Post # 146: Book Giveaway!

New Writing, Things You Should Be Reading, writing news

Would you like to read an advance copy of my debut novel, Blowin’ My Mind Like a Summer Breeze, before it comes out on July 22nd? Of course you would! And I’m doing a giveaway just for followers of my blog to make it happen. Because I do love you so.

The rules are simple:

Be among the first 5 people to click HERE and send me a message saying you’re interested.

Then, I will send you a secure link where you can download the e-book to read on your Kindle, Nook, or e-reader of your choice. Or you can download the digital ARC (advance reader copy) version of the paperback.

Did I mention it’s FREE? Clink the link and let’s make this happen! Yay books.

Post #145: I Know a Writer Who Can Help With That

Editing Services, New Writing, The Writing Craft, writing news

Much like getting a golf ball to fly in the direction you intended it to go when you hit the damn thing, writing is way harder than it looks. That goes for whether you’re sweating your college admissions essay, or trying to get your novel’s opening to work a little better. And it’s why it helps to have an experienced guide along for the ride. Someone who can look at your writing from an honest distance, give you tips to hone your craft, and help you build confidence.

And, you’re in luck. I happen to know a guy.

I’m thrilled to be offering my services as a freelance editor, copywriter, writing coach, consultant, and spirit guide.

Why should you work with me?

With an MFA in creative writing from Lesley University, twelve years of teaching experience, five years as a professional copywriter, a debut novel on the way, and around a billion hours polishing manuscripts until they shimmer and shine, I can help you see what’s working in your writing—and what needs work. 

Are you applying to college and need that college essay to really pop? I got you.

Need a gut check on your novel’s opening pages? I got you.

Looking for big picture feedback on your completed manuscript? I got you.

Need to improve the copy on your website or in consumer facing materials? I got you.

Just getting started and not sure how to move your story from your brain to the page? I got you.

I’m professional. I’m punctual. I’m supportive. I’m honest. I promise not to waste your time.

But mostly, I think you should work with me because I love words and stories more than anything in the world, and I genuinely believe my experience can help you accomplish your writing goals.

Click HERE to get learn more about the writing services I offer.

Or, simply go to my CONTACT page and send me a message.

Let’s get to work.

Post #144: So, What’s Your Book About?

ebooks, New Writing, Things You Should Be Reading, writing news

With my debut novel set to come out on July 22nd, it’s time to start telling you a little bit about it. I thought I’d start with the back cover blurb/teaser that I recently wrote. Have you ever tried to write one of these? I don’t recommend it. It’s really hard. When you write an entire book and then you sit down to try to summarize that book in a compelling way that piques someone’s interest, but in a way that doesn’t oversell or tell them too much, but also somewhat fits the tone and feel of the book inside, but without seeming too casual or annoying, it feels like someone has just asked you to juggle some flaming unicycles.

And yet, I’m proud of this blurb, and of the way it introduces my main character, Rainey Cobb, the girl on the cover. Readers, after all, will experience the blurb in conjunction with the cover art, and I wanted the teaser to establish Rainey as a person and bring her world and dilemmas to life in harmony with the cover. I love this character so much, and I hope readers love her too.

Fifteen-year-old Rainey Cobb never thought meeting someone could actually change her life. But, then again, she’s never met anyone like Juliet.

It’s 1995 and The Cobb Family Band, led by Rainey’s rock star parents, has arrived for a week-long gig at the Midwestern resort owned by Juliet’s family. Dazzled by Juliet’s carpe diem attitude, DIY tattoos, and passion for grunge, Rainey falls hard. And when Juliet gives Rainey a mixtape that unlocks her heart’s secret yearnings, Rainey starts seeing herself—and her vagabond, show-biz life—through new eyes.

If Rainey quits the band, her parents’ fading career might never recover. But if she doesn’t leap now, she might be stuck forever in a life she didn’t choose… and always wonder who she could have been.

