Addison
Auror
Anyone who says writing the beginning is the easiest part is either lying or has hecka good luck. Most writers that i know struggle with beginnings, myself included.
I think everyone knows what entails a good beginning (this is copied from an article):
1. Build momentum.
The first cardinal rule of opening lines is that they should possess most of the individual craft elements that make up the story as a whole. An opening line should have a distinctive voice, a point of view, a rudimentary plot and some hint of characterization. By the end of the first paragraph, we should also know the setting and conflict, unless there is a particular reason to withhold this information.
This need not lead to elaborate or complex openings. Simplicity will suffice. For example, the opening sentence of Flannery O’Connor’s “A Good Man Is Hard to Find” tells the reader: “The grandmother didn’t want to go to Florida.” Already, we have a distinctive voice–somewhat distant, possibly ironic–referring to the grandmother with a definite article. We have a basic plot: conflict over a journey. And we have a sense of characterization: a stubborn or determined elderly woman. Although we do not know the precise setting, we can rule out Plato’s Athens, Italy under the Borgias and countless others. All of that in eight words. Yet what matters most is that we have direction–that O’Connor’s opening is not static.
Immediately, we face a series of potential questions: Why didn’t the grandmother want to go to Florida? Where else, if anywhere, did she wish to go? Who did want to go to Florida? A successful opening line raises multiple questions, but not an infinite number. In other words, it carries momentum.
2. Resist the urge to start too early.
You might be tempted to begin your narrative before the action actually starts, such as when a character wakes up to what will eventually be a challenging or dramatic day. But unless you’re rewriting Sleeping Beauty, waking up is rarely challenging or dramatic. Often, when we start this way, it’s because we’re struggling to write our way into the narrative, rather than letting the story develop momentum of its own. Far better to begin at the first moment of large-scale conflict. If the protagonist’s early-morning rituals are essential to the story line, or merely entertaining, they can always be included in backstory or flashbacks–or later, when he wakes up for a second time.
3. Remember that small hooks catch more fish than big ones.
Many writers are taught that the more unusual or extreme their opening line, the more likely they are to “hook” the reader. But what we’re not taught is that such large hooks also have the power to easily disappoint readers if the subsequent narrative doesn’t measure up. If you begin writing at the most dramatic or tense moment in your story, you have nowhere to go but downhill. Similarly, if your hook is extremely strange or misleading, you might have trouble living up to its odd expectations. As a fishing buddy of mine explains, the trick is to use the smallest hook possible to make a catch–and then to pull like crazy in the opposite direction.
4. Open at a distance and close in.
In modern cinema, films commonly begin with the camera focused close up on an object and then draw back panoramically, often to revelatory effect, such as when what appears to be a nude form is actually revealed to be a piece of fruit. This technique rarely works in prose. Most readers prefer to be “grounded” in context and then to focus in. Open your story accordingly.
5. Avoid getting ahead of your reader.
One of the easiest pitfalls in starting a story is to begin with an opening line that is confusing upon first reading, but that makes perfect sense once the reader learns additional information later in the story. The problem is that few readers, if confused, will ever make it that far. This is not to say that you can’t include information in your opening that acquires additional meaning once the reader learns more. That technique is often a highly rewarding tool. But the opening should make sense on both levels–with and without knowledge the reader will acquire later.
6. Start with a minor mystery.
While you don’t want to confuse your readers, presenting them with a puzzle can be highly effective–particularly if the narrator is also puzzled. This has the instant effect of making the reader and narrator partners in crime. An unanswered question can even encompass an entire novel, as when David Copperfield asks, “Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show.”
7. Keep talk to a minimum.
If you feel compelled to begin a story with dialogue, keep in mind that you’re thrusting your readers directly into a maelstrom in which it’s easy to lose them. One possible way around this is to begin with a single line of dialogue and then to draw back and to offer additional context before proceeding with the rest of the conversation–a rare instance in which starting close up and then providing a panorama sometimes works. But long sequences of dialogue at the outset of a story usually prove difficult to follow.
