Hmm, interesting question. I've never really thought about my process before. I just kinda... go with what feels right in the moment, you know? Sometimes it comes easy, sometimes I stare at the file for an hour.
Consider the genre. A sci-fi short might need a title that hints at the concept, like 'The Ones Who Walk Away from Omelas.' A romance might benefit from something evocative and emotional. A horror title should unsettle or misdirect. The title is part of the contract with the reader about what kind of experience they're in for.
I keep it stupid simple. My rule: the title must be a phrase a character says at a pivotal moment, preferably near the climax. It guarantees the title is thematically relevant and has emotional weight within the narrative itself. Readers love that moment of recognition, where the title drops in dialogue and everything clicks.
It forces you to write a line that carries that much weight, which is good writing practice anyway. You don't have to finalize which line until you're deep in the draft, but keeping this rule in mind means you're always listening for it. When you hear the line, you'll know. That's your title.
It can be deceptively simple, almost like a placeholder that the story fills with profound meaning. 'The Road.' 'The Wall.' These monolithic, elemental titles become canvases onto which the story projects its entire thematic and emotional landscape.
Scale. Contrasting the immense and the intimate. 'A Brief History of Time', 'The Sense of an Ending'. ‘Brief’ vs. ‘History of Time’, ‘Sense’ vs. ‘Ending’. That tension between a small, human perspective and a vast, cosmic subject is inherently dramatic. It promises a story that will try to bridge that gap, to find personal meaning in universal forces, which is a deeply emotional quest.