Should A Romance Novel Title Include A Subtitle?

Titling a romance novel is all about capturing the essence of the love story while making it irresistible to readers. I always look for titles that evoke emotion or curiosity, like 'The Hating Game' or 'The Love Hypothesis.' These titles hint at conflict or intrigue, which draws people in. I also love playful titles that reflect the tone of the book, such as 'To All the Boys I’ve Loved Before' or 'The Unhoneymooners.' Sometimes, a simple but powerful word or phrase works best, like 'Pride' or 'Beloved.' The key is to match the title to the mood of the story—whether it’s sweet, steamy, or heart-wrenching. A great title makes you want to pick up the book immediately.

If you're trying to get eyeballs and conversions on Amazon, shorter is generally kinder — both to readers skimming on mobile and to the platform display. I usually aim for a title that feels punchy and meaningful in one breath: roughly 40–65 characters is a sweet spot for romance. Amazon's backend through KDP will accept much longer titles (people sometimes push toward 200 characters), but most storefront views and search result snippets truncate after around 80 characters, and on phones that visible slice can be closer to 50–60. So the emotional hook and the main keyword should come early. Beyond pure length, I think about rhythm and clarity. If your title is 'Second Chances at Willow Creek: A Small-Town Romance', the core hook is front-loaded; the subtitle carries the series or trope info. I prefer using subtitles for extra keywords, series info, or the book number rather than stuffing everything into the main title. Keep punctuation light, avoid ALL CAPS, and don't overload with keywords — that looks spammy and turns people off. For testing, I sometimes swap a few candidates and ask friends in a group chat which one reads better, or run a quick poll in a story, because what looks clever to me might feel clunky to readers. Ultimately, short enough to catch attention, long enough to say what the book delivers — that's where I land.

A great title hooks me before the first line ever opens, and honestly that's half the fun of browsing a shelf or scrolling at midnight. For me, a compelling romance title has melody and promise: it hints at emotion (loss, longing, mischief), sets a tone (wistful, fiery, goofy), and suggests a tiny story beat—an image you can almost smell. Think of 'Pride and Prejudice': it's compact, class-conscious, and slightly ironic. Or 'The Notebook'—so simple, yet it carries weight and mystery. When I pick up a book because of its name, there's an immediate question in my head: whose heart is this? What will be risked? There are craft moves writers and readers both appreciate. Use contrast—'The Coldest Girl in Coldtown' (yeah, that's more fantasy, but you get the idea)—or intimacy, like a character's name plus a moment: 'Eleanor & Park' style duality. A subtitle can be your friend when the main title is poetic but vague: it clarifies whether this is a romcom, historical, or angsty second-chance tale. Short titles often punch harder, while longer titles can feel novelistic and lush. Also, play with unexpected words (a gentle anachronism, a domestic object, an oddly specific place) to create curiosity. Marketing matters too—searchability, cover pairing, and how the title looks in a thumbnail. As a reader who loves pulling a book out just to read the first page in a cafe, I judge quickly. My practical tip? Make a shortlist of five and read them aloud at different volumes; the title that still rings true at 10 p.m. is usually the one that will stick with other late-night browsers like me. Try it with friends and see which one sparks the longest silence.

If I wanted to know whether a romance title lands with readers fast, I'd treat it like a tiny social experiment and make it fun. First, I’d create three mini-mockups: plain text on a warm background, the title over a cover-style image, and the title paired with a short subtitle or tagline. Visual context matters — people react differently to 'Lonely Hearts Club' on a blank screen than on a cozy coffee-shop cover. Then I’d toss them into places where quick reactions happen: Instagram Stories polls for immediate thumbs-up/thumbs-down, a Discord or Facebook group where readers are honest, and a couple of Twitter polls. Those platforms give raw gut reactions in hours. Next, I’d run fast micro-tests to collect actual click data. A $5 boosted post on Instagram or a tiny Facebook ad can show which title gets higher CTR. I’d also A/B test email subject lines if I have a list: subject equals title, see open rates. On Kobo/Kindle or Goodreads, I’d post each title as a status or thread and ask three focused questions: does this sound sweet/angsty/friends-to-lovers, who’s the hero, and what vibe do you expect? That helps match title perception to genre expectations. Finally, I’d look at qualitative snippets — comments that show emotion, confusion, or genre mismatch — and then iterate. Titles are a promise to the reader, so if they expect rom-com but you wrote slow-burn, tweak the wording or subtitle. Personally, little tests like this have saved me from burying a great book under a misleading title, and they’re fast enough that you can do a meaningful round of changes in a weekend.

