Writing tips – Book titles

Many writers struggle with finding a suitable title for their book. Just browse the book shelves and you’ll see the variety. Some stick in the mind, while others don’t. You might be contemplating writing a series, so immediately it would be a fine idea to have the titles linked for the series.

Nora Roberts, writing as J.D. Robb has the word ‘Death’ in her near-future series.

John D. MacDonald used a colour in his Travis McGee titles.

 

 

And Simon Brett uses alliteration in his Fethering crime series, viz:

The Body on the Beach, Death on the Downs, The Torso in the Town, Murder in the Museum, The Hanging in the Hotel etc.

The following is an extract from Chapter 6 of Write a Western in 30 Days.

 

The title of your book should attract the reader’s attention and even provide sufficient intrigue so that the cover will be turned over and the first page will be read. If the cover and title do that, it’s done the job. Of course, it helps if the title is memorable!

The title should be one or all of these:
     
Phrased concisely

Expressed in concrete terms – not abstract ones

Able to arouse curiosity concerning the main character’s predicament

Fresh

 

Often, the ideal method to conjure up a suitable title is to fasten on an aspect of the book’s conflict.

A turn of phrase that sums up the underlying theme might work, too.

Or play on the words: Blind Justice at Wedlock was about the hero being blinded and seeking justice. I couldn’t simply use Blind Justice, as that title was already over-used. There is no copyright for a book title, but it pays to check that your title hasn’t just been released into the marketplace. If it was used several years ago, then that’s not a big problem, but if the title is recent, then it can cause confusion. It might also suggest that it’s not particularly original.

Sometimes, a phrase from a quotation might serve. Beware of using quotations from individuals who have not been dead for at least seventy years – they’re probably still in copyright and you might need to get permission to use the quotation. Prolific author E.V. Thompson’s story about early Texas, Cry Once Alone (1984) used this title from a lengthy quotation of Comanche Chief Ten Bears.    

Generally, one-word titles rarely work in the memorability stakes. If there hadn’t been a film featuring Paul Newman, would Elmore Leonard’s book title Hombre be as memorable? Probably not. One-word titles don’t evoke any image in the mind’s eye, particularly if they’re abstract – hence, the recommendation to use concrete terms.

Yet, to contradict that observation, they’ve always been popular with western writers – not least, Louis L’Amour: Brionne, Callaghen, Catlow, Chancy, Conagher, Fallon, Flint, Hondo, Matagorda, Shalako, Sitka, and Sackett, among others, so perhaps it’s the exception that proves the rule? If the title is a character’s name or the town’s name, it might work.

In the end, maybe it comes down to personal preference. But don’t always go for the simplest option – the character’s or the town’s name.

Sometimes, the theme is significant and can be used for the title, as long as it isn’t too abstract.

Indeed, the title might depend on whether or not you’ve decided to write about a series character. That may dictate a slightly different approach to selecting a title. Oliver Strange’s character Sudden, for example, started out with the book The Range Robbers (1930) but was followed by Sudden (1933) and six more with the Sudden name in the title.

Don’t get bogged down thinking about a title. Quite a number of authors simply use a ‘working title’ just to get started, feeling sure that by the time the book’s finished, a title will come to mind.

E-book from Amazon com bought from here

E-book from Amazon co uk bought from here

or paperback post-free world-wide from here

On Amazon.com this book has eight 5-star reviews and two 4-star reviews; on Amazon.co.uk it has an additional three 5-star reviews.

This book is a very useful guide for anyone wanting to write genre fiction – that is, any genre, not only westerns. Those aren’t my words, but the opinion of reviewers on Amazon.

'Two distinct races'

Charles Lamb (1775-1834) had a few things to say about borrowing.

‘The human species, according to the best theory I can form of it, is composed of two distinct races, the men who borrow, and the men who lend.’ – The Two Races of Men

‘I mean you borrowers of books – those mutilators of collections, spoilers of the symmetry of shelves, and creators of odd volumes. – The Two Races of Men.

I believe that there are readers who buy books and readers who borrow. [We’ll ignore those people who borrow books from us but never return them…] There are plenty of reasons why readers borrow – cost and storage space being just two. I may have a collection of about 4,000 books, but in my lifetime I’ve read thousands more. Space precludes storing so many. I’ve borrowed from the public library when I couldn’t afford to buy sufficient books to read; and of course pre-Internet, I delved into the non-fiction shelves for research. Like most generalisations, I’m sure this separation into two types of book readers will fall down under close scrutiny, but I feel that it has a grain of truth in it. Until relatively recent times, authors received no payment for books borrowed from libraries.

It seems only fair that authors should benefit in some small measure from institutional borrowing of their work. Twenty-eight countries have a Public Lending Right programme. The first was implemented in Denmark in 1946; the UK’s PLR was enacted in 1979.

As a resident of the EU (UK citizen living in Spain), I am able to take advantage of the PLR system applied to libraries in the UK and Eire. It is a welcome annual event, receiving notification of the pecuniary reward (taxable) along with the number of borrowers for my registered books.

Registered authors are eligible for payment if their PLR earnings reach a minimum of £1. The rate per loan is currently 6.2 pence [and for foreign readers who may not be aware, there are 100 pence in the £]. There is an upper limit for any author, £6,600. Last month, PLR made payments totalling £6.1 million to 22,327 authors. It is funded by the Department of Culture, Media and Sport through the British Library. Writers can register online. A book has to be registered by 30 June to be eligible for assessment in the following January.

To read the rules about registration, please go to the website www.plr.uk.com

A list of the hundred most borrowed titles included James Patterson fifteen times; needless to say, he was the most borrowed fiction author (for the seventh year running); Nora Roberts dropped from fourth place last year to sixth; M.C. Beaton was seventh and tenth was David Baldacci (previously eighteenth). Lee Child had the two top most borrowed titles; J.K. Rowling’s The Casual Vacancy was the tenth most borrowed title, well beaten by Fifty Shades of Grey (third).

 

The top twenty of the 100 most-borrowed books in Scotland are all crime novels.
 
Top non-fiction author was cookery expert Mary Berry.
 
The full list can be found on the website.
 
Last year my books (penname Ross Morton) were borrowed 5,464 times from the UK libraries. That’s a great feeling, to know that that number of people have read my novels.
 
Since its publication in 2007, my first novel Death at Bethesda Falls has been borrowed 8,709 times.
 
My most-borrowed title is The $300 Man.

If you can't borrow it, please purchased post-free world-wide from here

So, I must go against the advice of Shakespeare, in Hamlet: ‘… neither a borrower, nor a lender be…’ (I know, he was talking about money, rather than books!)