

It was like the words were whispered in her ear.

This is by no means a great rewrite but I’m hoping it illustrates my point. Overall, I think this page could work well with some heavy revision. TKZers, what advice would you offer our brave submitter?

6+

Reader versus Story

Yesterday Philip Pullman (author of His Dark Materials series) tweeted an observation that, when a ‘children’s book goes wrong, it’s often because the author is thinking of the readers and not the story. That might be true of other books too.’ While I would agree this can happen, I would also argue that sometimes a book ‘goes wrong’ when the author fails to pay sufficient attention to his or her readers – particularly in genre fiction. I’m talking about reader expectations. Stories can run aground (particularly during the publishing process) when authors fail to consider (or live up to) reader expectations.

When we critique first pages here, we often (consciously or not) consider the conventions of the genre we are considering. A couple of weeks ago we critiqued the first page of a fantasy novel that was a prologue – a device that is both familiar and welcome in the fantasy genre but which, in many other genres like mystery and thrillers, is less enthusiastically embraced. Mysteries and thrillers have a number of so-called conventions which are really more about reader expectations than story structure. Similar conventions abound in other genre fiction like fantasy and romance. When I wrote my first novel, I didn’t consider genre or reader expectations (except my own) but once the book was sold as a mystery, I needed to make revisions to make sure that it conformed to what readers would expect from the start of a historical mystery series with a female amateur detective. Now, I’m more likely to subconsciously take into account reader expectations while I’m writing an initial draft – but that doesn’t mean I artificially try to change the story to suit what I think some hypothetical reader will want. Nonetheless, reader expectations still play an important role in the revision process.

Failure to live up to reader expectations could be the reason a novel doesn’t get published or doesn’t sell as well as it could once released. Similarly, especially in the children/MG/YA space, even though a writer should never underestimate their readership (after all, nobody wants to read a book that talks down to them), failure to take into account the age of the target audience can make a book hard to position in the marketplace.

I think Philip Pullman was probably trying to highlight circumstances in which a writer focuses too much on what they think a reader will want from the story, rather than letting the story unfold. I have heard of some cozy mystery writers who have tried to tailor their stories to what they think publishers (and, by default, readers) want, in an effort to make their story more marketable/publisher friendly. This rarely succeeds unless the writer is authentic in their story choices – you can’t manufacture a story to suit what you think are the publishing trends or reader likes/dislikes.

So TKZers what do you think of Philip Pullman’s assessment? How often do you think stories ‘go wrong’ because writers are thinking of readers rather than the story?

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First Page Critique: Heir of Death

It seems like a while since I’ve done a first page critique and I’m looking forward to today’s discussion surrounding what I think is a great example of the beginning of a new fantasy novel. My comments follow.

Title: Heir of Death

______

There was a girl amongst the grass. Alone in the moonlight and darkness.

The wind tugged at her cloak, tearing golden strands from her braid. She stood tall, blade weighing heavily at her side and watched the stars sparkle and fade.

Shadows danced across her knuckles and wreathed their way up her arms, curling around a patchwork of scars, around skin inked with the names of the dead.

They moved and swelled with her sadness, with her pride and hate – with the knowledge of what she was about to become.

So the girl stood on the bluff overlooking the city as the wind whispered her name, silhouetted by its twinkling lights. It spread out before her, a glittering mosaic of stone and wood and metal, of blood and bones and breath.

She stood cloaked in shadows and in darkness – and she waited.

And it was there, that Death came to her in the form of a man.

He was a dangerous man, arrogant and proud. Tall and powerfully built with a tangle of white blonde hair beneath his hood and eyes like soot stained ground. He wore a black cape and the blade at his side flashed in the moonlight.

Beside him he carried a crown of twisted metal. Of tiny daggers and drifting leaves, of gold and steel woven together to a thing of monstrous beauty. It floated on an invisible wind. Green eyes met charcoal, gold hair and blonde, beaten and broken and evil – daughter and father. She walked out to meet him, with an arrogant swagger, slowly, with the tension of fear only he would recognise. The shadows increased their pace, swirling around her arms. Darker and darker. Faster and faster. Tumbling to a crescendo as Death himself spoke her name.

The world disappeared then in darkness and night. The stars snuffed out, faded by nightmares. They swelled around the girl, snatching at her cloak, tearing her hair free from its cage, ripping the grass from its roots. The wind howled with her song and the earth shook with her magic. The bluff and the world disappeared.

And then it exploded.

It surged toward the man, toward him, a torrent of nightmares and pain. It surged toward him that raw unbridled power – and shattered against an invisible wall.

Shards of nightmares scattered into the sky, tumbling into the dirt and grass, into the city beyond. And the king of death smiled.

Green and charcoal met again across that ruined landscape, defiant and amused, and spoke in a silence only they could understand. Threats and nightmares and deals with the devil. Her hand itched toward her blade, toward the ornately carved knife at her side and her arm ached to bury it in his chest. But she knew she could not beat him, her deal with the devil, not even with her shadows.

Not now.

