First Page Critique: Death in London

Happy Monday! Today’s first page critique is for a historical novel entitled Death in London. My comments follow. Enjoy!

Death in London

The messenger arrived mid-morning. Sam had been at the office since dawn, trying to update and reconcile the Tangier accounts. When the young urchin coughed Sam was startled.

“God save me boy, I didn’t hear you.What do you want?”

“Beg your pardon Sir, Message from the Duke, Sir.”

Ever since the debacle with the Dutch fleet, the Duke of York had become obsessed with wanting regular updates about the provisioning of the fleet. As if Sam didn’t have enough on his plate, now he had to go to Whitehall immediately.  He knew the tide was coming in, so Sam decided to go by water. The walk from his office in Seething Lane to the wharf only took a few minutes. With the incoming tide came the smell of salt on the air, and the promise of the fine autumn days to come.

Sam was short but stocky, and had large inquisitive brown eyes.  His mouth, when it wasn’t smiling, looked as if it was going to. His full lips looked like they were made for kissing, and he used them somewhat more than he should. With autumn underway, these mornings were getting cooler, so Sam had put on his favourite cloak, he especially loved the plush lining in deepest red. His boots were shining with the silk ribbons shining in the sunlight, so he felt dressed well enough for the visit to the Royal Court.

As he sat in the back of the ferryman’s boat Sam had that feeling of sadness that still came over him on a regular basis. Not as often as it used to, but regular enough. Elizabeth’s death had been so sudden, and such a shock. He realized with a start that it had been just over a year ago. Work kept him so preoccupied that it was only these times on the river that he had time to think and mourn.

Sam had plenty of female company when he wanted to. Too much according to his closest friends Will, and Jane. But when you lose the person you married when she was only 14, and had had the tempestuous life they had shared for fourteen years, “getting over it” was easier said than done.

At the Duke of York’s chambers in Whitehall, Sam was able to put the Prince’s mind at rest. The spars coming from the Baltic would arrive in good time and be of high enough quality for His Majesty’s fleet. When it came to the detail, Sam was grateful he was able to talk numbers that befuddled the Duke. Some years before Sam has made sure he was schooled in some arithmetic, so was able to give the Prince more information about quantities than the he was able to absorb.

My Comments

Overall, I found this first page engaging and interesting. I wanted to know more about Sam and his life and would definitely have kept reading. There was good use of selective background details and a great sense of place – in fact I would have liked a little bit more about the sensory impact of traveling the river and the London streets as Sam made his way to Whitehall.

Even after just one page, Sam is an interesting protagonist which is why I think I would prefer the third paragraph not be focus on his outward appearance. The physical description didn’t really sound like one Sam would give of himself – and it took me out of the story – while the other paragraphs provide a good balance of Sam’s thoughts and feelings as well as his background, while keeping the momentum of the story going. I preferred the close POV with Sam and his inner thoughts.

Specific Comments

Historical era/period:  I wasn’t entirely sure when this story was taking place. References to the Duke of York as ‘Prince’ made me think we must be around the Georgian era (I am assuming the Duke of York is Prince Frederick, George III’s son-??)  but I wasn’t exactly sure. The costume description sounded Georgian-ish (cloak and ribbons on boots) but there weren’t enough obvious cues (wigs etc.) and the fact that Sam married a girl of 14 threw me off a bit. I’m no expert on Georgian or Regency era marriages but this seems pretty young – so then I wondered if this was set earlier than I thought. The fact that I was second guessing the time period as a reader signals to me that the writer should give some more clues to ground the reader right from the start in era/historical time period. Given how well the writer created a sense of place with the river and the trip to Whitehall, I think the writer will easily be able to do this.

Tension/Suspense: For a first page, I think I would have liked a little more ‘oomph’ and dramatic tension – perhaps something that can foreshadow the mystery to come (I’m assuming there’s a mystery given the title ‘Death in London). This foreshadowing could come anywhere in this first page (not necessarily the first paragraph as I like how it moves us straight into dialogue and acton – it provides good momentum). At the moment all the reader knows is that Sam is good at finagling the accounts for the Prince/Duke of York – which doesn’t necessarily provide a lot of dramatic tension.

Minor quibbles:  

1) A general reader may not know that the Duke of York is also a Prince so switching between these terms could be confusing.

2) Non-nautical types (like me!) might not know what ‘spars’ are:) A little more context for the fleet would be helpful.

3) I was unsure why Sam wanted to befuddle the Prince with the numbers – is he trying to swindle or cover something up?? That didn’t seem in keeping with his character (at least what we know so far)

All in all, I thought this was an engaging first page and most of my comments are pretty easy fixes. Bravo to our brave submitter!

TKZers what advice or comments would you provide?

 

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What Books Bring You Joy?

I’m sure by now you’ve all seen the social media flap over Marie Kondo (The Life Changing Magic of Tidying up) and her (much maligned) advice on decluttering books – including the outrage over her supposed instruction to ‘keep only the books that still spark joy’ (ideally less than thirty). The furor was such that I decided to watch the episode on her Netflix show  just to see what all the fuss was about (even though I was sure, no matter her advice, I wasn’t about to part with any of my book collection!)  While I, for one, would never presume to advise anyone on the art of tidying up (even though my husband was super excited by the prospect!), I think the debate over whether you should only keep books that still ‘spark joy’ is a wonderful one…because it reaffirms why so many of us love to live surrounded by our books.