Does that make you want to buy the book? Damn, I hope so. Pre-order links coming SOON!

Post #143: Cover Reveal

New Writing, The Writing Craft, Things You Should Be Reading, writing news

Friends, I’m so glad you’re here to see this. You’re looking at the cover of my debut novel, Blowin’ My Mind Like a Summer Breeze, which comes out on paperback, e-book, and audiobook on July22nd on Deep Hearts YA. I’m revealing the cover on social media later this week, but you’ve been with me from the beginning, so I wanted you to be the very first ones to see it.

I love it so much, and I hope you do too. It so perfectly captures the essence of this book, and my main character, Rainey Cobb, who I can’t wait for you to meet soon.

I plan to do a deep dive into the story behind the cover art and my amazing cover designer, Chloe White, in the days and weeks to come. But for now, I’m beyond thrilled to able to put it in front of your eyes.

Thank you for being here and supporting me. This is just the beginning of so much awesomeness to come. Stay tuned.

By the way, if you’d like to keep up with me on a more frequent basis, I have a new Instagram account for my writing life: @benjaminroeschwrites

Give me a follow!

Post #142: Control-F

The Writing Craft, Uncategorized, Writing Advice

I’ve been furiously editing my debut novel for publication this summer, and let me tell you, it’s a journey. Fraught with peaks and valleys, confirmations and surprises, tears and (near) laughter.

It’s also a supreme brain challenge, applying the editing skills you know you have to the words that you created, trying to erase the proximal distance between your analytical and creative brains so you can edit with clear-eyed clarity and polish your scenes and sentences to a spit shine.

I long ago developed a stomach for editing. They say to “kill your darlings” when you edit. No problem. What weapon shall I use? The machete? The butter knife? The rocket launcher? I’ve got them all and I’m not afraid to use them. Years ago, I wrote a very long (still unpublished) novel about a tennis player, and after a long walk during which I came to the conclusion that one of my sub-plots was totally not working, I sat back down at my desk and casually cut 200 pages from an 800 page manuscript.

Trimming excess fat, re-working scenes, saying goodbye to fluff. I can do that. It’s the blind spots that are starting to keep me up at night. The stuff I can’t see. The revelations that no amount of walks will unearth. Because I can only edit out the crap that I can identify as such. And before you bring it up, I’m not trying to do this alone. My publisher’s developmental editor has been through the manuscript, as have writing colleagues who know their stuff. Other eyes are deeply involved. But there are things that none of us can see with our bare eyes. I’m sure of it. And that knowledge is starting to make me a little crazy.

Luckily, our good friends who make word processing programs have invented tools to help uncover some of the crap you, and other knowledgeable, well-intentioned people can’t always find. I’m starting to believe that Control-F was invented for just such moments.

If you’re unfamiliar, which you probably aren’t, but just in case, Control-F is a word processing tool that allows you to search and find a word or phrase within a document without having to scroll through pages and pages trying to remember where it is. If you’ve never used it, I invite you to open up a document this very moment and try it out. Pick a word. A phrase. An image. Something you know is in there and type it into the Control-F box and watch your document magically race to that very spot. It’s truly amazing. It’s an especially helpful tool for those of us who write book length works where it can be very difficult to find what you’re looking for, no matter how well you think you know your book.

The other day, I was reading my book for the four hundredth time and I thought to myself, “man, is it me or is the word ‘like’ is in here a lot?” My book is 1st person YA, so on some level, it makes sense there would be an extra like or two, but still, I was feeling that from dialogue to similes, ‘like’ was everywhere. So, I typed “like” into the Control-F box. Then held my breath.

Sweet Jesus.

# of uses of the word “like” in my 70,000 word manuscript? 597. That’s less than 1% but still! The word was literally everywhere I looked. After my initial shock and terror subsided, I found myself incredibly grateful, wishing I could buy the creators of Control-F a drink or six. They’d helped me notice what was staring me in the face but I still couldn’t see.

