It's worth spending the time

By Jenny Hilborne
Author of psychological mysteries and thrillers

Title is a big deal, maybe more important than the cover. Just like newspaper headlines, it has to have the power to grab attention. Choosing a good book title is difficult and it takes a lot of time.

As I remain undecided about the title for my upcoming suspense, I wonder how many other authors struggle with choosing their titles. How much attention do readers give to a title? Often when I've read a good book, I'll remember bits about the plot, perhaps not the characters, but I'll always remember the title.

A purchase could be based on a title alone, especially if it's a cool or intriguing one. I'm trying to remember if I've ever bought a book based on the title alone, but I'm sure I've certainly picked one up. I see it happen at book festivals, when a potential reader sees a book on a table that catches their eye and comments on the title. An interesting title gets the book in their hands. A great title offers the promise of a terrific story.

Some authors find it difficult to work on an untitled project - myself included, and we spend far too long analyzing labels instead of writing. When I think of titles for my work, I try to come up with key words in the story. If any jump out at me, they go on the possible list. In two or three words (I prefer short titles), I have to convey what the general story is about. It's not easy.

Putting on music, having a glass of wine, dimming the lights....none of this works for me when choosing a title for my books. Not even staring at the ocean. For my work in progress, I've put it out for a vote - and still can't decide. Maybe I'm overthinking it and if I forget about it for a while, the right title will come to me. That's the plan for now. While I was hunting around the web for ideas on creating a compelling title, I stumbled across a blog post by Michael Hyatt using the acronym PINC, which stands for Promise, Intrigue, Need, Content. Hyatt's post includes some good info. For anyone interested in reading it, I've included the link:

http://michaelhyatt.com/four-strategies-for-creating-titles-that-jump-off-the-page.html

In his blog post, Hyatt states great titles do one or more of PINC: make a promise, create intrigue, identify a need, or state the content. This helps. I've noticed when I buy books, I'm drawn to the intrigue part of PINC, to the titles that raise questions in my mind; what's this book about? I think he's right that a title goes a long way towards making or breaking a book's success and it is worth spending the time to come up with the right one.

Readers: do you ever buy books based on title alone?
Authors: Do you change your title as your story develops? How do you know when you've found the right one?

Heightening the Suspense, Part I

by Jodie Renner, editor & author

Whether you’re writing a thriller, romantic suspense, mainstream novel or any other genre of fiction, your story needs plenty of tension and conflict, and also a certain amount of suspense, to keep the readers turning the pages.

As Jack M. Bickham says, “In fiction, the best times for the writer — and reader — are when the story’s main character is in the worst trouble. Let your character relax, feel happy and content, and be worried about nothing, and your story dies.”

According to Jessica Page Morrell, “Suspense forces a reader to stay engaged and is part anxiety, part curiosity. Suspense unsettles the reader, plunges him into nail-biting angst.” And all this curiosity and worry keeps him turning the pages, of course.

What is suspense, anyway? Hallie Ephron relates this story: “Alfred Hitchcock was asked to define suspense. He told the interviewer to imagine two people sitting at a table at a café. Under the table is a bag. In the bag is a bomb. The characters don’t know that the bomb is there but the viewers do. That, he said, is suspense.”

And as Steven James said in his excellent workshop at Thrillerfest, “Suspense needs apprehension. Apprehension is suspense. And impending danger creates apprehension.” James says that suspense is about first “making a promise” (setting reader expectations that your characters and story are going to intrigue them) and then providing a payoff. “The bigger the promise, the bigger the payoff,” says James. “Give the reader what he wants or something better.”

What are the main elements of suspense?

Jessica Page Morrell likens writing suspense in fiction to dancing a striptease, because effective storytelling requires teasing the readers initially with a tantalizing opening, an intriguing story question and an inciting incident, followed by hints and foreshadowing of trouble to come, which creates a feeling of unease. Then add in some delay and subterfuge to keep readers on edge, waiting for the layers to be peeled off to find out what’s going to happen next, or what that deep, dark secret was.

Of course, you need to seduce the readers first by piquing their interest in your protagonist, so they’ll start identifying with him — otherwise, they won’t really care what happens to him. As William Bernhardt says, “If people don’t care about your characters, nothing else matters.”

Tantalize, but build slowly. This initial delay, according to Morrell, “creates unbearable suspense, and suspense manipulates readers’ emotions. Once the inciting incident threatens the protagonist, the writer’s job is to prolong this trepidation for as long as possible.” As a result, “suspense builds and satisfies when the reader desperately wants something to happen and it isn’t happening.”

Suspense is about exploiting the readers’ insecurities and basic fears of the unknown, their inner need to vicariously vanquish foes, thwart evil, and win over adversity. The readers, if you’ve presented your protagonist effectively, are in her head, fighting right in there with her against her cunning adversaries and other dire threats.

Hallie Ephron outlines a typical arc of suspense. As she says, “You can build it gradually, teasing the reader with possibilities. The climax and resolution should feel worth the anguish of getting there.”

Here are the stages of the suspense arc, according to Ephron (my comments in parentheses):

1.    Establishing and foreshadowing (set the stage, hint at danger to come)

2.    Suspense begins (conflict and action start)

3.    Tension escalates (danger looms), then loosens (slight reprieve, breather)

4.    Turning point (critical point — can increase or release tension)

5.    Sometimes a false payoff (false alarm)

6.    Payoff (good or bad: resolved, moves to the next level or “to be continued”)

Repeat as needed throughout the book, always providing some reprieve between these tense, nerve-wracking scenes.

As Ephron says, “Think of a suspenseful scene as if it were a pressure cooker. First you increase it a little, then release it a bit, giving your readers and characters a little breathing space, then tighten again, raising the pressure even higher. Repeat until cooked.”

Part II of this theme discusses a number of specific techniques for creating and heightening suspense in your novel.

Resources:

Jack M. Bickham, The 38 Most Common Fiction Writing Mistakes

Hallie Ephron, The Everything Guide to Writing Your First Novel
Steven James, "How to Write Thrillers That Actually Thrill", Craftfest, Thrillerfest 2011

Jessica Page Morrell, Thanks, But This Isn’t For Us

Jodie Renner, a freelance fiction editor specializing in thrillers and other fast-paced fiction, has published two books to date in her series, An Editor’s Guide to Writing Compelling Fiction: WRITING A KILLER THRILLER and STYLE THAT SIZZLES & PACING FOR POWER. Both titles are available in e-book and paperback.

For more info, please visit Jodie’s author website or editor website, or find her on Facebook or Twitter.