Not yet.

So the girl knelt before him and took his crown. Gold and steel and darkness above a snow white braid.

And under that black abyss of twinkling stars, on the ground between two worlds, she spoke Death’s name and became his heir.

My Comments:

Overall

As a lover of fantasy novels, I really enjoyed reading this first page. It certainly succeeded in raising my interest and in foreshadowing what I assume will be the battle to come. That being said, this reads like a prologue – setting the scene and written in abstract, descriptive terms that can sometimes feel a little too ponderous or deliberately ‘weighty’. So I just caution the author that even in fantasy – where these kind of prologues are more common – it’s important to tread lightly, lest the weight of the writing drag down the action/tension and slow the forward momentum of the actual story.  Overall, however, I liked what I read and think there’s some strong potential for this fantasy novel.

Specific Comments

Weight of Exposition

Up until the paragraph ending “Death himself spoke her name’, I was fully engaged in this first page. The next few paragraphs, however, started to feel a little overwritten for my taste and I started to get more confused about what was really happening in the scene. In the first paragraph we got an image of the daughter of death waiting for her father, waiting to be crowned perhaps with the crown of twisted metal he was holding. After that things got a little murkier. I wasn’t sure how the stars could get snuffed out ‘faded by nightmares’. Likewise was it the nightmares that swelled around her or the darkness and the night? I assumed that she was using her magic to send a surge of nightmares and pain towards him (her father, Death) and that this onslaught failed, but the way these next few paragraphs read was a little confusing – especially as we have no real sense of her motivation for trying to defeat him – except (as I read the final few lines) because she didn’t want to be crowned as Death’s heir.

My advice to the author is to perhaps step back from the exposition and add some dialogue into this scene to clarify matters. Dialogue could be a great vehicle to explain the relationship between father and daughter and also explain what is meant by her ‘deal with the devil’ (which in the context could be metaphorical or actual). This would also help lift the scene from being weighed down by exposition alone.

Use of ‘Death’

I’m not a huge fan of having Death as a character (I didn’t even like it in the well known novel The Book Thief). It can seem oblique as well as grandiose to have the personification of capital ‘D’ Death in your novel – especially if we don’t really understand what Death  is in the context (The grim reaper? A God like being like in Greek and Roman mythology?). If the character is a fantasy construct/personification that is going to be an actual character, then I think we need some hints of the mythology underpinning the novel right from the get go. I love the idea of the daughter of death as the heroine in a fantasy novel but I’d like to see more clarification in the latter paragraphs of this first page so I can really believe in them as actual characters in the novel.

Conclusion

In conclusion, I think there are some great elements to this first page – it prefaces an intriguing battle between Death and his daughter in a fanstastical landscape. I would just recommend inserting some dialogue to lighten the exposition, caution the author not to get too ponderous, and ask for some clarifications so the reader doesn’t get lost in all the foreshadowing of what is to come. TKZers, I look forward to seeing you comments and advice for our brave submitter.

 

 

 

 

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My Crossword Obsession

Happy Labor Day!

In honor of our official workers’ holiday, I thought I’d share/confess my favorite form of relaxation/obsession – my daily crossword fix. It began as a hobby over a decade ago (I was never a huge puzzle fan as a child or teenager) and has now morphed into a bit of an obsession…one primarily focused on the NYT crossword, but which has spread so that I can no longer resist the temptation to try each and every crossword I come across – whether it be in an airline magazine or the local newspaper at a coffee shop. Nowadays, my handbag invariably has a folded, squished, half-completed crossword stuffed inside.

When I first started doing the NYT crossword, I could barely make it through Monday and Tuesday. Now, even though I might be tearing my hair out by Saturday, I’m determined to do it every day (as the NYT crossword gets harder as the week progresses, my success is measured by which day I can complete without any ‘cheating’:))

My boys have tried to encourage me to extend my crossword mania to other puzzles – and, although I enjoy doing word problems and puzzles (in Australia I loved doing the daily word Target puzzle), I simply can’t come at any of the mathematical ones like Sudoku or KenKen. I think my mind just doesn’t work that way, and the amount of frustration experienced always outweighs any satisfaction I might feel when completing these kinds of puzzles. One day I hope to challenge myself and face the dreaded cryptic crossword…but so far the ability to process any of those clues has eluded me…

As I’ve progressed over time, I’ve discovered that I’ve developed a few crossword tics. The first of these is that I have to do it on paper and always in pen, never in pencil. Although I’ve tried doing the crossword online, it just doesn’t feel the same. Ditto when it comes to trying to complete it in pencil – I just can’t do it. I have to complete a crossword in ballpoint pen, even though I hate writing with these kinds of pens as a general rule (go figure..). So my crossword on a difficult day looks like a mess of pen marks, cross-outs and (more often than not) smears of vegemite toast fingers and coffee drips…exactly how I like it:)

I’ll probably be catching up on Sunday’s NYT crossword as well as tackling Monday’s crossword this holiday weekend. What about you, TKZers, what’s your favorite puzzle? Are you similarly crossword or puzzle obsessed?