I edited those pesky uses of “like” down to less than 400, and genuinely think I improved the manuscript in a very short amount of time.

Then, fearing I had a similar problem, I did Control-F for the word “just” and did the same thing.

As I was reading, I’d also noticed a proliferation of metaphors and similes involving birds in there so I did Control-F for “bird” and trimmed. Similarly, I’d noticed the same thing with puzzle-themed metaphors. Took care of that. Who’s next?

My teenage protagonist’s parents feature prominently, so there are approximately a billion instances of “mom” and “dad” in the book, but those words are either capitalized or not depending on the situation. Had I deployed the correct usage every time? I think you know what happened next.

I guess my point is that editing a manuscript takes you to some strange places, comes in a variety of forms, and that technology can occasionally be a useful friend along the way.

Thanks, Control-F.

Love, your pal Benjamin

Post #141: In Light of Recent Events

Book Reviews, New Writing, The Writing Craft, writing news

One of the best things about being friends with other writers is celebrating their successes, and I’m so here to celebrate. My good friend Amy Klinger recently published her debut novel In Light of Recent Events, and it’s such a likable, lovable book. I can’t wait for you to read it. Here’s what it’s about (from the back cover):

In the 1990s American workplace, survival of the fittest is sometimes less about clawing your way to the top than developing good camouflage. And Audrey Rohmer is doing her very best to blend in as an undistinguished middle manager. Uninspired by her job and uneasy about her father’s new marriage, Audrey coasts through the work week leaning on her “partner in apathy” – an admin assistant named Pooter – to keep her relationship with the married head of her department from becoming water cooler gossip.

But when an old family friend-turned-Hollywood-superstar crashes on her doorstep in the midst of a publicity crisis, Audrey’s under-the-radar status quo gets upended, and the writing may literally be on the bathroom wall that secrets will find a way out.

Sounds fun, doesn’t it? Like the kind of book you really want to read? It is.

Amy’s prose is airy, witty, and packed with observations so crystalline they make you want to read them again and again.

Did I mention this book is funny? Like, laugh out loud funny. Amy also is fantastic at set pieces and situational comedy making for some fantastically awkward moments.

Perhaps my favorite thing is the way Amy is willing to gently upend our expectations, making this book more surprising than you expect it will be.

It’s also quietly a book about grieving and loss, about the very blurry line drawn in our lives between childhood and adulthood, and about how hard it is to be a good person, even when it seems like it should be the easiest thing in the world.

This book has a huge heart and it will make you giggle. What’s not to love?

Friends, put this one on your to-read list. You can pre-oder it here and help support local bookstores.

Then register HERE for Amy’s virtual book launch on March 22nd at 7pm EST. I’ll be playing MC and helping facilitate some Q & A with the author.

Post #140: A Book of Magical Sentences

The Writing Craft, Things You Should Be Reading, Writing Advice

I recently finished Joan Didion’s National Book Award winning memoir The Year of Magical Thinking, and I can’t stop thinking about it. If you’ve never read it, it’s an account of the heartbreaking death of her husband John at the same time her daughter is battling a life-threatening illness. It’s brutally honest about grief, mourning, and loss. It’s as raw emotionally as anything I’ve read in a long time. Didion splits herself open, and you right along with her. It’s unforgettable. And rightfully on its way to becoming a classic.

But that’s not why I can’t stop thinking about it. Not solely why anyway. Of course, it’s Didion’s emotional candor and bravery in laying her grief bare that’s most noteworthy, most humbling, most nourishing. And I was deeply moved by this book. But it’s actually Didion’s language, and her sentences, I can’t stop thinking about. The way she varies short and long. Declarative and interrogative. The lack of modifiers. The strong, muscular verbs. The repetition. The unusual constructions.

