The Novelry Blog
Where the writers are.
In the first blog of the series, we took a look at why you should start your novel writing plan with your title rather than pick and mix as you go or pin a tail on the donkey at the end. In the second blog we saw the dominant form for the novel title prior to the Twentieth Century was the eponym - or the name of the main character of the story. In the third blog of this series, we saw how the dominant form for the novel title in the Twentieth Century became the Reference; poetic or biblical. In the fourth blog, we saw the emergence of low-brow references and the rise and rise of the Supermodel Solo title at the end of the century.
Welcome to the 21st Century, which we might describe as the Age of Obscurantism, with strained efforts on the part of authors to reach for titles which challenge the reader.
References become more scientific, technical, ever-so academic, arcane, abstruse and sometimes unwelcoming of the less advanced reader...
In the first blog of the series, we saw the dominant form for the novel title prior to the Twentieth Century was the eponym - or the name of the main character of the story. In the last blog this series, we saw how the dominant form for the novel title in the Twentieth Century became the Reference; poetic or biblical. Perhaps they've given you inspiration for writing your own novel title as a statement of your literary purpose to guide writing our novel from the start?
Now we are going to look at the rise of other forms, one a cunningly disguised variant of the Reference, and the other the late Twentieth Century 'supermodel' of titles.
Here's a recap on how the widely acclaimed best novels of the Twentieth Century are titled - in clusters.
The Subversive Reference.
Robert Penn Warren's novel All the King's Men was published in 1946, and as we saw in the last blog, the title is derived from a low-brow source - Humpty Dumpty.
In the last blog, we saw the dominant form for the novel title prior to the Twentieth Century was the eponym - or the name of the main character of the story. To an extent, this is reflective of the tacit understanding of the novel's purpose as form versus a play or a short story or a poem - as one person's moral or literal journey.
It's all change in the Twentieth Century!
In this first of two, we're going to look at the first half of the century, and in the next the end of the Twentieth Century as there's a sea change from the 1980's.
In the Twentieth Century the eponym is old news and almost gone.
Yes, there's a slightly broader range of 'statements of literary intention' but not so much as you might think.
In fact, the title form from 1900-2000 is dominated by one form.
The Reference. (The Deferential Doffing of the Author's Cap.)
The citation or quotation. A referential, deferential, preferential doffing of the hat either to the Bard, the poets, or to the...
Welcome to Titology, or the study of titles.
In this short series of blogs on the origins of novel titles, I will perform a rude taxonomy to classify the species. For my roll call I'm using a combination of the bestselling, best-regarded 'Top 100 Novels' lists from the UK and the USA.
A title is a statement of literary intention.
As a form in itself it has become increasingly nuanced over time, but it's still possible to decipher the motives and meanings behind titles, and quite fascinating. Once armed you can title your book with confidence and sharpen your creative intentions. When we know what we're doing, as authors, we tend to do it rather well. When we don't we tend to do it rather badly. Post-rationalising your intentions in multiple drafts of a novel is a bore, as I described in the last blog.
Now, the modern novel is considered to have started in 1605 with The Ingenious Nobleman Don Quixote of La Mancha by Miguel de Cervantes better known as...
"In my younger and more vulnerable years," (to borrow from the opening line of The Great Gatsby by F. Scott Fitzgerald) I would write a novel, many times over many drafts, discarding huge amounts of material, then set about the business of the novel title.
My 'blue' period of retro-fitting a novel title has been one of twenty years, so you could say it's become a habit. Possibly a bad habit. I wonder how other novelists work? As you will know from an earlier blog, Scott Fitzgerald struggled with the title of his most famous work and it came after the novel was complete.
Having become aware, thanks to exposure to The Novelry, that most writers can write, but most (like me) struggle with story, I've sharpened my practice and put story first and foremost, and I teach that way too. We begin with what readers want; story. The idea for a story needs to be good, not great, but good enough. The rest is in the treatment and the logic that unfolds what happens next.
If you know what you'd like write, get started with our creative writing course like the Ninety Day Novel course. If you're a writer short of an idea, the Classic course will help you create a powerful story. If you mean business, and 2020 is the year you're writing that book, then sign up for our Book in a Year program for a safe and steady managed process. In the meantime, mull the idea over. Consider how you're going to write it. Here's this year's annual for novelists. Click on any image to read novel writing tips from Louise Dean. You can find the complete collection of our writing advice for those writing a novel here. Happy reading!
Taking time out of 'normal' life to immerse yourself in your other world is important for a writer. It's not so much about word count that comes with the daily practice, it's about leaps of insight in terms of the story and theme. Step changes.
These happen at a remove from the habits, routines and chores which obscure the bigger picture. If you want to take your novel to the next level, you need to get away. Not for sightseeing, though walks are helpful to refresh tired eyes, for a relief from the interruptions and duties that keep your mired, pedalling to stand still.
Our writers' retreats are carefully constructed to ensure complete full-body immersion in the world of your novel. No road noise. No deliveries. No cooking. Comfort. We believe in pillows; wonderful pillows for heads to dream new dreams.
Whenever I return to our retreat at Marshwood Manor in rural Dorset, that first night I have the sense of tipping backwards in the bed, as if my head is...
A Member's Story.
SLAYING DRAGONS or how The Novelry saved a writing life.
"Kill the dragon," said Louise.
I was enmeshed in one of my all-too-frequent cycles of Writer’s Doooooom. My antagonist – a shapeshifter – had four alter egos: an evil taxi driver, a threatening bird, a magical girl and a dragon.
And my novel wasn’t working.
Rewind a year. A previous novel – contemporary women’s fiction – had been published six years earlier by a small press, and I’d struggled to write another. Writing against a backdrop of some extremely challenging life events hadn’t helped. 30,000 words were abandoned. 48,000 words: ditto.
I came across The Novelry when Louise offered one of her online novel courses for auction for the Grenfell Tower fund, something made me follow this one up.
I told Louise Dean the sorry tale of how my writing...
One of the sweetest old chestnuts beloved of writers is the notion that a story is driven by what a character wants. Quite so.
It's a convention, it's a construction and it's a fakery of the highest order, yet we must have it so.
In real life, people are not propelled by singular obsessions, they are in fact a mess of conflicting wants, warring desires and to-do lists. This does not make for a great story. The ruse of a story is that the heroine or hero has a one-track mind. Those of you enjoying the BBC TV series 'Gold Digger' may not have stopped to consider how likely it is that a professional man in his late thirties with a family is obsessed with his mother's new boyfriend being a tad on the young side? Sure, in real life, he'd raise an eyebrow then get back to his in-box. But then there would be no story.
An entertainment requires some stage machinery that's about as sophisticated as a canon that fires one canon ball. We entertainers pull a fast one on the...
The second of a two-part special blog on Orwell's own development as a writer to greatness. (Continued from this blog.)
I believe that novels happen in major leaps, via fits of destructiveness as much as creativity. What's more, an author's creative output is not a steady and static production line. Many writers find their voice, nail their theme, hit the sweet spot of storytelling art, inventiveness and lucidity in their later years.
So, how did Orwell make the leap from The Clergyman's Daughter to works like Animal Farm and 1984, from more conventional middle-of-the-road writing, small themes and safe prose to the stark, and bolder books of his last years? To 'prose like a windowpane'?
‘What I have most wanted to do… is to make political writing into an art’ George Orwell.
He wasn't quite there in 1939 after Coming Up For Air. So what happened to Orwell's writing in the years before Animal Farm written at the end of the war?
"If I had to make...
Get on the list!
Get the Sunday paper for writers to your inbox.