On titles
As you might know by now, I can't write good titles. Or maybe I can produce one decent title out of one hundred miserable attempts. My best school work ever was partially ruined by my title, which was so... hum, good, that my teacher turned to me and asked really, where the hell did you have your mind when you came up with this crap? Can't help it - I can't make good titles.
I'm very good at writing synopsis though.
Still, this post is meant to be about titles, not about synopsis. As a writer wannabe, I deeply envy people who come up great titles, those that would be wonderful in a billboard. Those that always sound nice, regardless of the listener or our opinion about the story. My own experience tells me that one of the things required to write good titles is to never be afraid of being ridiculous. I'm too self-conscient, I guess. So I always try first to come out with something that doesn't sound ridiculous, when I should actually be trying to come out with something that would sound good, that would be catchy without being corny (in a bad way).
A title can be obvious. The Matrix is an obvious title. Nothing brilliant about it - it does its job, it looks nice on the posters. Just like Blade Runner. Two good examples of what a title should be: short and referring directly to the story at hand. Blade Runner, however, was inspired in a Philip K. Dick's book titled Do Androids Dream of Electric Sheep?, and I tell you, this is one hell of a title. Not a canonical one - it's long, it has a verb, it even asks a question - but definitely an unforgettable one. It spawns the doubt that the book is about - can the androids become humans by becoming self-aware and self-conscious? We Own the Night is also a great title, one of my favourite. Never saw the movie, mind you, but I find the idea of "owning the night" truly inspiring. No one can own the night - it is the night that owns us, as much as we rebel against it. But it's a nice thought, and sounds wonderfully. Before the Devil Knows You're Dead is also a great title. Or The Catcher in the Rye. These last three are long and do not refer directly to the story, but they are poetic in their own way.
But the best title I've ever come across is one from a rather recent movie: Where the Wild Things Are. This is brilliant. Haven't seen the movie, but remembering the trailer, the title could easily be something more childish. If I had made up the title Where the Wild Things Are I could as well retire from writing, for my masterpiece was done. It is a beautiful title - beautiful to say, beautiful to listen to. It refers to the story without saying too much. Without talking about monsters. It refers to a dreamland itself, one where wild things can be found. I guess I'm not explaining this that well, but this is the best I can do at this time of the day. Where the Wild Things Are. I should steal it and title my next blog after this one, really.
I'm very good at writing synopsis though.
Still, this post is meant to be about titles, not about synopsis. As a writer wannabe, I deeply envy people who come up great titles, those that would be wonderful in a billboard. Those that always sound nice, regardless of the listener or our opinion about the story. My own experience tells me that one of the things required to write good titles is to never be afraid of being ridiculous. I'm too self-conscient, I guess. So I always try first to come out with something that doesn't sound ridiculous, when I should actually be trying to come out with something that would sound good, that would be catchy without being corny (in a bad way).
A title can be obvious. The Matrix is an obvious title. Nothing brilliant about it - it does its job, it looks nice on the posters. Just like Blade Runner. Two good examples of what a title should be: short and referring directly to the story at hand. Blade Runner, however, was inspired in a Philip K. Dick's book titled Do Androids Dream of Electric Sheep?, and I tell you, this is one hell of a title. Not a canonical one - it's long, it has a verb, it even asks a question - but definitely an unforgettable one. It spawns the doubt that the book is about - can the androids become humans by becoming self-aware and self-conscious? We Own the Night is also a great title, one of my favourite. Never saw the movie, mind you, but I find the idea of "owning the night" truly inspiring. No one can own the night - it is the night that owns us, as much as we rebel against it. But it's a nice thought, and sounds wonderfully. Before the Devil Knows You're Dead is also a great title. Or The Catcher in the Rye. These last three are long and do not refer directly to the story, but they are poetic in their own way.
But the best title I've ever come across is one from a rather recent movie: Where the Wild Things Are. This is brilliant. Haven't seen the movie, but remembering the trailer, the title could easily be something more childish. If I had made up the title Where the Wild Things Are I could as well retire from writing, for my masterpiece was done. It is a beautiful title - beautiful to say, beautiful to listen to. It refers to the story without saying too much. Without talking about monsters. It refers to a dreamland itself, one where wild things can be found. I guess I'm not explaining this that well, but this is the best I can do at this time of the day. Where the Wild Things Are. I should steal it and title my next blog after this one, really.
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