In particular, there’s this one sentence from p. 213 that I’m pretty much obsessed with:

“In August and September, after the Democratic and Republican conventions but before the election, I wrote, for the first time since John died, a piece.”

It’s an odd sentence. Meandering. A bit of a mess, and yet utterly distinct, and because of that, deeply personal. Its confident style is what makes it feel personal. I read and re-read this sentence, thinking: I would never write that. Why wouldn’t I write that? Who would write that? Most interesting are those two words “a piece” dropped in there at the end. They feel like an afterthought, shipwrecked and abandoned, oddly disconnected from the rest of the sentence. And yet, the sentence still makes sense, still does the job it’s supposed to do. And maybe even something far more than that.

Let me try to explain what Didion does here in grammatical terms, and why it keeps catching my eye. Let’s take another sentence. How about this: For the first time in over a week, Jimmy walked his dog. Just a boring old sentence, right? Nothing special. It’s a sentence virtually any of us could imagine writing, or at least its equivalent.

But here, let me Didion-ize it for you.

Jimmy walked, for the first time in over a week, his dog.

Feels different, doesn’t it? Strange, maybe? Even a little confusing? Kind of. It uses the exact same words as the first one, and yet, I’d venture to bet that that’s not a sentence that many of us could imagine writing. I’m guessing it’s a small collection of people who would come up with that second version, or leave it that way upon re-reading.

Here’s why, maybe.

In this sentence, we have a subject (Jimmy) doing an action (walked) to someone/something (his dog). The someone/something is called a direct object. A direct object receives the action in a sentence.

I read the book.

I loved Pedro.

Emile cooked an omelet.

Bethany drove her daughter to school.

Typically direct objects are kept close to the subjects acting upon them so that their relationship is clear. Clarity is the soul of effective writing. So why, we might ask, would a writer of Didion’s caliber make the choice to put her direct object “a piece” so far away from the person (“I”) doing the action (“wrote”)? Did she do it on purpose? Is that just the way it came out? Did she fight with her editor about it?

Let’s go back to the two versions of Jimmy’s sentence for a second.

  1. For the first time in over a week, Jimmy walked his dog.
  2. Jimmy walked, for the first time in over a week, his dog.

Which sentence do you prefer? Which feels clearer? I’m going to boldly assume many of us would choose the first one, or at least say it’s clearer.

Now, which has more style? Which feels more personal? Which is more memorable? The answers to these questions feel harder to predict. And therein lies my fascination with Didion’s choice.

Of course, this is all totally subjective, and yet, that’s not to say that we can’t base our opinion on something. I taught high school English for 12 years, and I taught my students to prize clarity in their writing. To keep their direct objects within reach of their subjects so that their meaning would be understood. Writing with clarity doesn’t come that naturally. It’s actually something that most of us have to learn, and then learn again, and keep learning. Students often write long, meandering, messes of sentences, and part of what teachers can do is help them understand how sentences work so they can make more informed choices. To use language more purposefully, and with greater force.

It’s not so much about right and wrong. It’s about intent and communication.

What bothers me a bit is that if Didion was my student, say a freshman in my 9th grade Elements of Literature survey, her sentence would likely get the serious red-pen treatment. I’d likely write “awk” or “not clear” in the margin. I’d likely circle the words “a piece” and draw an arrow back over to the subject and verb.

I write a regular column about music for KIDS VT and I feel confident my editor would also flag this sentence for the many reasons outlined above.

Further, I’m also a graduate of a strong MFA program where I studied creative writing, and I have a hunch this sentence would get mauled in workshop. With good intent, of course. Those arguing that it’s meandering and should just say what it means and keep ideas together would be right, in a way. And yet, they’d all be wrong too. Why? Because if we all wrote to the workshop ideal, or limited our use of language to what would or would not flag a teacher’s red pen, or please an editor, people like Joan Didion may not have been able to develop such unique, indelible styles. When I read Didion, like when I’m reading Toni Morrison or David Foster Wallace or Haruki Murakami, I’m constantly thinking that she doesn’t sound like anybody else. There’s not much higher praise for a writer. And yet, as teachers and editors, despite our best intentions, it’s often our instinct to push back against what defies convention, what makes us think differently. But to what end, and at what cost?