8. Be mindful of what works.
Once you’ve given some concentrated thought to your own opening line, obtain copies of anthologies like The Best American Short Stories and The PEN/O. Henry Prize Stories and read only the first sentence of each story. As with any other aspect of writing, openings are their own distinct art form–and exposure to the masterwork of others is one of the best ways to learn. (Of course, the challenge of this exercise is to avoid being lured into a story with such a compelling opening that you aren’t able to put it down!)
9. When in doubt, test several options.
Writers are often advised to make a short list of titles and try them out on friends and family. Try doing the same with opening sentences. An opening line, like a title, sometimes seems truly perfect–until you come up with several even better choices.
10. Revisit the beginning once you reach the end.
Sometimes a story evolves so significantly during the writing process that an opening line, no matter how brilliant, no longer applies to the story that follows. The only way to know this is to reconsider the opening sentence, like the title, once the final draft of the story is complete. Often a new opening is called for. That doesn’t mean your first opening needs to be scrapped entirely; instead, file it away for use in a future project.
Here are 12 cliches to avoid in beginnings:
Waking up: avoid the first moments of the day, especially if the character is woken from a dream.
School Showcase: your character introduces their best friend or school bully.
Family Showcase: like above, but with family.
Room Tour: The character giving a tour of their room.
Emo Kid: The character thinks about their life, their worries, doubts etc.
Normal No More: The character sits, or lays, lamenting on how average, normal and/or lame their life is. This hints that the writer is going to shake their world.
Moving Van: A character doing a dull action, driving a car, washing dishes yadda yadda.
Mirror Catalogue: Character looking in a mirror describing self.
Summer of Torture: Character lamenting about doing something they don't want to do (go to grandma's, live in old house, whatever) all summer long.
New Kid: Character worrying about being the new kid in town, school, training, day care whatever.
RIP parents:the parents die tragically and unexpectedly
Dystopian Selection: It's a day of choosing jobs, being paired with someone for something, selected for something awful, etc.
Not saying those shouldn't be done, just do them smart.
Anyone else have any advice or opinions they'd like to add?
I think everyone knows what entails a good beginning (this is copied from an article):
1. Build momentum.
The first cardinal rule of opening lines is that they should possess most of the individual craft elements that make up the story as a whole. An opening line should have a distinctive voice, a point of view, a rudimentary plot and some hint of characterization. By the end of the first paragraph, we should also know the setting and conflict, unless there is a particular reason to withhold this information.
This need not lead to elaborate or complex openings. Simplicity will suffice. For example, the opening sentence of Flannery O’Connor’s “A Good Man Is Hard to Find” tells the reader: “The grandmother didn’t want to go to Florida.” Already, we have a distinctive voice–somewhat distant, possibly ironic–referring to the grandmother with a definite article. We have a basic plot: conflict over a journey. And we have a sense of characterization: a stubborn or determined elderly woman. Although we do not know the precise setting, we can rule out Plato’s Athens, Italy under the Borgias and countless others. All of that in eight words. Yet what matters most is that we have direction–that O’Connor’s opening is not static.
Immediately, we face a series of potential questions: Why didn’t the grandmother want to go to Florida? Where else, if anywhere, did she wish to go? Who did want to go to Florida? A successful opening line raises multiple questions, but not an infinite number. In other words, it carries momentum.
2. Resist the urge to start too early.
You might be tempted to begin your narrative before the action actually starts, such as when a character wakes up to what will eventually be a challenging or dramatic day. But unless you’re rewriting Sleeping Beauty, waking up is rarely challenging or dramatic. Often, when we start this way, it’s because we’re struggling to write our way into the narrative, rather than letting the story develop momentum of its own. Far better to begin at the first moment of large-scale conflict. If the protagonist’s early-morning rituals are essential to the story line, or merely entertaining, they can always be included in backstory or flashbacks–or later, when he wakes up for a second time.