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A Title by Any Other Name

By Clare Langley-Hawthorne

It’s no secret that the majority of my book title offerings are terrible. When I suggest them, my agent shudders and then usually takes pity on me and comes up with a better one. For my first novel, Consequences of Sin, I think my working title was something awfully bland like Dark River and my other suggestions went downhill from there. Thankfully, my agent saved me from title hell, and came up with the one that was ultimately used for the published novel. Recently, for a WIP, I told her the proposed title of the novel and she laughed and told me it sounded like porn (which it most certainly wasn’t!)…so clearly my talents as far as book titles go have not improved.

Last blog post I focused on the importance of cover art and my own personal angst over the issue. This week I want to focus on book titles – how much do they matter and, assuming they do, how does one come up with a great title for their novel?

When I think about my own reading preferences, I have to admit covers tend to trump titles. I’m usually less drawn to a book title than I am to amazing cover art – but if a book title sounds weird or off-key it can put me off. Like cover art, the title should be indicative of the level of violence, romance or horror in a novel – so if it doesn’t match the actual book it can be problematic.

There are some well-known examples of famous book titles that were almost called something else. Pride and Prejudice was almost going to be First Impressions (ugh…), Lolita was almost The Kingdom by the Sea (?…), Lord of Flies could have been Strangers from Within and 1984 was almost The Last Man in Europe. The first Harry Potter book was also, apparently, going to be called Harry Potter and the School Of Magic which definitely doesn’t have the ring of Harry Potter and the Sorcerer’s Stone (or, in the UK, the Philosopher’s Stone).  Book titles for these famous books now linger in our collective memory, so it seems strange to think of them being called anything other than what we’ve come to know and love.

So if a book title can make such an impact, how do you choose one that doesn’t suck? I think the key to this is brainstorming as many titles as possible, getting lots of constructive feedback, and then letting someone else decide:)

From researching the question of formulating a decent book title, it seems there is at least consensus that a good book title should be:

  • Short
  • Memorable
  • Provocative or Intriguing
  • Easy to say (no tongue twisters or potentially embarrassing ways of mispronouncing it)
  • Match the heart/soul of the novel

For me, this all sounds much easier said than done… Of course, if you decide to go the traditional publishing route, as the author you often have to accept a new book title generated by the publisher anyway…which might be why I usually have a lengthy list of book title options which I throw into the air…and then wait for someone else to tell me which one (if any) works.

So TKZers, how do you approaching naming your books? How important do you consider the title for you book and how do you make the final decision on the title for your book?

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Cover Art Angst

Of all the difficulties associated with producing a book one of the most vexatious (for me at least) is the issue of cover art. In traditional publishing, many authors typically don’t have a great deal of say in the cover of their book, and when going indie, the issue of cover art can be fraught with design as well as cost issues. Also, the impact of a book cover cannot be understated. It matters. It’s what draws a reader to pick up or click on your novel. For me, a great eye-catching cover is irresistible. I’ve picked up many a book solely because of the cover (mind you, I’ve put many of those books back down again  the first page or blurb was ho-hum).

My own experience with book covers, however, has been mixed – with less-than ideal cover art for my first novel in hardback:

Followed by three wonderful covers for my paperbacks (all involving the same artist and model).


 

I think what made all the difference was that the paperback covers truly reflected the tone, mood and genre of my novels – with the right  blend of historical details, female characterization and intrigue. Now, as I contemplate the possibility of getting my rights back and possibly repackaging/re-releasing these books, I’ve started to think more about the issue of cover art and what makes a book cover great…I hesitate, though – mainly out of fear that I might chose badly. As Bookbub points out, a bad cover can have a negative impact on book sales. Hence I sometimes get that ‘deer in headlights’ look when it comes to book covers.

There are some informative blog posts providing advice when it comes to designing cover art. Jane Friedman has had some interesting guest posts on her blog on this issue (see for example 5 steps to great cover art and getting the right fit).  At the end of the day, all the advice seems to boil down to making sure the cover fits your book and attracts your target readers (something that feels easier said than done!).

When I look at my own book shelves, a few (mainly YA) book covers stand out. There’s the original Twilight series covers which (at the time at least) stood out as unique.

Then there’s the Scythe series by Neal Shusterman – these covers are gorgeous.

When it comes to mysteries I love the covers for James R Benn’s Billy Boyle series:

But a beautiful cover is only on element of the equation – it must also appropriately reflect the type of novel you’ve written and appeal to readers of that genre. If there’s a disconnect between the cover and the content then beauty alone won’t work. When I look at some of the list of beautiful book covers (such as Buzzfeed’s compilation for 2017, which can be found here) many of them, while certainly aesthetically appealing, wouldn’t necessarily make me want to pick up and read the book.

So what are your favorite book covers? What do you look for when seeking cover art for your own novels? What’s your experience been with cover art (either as a traditionally published or indie author) and what advice would you offer to someone thinking about repackaging their books with new cover art??

 

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