Let’s take another look at Didion’s sentence.

“In August and September, after the Democratic and Republican conventions but before the election, I wrote, for the first time since John died, a piece.”

Here’s how we might edit this.

After I attended the Democratic and Republican conventions in August and September, I wrote a piece for the first time since John died.

With my editor’s hat on, I removed “but before the election” because thinking like an editor, I could argue that the sentence expresses the same idea without it, and therefore it isn’t needed. I know I shouldn’t edit Didion, but bear with me. It’s just a thought experiment.

Is this edited version clearer in its expression? Maybe a little. But is it consequently less personal? Somewhat. Less stylized? Absolutely. Less memorable? No question. By distancing herself (“I wrote”) from the thing she’s writing (“a piece”), she’s showing us how separated she felt from her life beyond the bonds of her grief. And by inserting her husbands’s death (“for the first time since John died”) in between the two, she’s reminding us, and herself, of the painful bridge she has to cross to re-claim her identity and live a life without her husband, who was also a writer.

What is style? And how is it caught up in other paradigms and inevitably burdened by larger political forces like the patriarchy and Western bias and sexism?

Why do some writers develop such memorable relationships to language, whereas most of us tend to listen to our editors perhaps a little more than we should? I don’t know exactly, but I have a hunch courage and conviction plays a larger role than we might at first imagine. Didion is a writer of tremendous courage and conviction.

David Foster Wallace’s editor wrote at length about the exchanges they would have where Wallace would defend his stylistic choices down to the very last syllable. Wallace went to war for every word. And this is a guy who wrote long. To invest that kind of time not only in the making of the language itself, but then in the defending of it makes me tired just thinking about it. The energy burns in his prose. I feel something similar in Didion. And though I have no idea, I’ll bet she was a pain in the ass to edit.

Here’s something Joan Didion said once about grammar:

“Grammar is a piano I play by ear, since I seem to have been out of school the year the rules were mentioned. All I know about grammar is its infinite power. To shift the structure of a sentence alters the meaning of that sentence, as definitely and inflexibly as the position of a camera alters the meaning of the object photographed. Many people know about camera angles now, but not so many know about sentences. The arrangement of the words matters, and the arrangement you want can be found in the picture in your mind.”

When you read Didion’s thinking, you can begin to understand the way she thought about language. How deeply personal it was to her. You can begin to imagine the mind of the writer that would write:

“In August and September, after the Democratic and Republican conventions but before the election, I wrote, for the first time since John died, a piece.”

Instead of:

After I attended the Democratic and Republican conventions in August and September, I wrote a piece for the first time since John died.

And thank God that she did. The Year of Magical Thinking is full of wondrous, unexpected, sometimes strange but always true sentences, and I’m grateful for every single one of them.

This is the part where I say Rest in Peace to Joan Didion, who died December 23rd, 2021 at the age of 87. Thanks for arranging your words so carefully and challenging this writer to be more courageous.

Post #139: Ambitious Attainability

New Writing, The Writing Craft, Uncategorized, Writing Advice

I love some good goal setting just as much as the next guy. After all, setting goals + achieving goals = happier self. And who doesn’t want to be happier? But I’ve also developed a bit of an algorithm for my own goals, whether they be for my writing life or just my life in general.

I believe in setting goals that are ambitious, but still attainable. Ambitious so that I’m properly motivated and know that I’m pushing myself out of my comfort zone. Attainable so that I have something to celebrate because celebrating feels good and is a really important part of the process. Most goal setting happens privately, and when it’s just you and you, small victories really matter. In the age of social media, it feels like everything is for public consumption, but deep down, most of us still know that we have to make ourselves happy first.