3. Remember that small hooks catch more fish than big ones.
Many writers are taught that the more unusual or extreme their opening line, the more likely they are to “hook” the reader. But what we’re not taught is that such large hooks also have the power to easily disappoint readers if the subsequent narrative doesn’t measure up. If you begin writing at the most dramatic or tense moment in your story, you have nowhere to go but downhill. Similarly, if your hook is extremely strange or misleading, you might have trouble living up to its odd expectations. As a fishing buddy of mine explains, the trick is to use the smallest hook possible to make a catch–and then to pull like crazy in the opposite direction.
4. Open at a distance and close in.
In modern cinema, films commonly begin with the camera focused close up on an object and then draw back panoramically, often to revelatory effect, such as when what appears to be a nude form is actually revealed to be a piece of fruit. This technique rarely works in prose. Most readers prefer to be “grounded” in context and then to focus in. Open your story accordingly.
5. Avoid getting ahead of your reader.
One of the easiest pitfalls in starting a story is to begin with an opening line that is confusing upon first reading, but that makes perfect sense once the reader learns additional information later in the story. The problem is that few readers, if confused, will ever make it that far. This is not to say that you can’t include information in your opening that acquires additional meaning once the reader learns more. That technique is often a highly rewarding tool. But the opening should make sense on both levels–with and without knowledge the reader will acquire later.
6. Start with a minor mystery.
While you don’t want to confuse your readers, presenting them with a puzzle can be highly effective–particularly if the narrator is also puzzled. This has the instant effect of making the reader and narrator partners in crime. An unanswered question can even encompass an entire novel, as when David Copperfield asks, “Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show.”
7. Keep talk to a minimum.
If you feel compelled to begin a story with dialogue, keep in mind that you’re thrusting your readers directly into a maelstrom in which it’s easy to lose them. One possible way around this is to begin with a single line of dialogue and then to draw back and to offer additional context before proceeding with the rest of the conversation–a rare instance in which starting close up and then providing a panorama sometimes works. But long sequences of dialogue at the outset of a story usually prove difficult to follow.
8. Be mindful of what works.
Once you’ve given some concentrated thought to your own opening line, obtain copies of anthologies like The Best American Short Stories and The PEN/O. Henry Prize Stories and read only the first sentence of each story. As with any other aspect of writing, openings are their own distinct art form–and exposure to the masterwork of others is one of the best ways to learn. (Of course, the challenge of this exercise is to avoid being lured into a story with such a compelling opening that you aren’t able to put it down!)
9. When in doubt, test several options.
Writers are often advised to make a short list of titles and try them out on friends and family. Try doing the same with opening sentences. An opening line, like a title, sometimes seems truly perfect–until you come up with several even better choices.
10. Revisit the beginning once you reach the end.
Sometimes a story evolves so significantly during the writing process that an opening line, no matter how brilliant, no longer applies to the story that follows. The only way to know this is to reconsider the opening sentence, like the title, once the final draft of the story is complete. Often a new opening is called for. That doesn’t mean your first opening needs to be scrapped entirely; instead, file it away for use in a future project.
Here are 12 cliches to avoid in beginnings:
Waking up: avoid the first moments of the day, especially if the character is woken from a dream.
School Showcase: your character introduces their best friend or school bully.
Family Showcase: like above, but with family.
Room Tour: The character giving a tour of their room.
Emo Kid: The character thinks about their life, their worries, doubts etc.
Normal No More: The character sits, or lays, lamenting on how average, normal and/or lame their life is. This hints that the writer is going to shake their world.
Moving Van: A character doing a dull action, driving a car, washing dishes yadda yadda.
Mirror Catalogue: Character looking in a mirror describing self.
Summer of Torture: Character lamenting about doing something they don't want to do (go to grandma's, live in old house, whatever) all summer long.
New Kid: Character worrying about being the new kid in town, school, training, day care whatever.
RIP parents:the parents die tragically and unexpectedly
Dystopian Selection: It's a day of choosing jobs, being paired with someone for something, selected for something awful, etc.
Not saying those shouldn't be done, just do them smart.
Anyone else have any advice or opinions they'd like to add?
Sage
Scribe
Myth Weaver