Titles that include character names can be absolute magic or a tightrope—I've seen both. When a name is evocative (think 'Romeo and Juliet' or the haunting single-word title 'Rebecca'), it immediately centers the story on a person and promises intimacy. For romance readers who crave character-driven stories, a name can hint at a deep dive into a relationship: 'Eleanor & Park' telegraphs two hearts and their dynamic, while a title without names might promise a mood or a concept instead. That said, names can also pigeonhole a book. If the name is obscure or hard to pronounce, it may reduce discoverability or feel alienating in different markets. Names can limit scope—readers might expect the story to revolve tightly around that person, which can be great for a character study but limiting if the novel has broader themes. From a practical angle, names matter for SEO and store listings: unique names can help your book stand out in searches, but they can also collide with existing famous names or be easily misspelled. My take? Use a name when the character is the emotional or thematic center and the name itself carries weight. If the title is your primary hook, pair it with a strong subtitle or a distinctive cover to communicate tone and stakes. For series, consider naming conventions—using a character name can tie books together, but it can also box you into one arc. In the end, I tend to lean toward names when they feel like a promise to the reader rather than just a label; that authenticity usually finds its audience, one bookmark and late-night page-turner at a time.

As someone who’s dabbled in writing romance novels, I’ve found romance book title generators to be a fun and surprisingly useful tool. They can spark creativity when you’re stuck. My go-to method is to input keywords related to my story’s theme—like 'enemies to lovers' or 'second chance'—and let the generator spit out options. Sometimes, the results are hilariously bad, but other times, they’ll surprise you with a gem. For example, when I was working on a cozy small-town romance, I plugged in 'bakery' and 'rivalry,' and one of the suggestions was 'Whisked Away by Love,' which I ended up tweaking into my final title. Another tip is to use the generator as a brainstorming springboard rather than a final solution. Combine parts of different generated titles or mix them with your own ideas. I also recommend jotting down every title that catches your eye, even if it doesn’t fit your current project. You never know when it might inspire a future story. Tools like Reedsy’s romance title generator or the one from Kindlepreneur are great starting points. Just remember, the best titles often reflect the heart of your story, so don’t force a generated one if it doesn’t feel right.

Titling a fantasy novel is like casting a spell—it needs to grab attention and hint at the magic inside. I love when titles balance mystery and clarity, like 'The Name of the Wind' or 'Mistborn'. They evoke curiosity without giving too much away. A strong title often uses poetic language or unique phrases, like 'The Fifth Season' or 'The Priory of the Orange Tree'. I’m drawn to titles that feel like they belong to another world, with a touch of grandeur or whimsy. Alliteration can work wonders, like 'The Lies of Locke Lamora', or even juxtaposing opposites, like 'A Darker Shade of Magic'. The best titles linger in your mind long after you’ve closed the book.

The title 'Before We Were Yours' carries a profound weight, reflecting the heartbreaking reality of the Foss children’s lives. It’s a reminder of the identity they were stripped of when they were taken from their parents and sold into adoption. The 'before' signifies the life they once knew—a life of love, family, and belonging. The 'yours' points to the new, forced identity they were given, one that erased their past and reshaped their future. This title also underscores the theme of stolen childhoods and the resilience of the human spirit. It’s a haunting echo of the question, 'Who were we before we became someone else’s property?' The novel delves into the pain of lost heritage and the search for truth, showing how the past can never truly be erased. The title is a call to remember those who were wronged and to honor their stories. Moreover, it’s a testament to the power of memory and identity. Even as the Foss children were forced into new lives, their true selves lingered beneath the surface, waiting to be reclaimed. The title encapsulates the journey of rediscovery, both for the characters and for the readers, who are invited to reflect on the importance of knowing where we come from.