Now, I know that the notion of attainability sort of flies in the face of all the “yay-me!” feelings that are supposed to accompany goal setting in the greeting-card sense of the phrase. We’re always telling ourselves to “dream big” and “be our best selves.” To “reach for the stars” and be “the person we were always born to be.” But you show me a person who spends a little too much time dreaming big and reaching for the stars and I’ll show you a person who regularly doesn’t meet his goals and doesn’t get to celebrate success as often as he’d like.

Let’s get specific. At the top of this page, you’ll see a picture. Now, I’m not in this picture, but what you’re looking at is me celebrating successfully meeting a goal in about the least sexy way possible: by writing numbers on a page, and then writing more numbers beneath those numbers, and then more numbers beneath those. That’s my daily word count for last week.

I was off for a week over the holiday, and I knew I wanted to make some progress on my novel-in-progress, which I’d been struggling to make traction with as of late. But when you’ve got children dominating your life and schedule, Christmas to plan, not to mention food to eat and classic films to watch, days full of free time–the thing we all want more of–can whisk by in surprisingly brisk fashion.

I needed a goal. So, I set one. I decided that during break I would try to write 1,000 words a day. Now, I tend to write fast, and so 1,000 words doesn’t feel like an overly-huge haul, but I also knew that I’d be more likely to reach my daily goal if I set it for an attainable quantity. If I’m properly focused, I can usually write 1,000 story words in 2-3 hours. However, to reach this goal, I knew I’d have to wake up early and get my pages in before the family was up and the day swept me away so that I could properly focus. I’d have to skip morning time chatting with my wife and reading the Beatles biography I’ve been working my way through. I’d have to sacrifice. And sacrifice takes ambition. As does consistency, which was part of my goal. 1,000 words a day, every day. No excuses.

And that un-sexy photo at the top of the page? It’s proof. It’s my reward for a job well done. The first two days waking up at 6:30 when I wanted to sleep in kind of sucked. But with each passing day, I wrote down my current word count before getting to work, and as the numbers grew, I felt successful knowing I’d not only reached the prior day’s goal, I was proving to myself that I could reach today’s as well. And tomorrow’s. With each day, getting up early and getting my pages in felt just a little bit easier, and a little more satisfying.

It’s easy to get romantic about writing, especially fiction. But the dirty little secret is that writing, almost more than anything, is about showing up. And then showing up again. And again. You could write for twelve hours straight and bang out 7,500 words in a marathon Kerouac-style session, but you’re more likely to do it in small chunks. A little bit each day adds up to a lot.

This year, let’s practice ambitious attainability. Let me know how it goes. Very un-sexy pictures of celebration highly encouraged.

Post #138: You Know it When You Hear It

New Writing, The Writing Craft, Uncategorized, Writing Advice, writing news

Since my publisher, Deep Hearts YA, does not do much with audiobooks just yet, one of the tasks I’ve given myself in anticipation of my debut novel coming out next year is independently producing an audiobook of my book to accompany the paperback and e-book release. Why? Mostly because I love audiobooks. Secondly, because it sounded like fun. I know, I know. My version of fun isn’t exactly normal. But I’ve hosted my own podcast, know a little bit about recording and editing quality audio. How hard could it be?

The truth is that before I even got going, I confronted a serious problem. Who would narrate it? Initially, I had planned to narrate it myself. I have a background in acting and teaching and podcasting, which means I trusted myself to deliver a solid performance, and hey, I’m on a budget here. But when I mentioned this plan to my wife, she scrunched up her face in that way she does, the one that lets me know I’m a complete idiot.

You see, I’m a middle aged guy, and my protagonist is, well, not. In fact, my protagonist is a 15-year old girl. My wife gently explained that audiences would probably warm more to the story if the voice narrating the story was closer to that of its main character. She also pointed out that this was especially important given that the novel is in 1st person. But…But…But…

I had some serious Buts because this flew in the face of my plan, and my budget, and my selfish desire to read it myself. And, after all, how the hell do you find someone great to narrate an audiobook?