Even though on Facebook, Twitter, and Instagram there was a lot of anger and outrage, at the heart of Kondo’s advice there seemed to be some valuable observations about the joy books can continue to spark in people years after they were first read, the benefits of feeling connected to the books you own, as well as the practicalities that every book lover has to face (limited bookshelf space!!!).

I come from a line of book hoarders. Up until recently, almost every available shelf in my parents’ home contained piles of books until they realized the necessity of downsizing meant facing the dreaded task of sorting through their books. I felt their horror. After all, they had decades of book collecting behind them (including amassing a lovely antiquarian collection of English Civil War books which is hopefully going to a museum somewhere). My initial instinct was (of course!) to offer a home to any and all of their ‘orphaned’ books until my husband pointed out that we have no room for our own books let alone anyone else’s…which may be why the concept of books ‘sparking joy’ seems poignantly relevant to me now (not that I’m giving up any of my books yet!!).

In the infamous ‘book’ episode, Marie Kondo asks one of her clients to name the book he will ‘never let go?’ (his answer: To Kill a Mockingbird) and the starkness of this question made me think long and hard (I still have no answer – I have far more than just one book that I’ll ever let go!). Certain books, however, do stand out – like my Chalet School book collection that I obsessively collected into my early 20’s (these school stories were published sporadically and often very hard to find). Although I don’t re-read them anymore, I couldn’t bear to part with them – which must mean they continue to spark joy:)

I’m still resistant to the notion that I could ever declutter that many books (too many bring me joy) or select just ‘one’ to keep – but Kondo’s questions have made me think about why I keep the books I keep – after all, I don’t keep every book – I’ve donated many paperbacks, potboilers, gifts, and duds in the past. I am also an avid library goer (lest you think I’m a complete book materialist!) as well as an e-book buyer (clearly, far less bookshelf space is required for those:)).

According to Kondo, the books I keep on my shelf should (in theory) be those I’ve deliberately chosen as ones that continue to ‘spark joy’…but in practice, this is far more complicated. I keep books that have infuriated and challenged me, classics I was forced to read at school and never really enjoyed but (begrudgingly) learned from, reference books from my past careers (you know, just in case…), books that hold weird sentimental value I don’t quite understand, history books for periods I’ve not written about yet…and the list goes on (not to mention the vast TBR pile!). Sparking joy seems too simplistic a criteria when it comes breadth of emotions literature provides.

What about you TKZers? What do you think about Kondo’s decluttering advice when it comes to books? If she asked you, what is the book you’d never let go?

 

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Morality and the Modern Writer

Happy New Year!

I’m going to dive right into 2019 by raising the tricky and controversial topic of what I’m calling ‘morality and the modern writer’. I’d been mulling over aspects of this issue ever since the MWA controversy over Linda Fairstein, when yesterday (quite serendipitously) the NYT published an article entitled ‘Must Writers be Moral?’. This article got me thinking (again) about how we deal with, and differentiate between, the actions and ‘morality’ of an artist as opposed to their work. In the Fairstein controversy, the MWA withdrew her Grand Master award following an outcry over her involvement in the infamous Central Park Five case. While I don’t intend to discuss this particular case in any detail, it highlights the very public way we are now seeing the line between art and artist play out in society today.

The NYT article (a link to which is provided here) adds a further dimension to the discussion by highlighting the increasingly widespread use of ‘morality’ clauses in publishing agreements today (something, I must admit, I was completely unaware of!). The article details the use of clauses that release publishers from their obligation to publish a book if (in the words of a Penguin Random House contract) “past or future conduct of the author inconsistent with the author’s reputation at the time this agreement is executed comes to light and results in sustained, widespread public condemnation of the author that materially diminishes the sales potential of the work.” Some contracts go even further, requiring authors to return advances should their contract be terminated. As this article outlines, even though publishers’ concern over the marketability of their authors is understandable, the issue of ‘immorality’ can be a slippery concept (especially if the publisher has sole discretion over determining an alleged infringement) and, when it comes to public condemnation, often a moving target. Some prominent writers, such as Masha Gessen, have refused to sign these clauses arguing that there is too much ambiguity involved in these kinds of ‘morality’ clauses, not to mention concerns over censorship as well as public vitriol.

In 2018 there were some very public book cancellations (most notably Milo Yiannopoulos) and scandals involving authors such as Junot Diaz that reflect the post #MeToo era. While I don’t want to engage in a heated discussion about these particular controversies, I am trying to get my head around the distinction (especially when it comes to ‘morality’) between the artist/writer and their work. Any student of literature knows that many famous writers were hardly angels – instead history is strewn with womanizers, drunks, addicts, racists, anti-semites, misogynists..and the list goes on. So how do we separate the person from his or her work? Should we judge an artist solely on their works or is the work inextricably linked to them as people (and thus, their behavior and attitudes)? In the current publishing environment it seems that writers are being held up to scrutiny in both their professional as well as their private lives.

So TKZers, what do you think about these so-called ‘morality’ clauses in publishing contracts? How do you view the distinction between a ‘writer’ and his or her ‘work’? Is such a distinction even relevant in today’s social media age?

 

 

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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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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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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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