While I have some additional feelings on the topic of whether a narrator’s gender needs to always match up with that of a main character, my wife was right on this one. She usually is.

So, I thought about it: who do I know that could do this? I sent some emails to local theater organizations. I asked friends. I thought some more. I sent some more emails. Not surprisingly, not much came of this. So, I did what any sensible person would do. I quietly panicked.

And then I discovered ACX, which, as many people know is Amazon’s giant portal for authors and narrators to produce and publish audiobooks. It’s a place where narrators can post samples of themselves and where authors can discover the perfect narrator. I filtered for “YA” and “female” and no fewer that a billion or so narrators and their samples came up. I began clicking and listening. Clicking and listening. Some were fine. Some were not so fine. Some were excellent. Some were professional. Some were decidedly not professional. Some were clearly recorded on a quality microphone. Some seemed accidentally recorded by a phone’s voice memo function. I just kept listening, not quite sure what I was looking for, but hoping that I would know it when I heard it.

And then I heard H’s voice. Everything about her delivery and timbre, her ability to sound vulnerable and real, felt like it would fit perfectly with Rainey, my main character.

From there, things clicked together with a kind of serendipity that is truly unusual. I reached out to H, told her about my project, sent her some sample pages, and asked if she was interested in doing an audition. She was.

A few weeks later, she sent her audition through, and I got goosebumps when I listened to it again and again while walking around my neighborhood with a goofy smile on my face.

I’m happy to report this story has a happy ending, and that I’ve found my narrator. You’re going to love her.

Post #137: Book Title Bingo

The Writing Craft, Writing Advice

For me, choosing a book title is one of the hardest parts of the writing process. And by hardest, I mean it makes me want to jump out my office window into oncoming traffic. The problem, generally, isn’t generating ideas. Usually, the ideas are the easy part. It’s deciding which are the good ideas. And which is the best title. Because, truly, how do you know? And what the hell does “best” mean anyway?

Should a title be short and catchy? Long and poetic? Metaphorical? Stunningly direct? Common and memorable? Abstract and unforgettable? A little bit of everything.

You see where I’m going with this. Conventional wisdom would have us believe that shorter is better. And I don’t necessarily disagree. After all, you want to have a book title that’s easy to grasp, remember, share, and explain. And yet, from where I’m sitting right this very moment, long titles abound. Here’s a selection of longer titles I can see on my bookshelves just from my desk chair:

  • On Earth We’re Briefly Gorgeous
  • The Amazing Adventures of Kavalier and Clay
  • Me Talk Pretty One Day
  • Everything Begins and Ends at the Kentucky Club
  • A Constellation of Vital Phenomena

Of course, I can see plenty of, and probably more, pithy and short titles as well. To boot:

  • Pleasantview
  • Blindness
  • Dubliners
  • Deep
  • Autumn
  • Naked

Shit

I’m preoccupied by book titles right now because I’m trying to settle on the title for my forthcoming debut novel, which comes out summer, 2022 on Deep Hearts YA. To avoid confusion, I’m not going to share the working title here, but suffice to say, it’s on the long side. I’ve changed it many times, but keep going back to the original. Because I like it. And because it fits nicely with the book’s feel, content, and audience. But I can’t shake the nagging, and likely ill-founded, fear that’s it’s too long. Or something.

Ultimately, it probably matters less than I think it does. I doubt I would like The Great Gatsby or Beloved any less if they were called something else. Over time, we reimagine titles. We wrap them around the book as we imagine it to be. As we want it to be. If we love a book, chances are the title feels just right to us. If we hate a book, then it’s probably the opposite.

For the moment, I’ll keep making lists and checking them a thousand times. When the title is set, or when I likely give up and stick with my original title, I promise you’ll be the first to know.