Do you start your story with a bang?

[Wordweaver]

I feel like a short prologue could establish the setting before the actual story even begins...maybe a bit of back story to set the mood of the location. If I were sampling a book in a store, I would probably skip the prologue and jump to the page labeled "chapter 1," which hopefully contains some gripping activity. To agree with Chilari, I say activity, not action because I don't think the scene HAS to involve axes being swung into faces in order to be attention-grabbing. As long as the story begins in the middle of an interesting enough situation that has already started, I'm in.

My current favorite is the Forgotten Realms series, which tends to do the opposite: Prologue full of immediate action, ending in a dramatic introduction of the main POV character as he walks away from a bloody scene in slow motion while smoke wafts behind him. Then the first few lines of chapter 1 sets the scene. Also effective, it seems, since I keep reading them.

 

[Ghost]

I don't know much about hooks. Interesting beginnings leave me with questions about the story, setting, and/or characters. In the first example, my only question is "When will this paragraph be over??" In the other, I wonder if my book is missing the first page. If they were my only choices, I'd skip ahead a few pages on the second option to see if it gets better.

Lord Darkstorm's examples are very good. The Robert Asprin and Charles de Lint passages weren't very interesting to me. They inspired an "oh" reaction, and the others made me wonder things ranging from "What strange or mysterious thing will happen in this story?" to "Is this guy really that much of a jerk?"

This is useful to know since I hadn't thought about it before. I should look at my own writing and see if my beginnings would make someone ask the sort of questions that inspire them to read on.

 

[MichaelSullivan]

I agree. I think most folks posting in this thread are agreeing. I think the suggestion is that there's more than one way to get someone's attention in those first few pages. It doesn't have to be an *action* "bang" - but those first few pages do have to hook the reader into wanting to read more.

That means that if you're targeting an action oriented audience, an action scene in the first pages is ideal. Other audiences might be hooked better by other types of scenes. But whatever sort of scene you use, it should hook the reader's interest - because they're only going to give you a few pages worth of their time before they go check out some other book instead.

^^This. Thanks Kevin for putting more precisely what I was "trying" to get across.

 

[Karoly]

The golden rule: Always show, never lecture.

Two characters in a room emotionlessly talking about what is happening = bad.
Narrator telling audience about what is happening = bad

Say you wanted to let the reader know that the kingdom has 6 provinces. You could have the narrator tell your audience "Valtei is made up of 6 provinces, the Northern Wastes, the Eastern Marshes, etc.", you could have some characters chattering about the provinces or shoehorn them into a conversation "this tobacco is from the western plains, good isn't it?". However, wouldn't it be better if you had the protagonist take his love interest to the top of a mountain and tell her "You can see all 6 provinces from here"? This way, you're developing characters and exposing plot, as well as evoking a sense of wonder as you describe the provinces and the beauty and majesty of your fantasy world (which is presumably what you want).

Just do everything like that as much as possible. Whether it's at the beginning or end. Whether it's a high action scene or a low action scene. Have something going on that makes the scene actually interesting, and try to add in any information for the reader that it is relevant to the scene.

 

[FictionQuest]

I have a weak memory and a short attention span. For me, the worst thing at the start of the story is scene setting involving several names, whether characters or places. I don't want to have to remember things may be important later in the story. Scene setting should come in the correct context and it should come in small amounts. That is my opinion.

I don't feel it is essential to have an explosive start. The examples given above do not all have action from the first page, but they also do not immediately bury you in detail that will mean nothing until later in the story.

 

[Seth son of Tom]

i read something that said you need three hooks in the first chapter. the first sentence must make them curious enough to read the first page. near the end of the first page you need one that will get them to continue through the first chapter. and at the end of the first chapter you need another that will get them to read the book.

 

[MichaelSullivan]

I have a weak memory and a short attention span. For me, the worst thing at the start of the story is scene setting involving several names, whether characters or places. I don't want to have to remember things may be important later in the story. Scene setting should come in the correct context and it should come in small amounts. That is my opinion.

You make a very good point...and I agree. I hate an introduction that is filled with too many characters, places, and names. Let the world building grow organically throughout the story. In the beginning...keep it focused and allow the reader to "ease into" the story.

 

[MichaelSullivan]

i read something that said you need three hooks in the first chapter. the first sentence must make them curious enough to read the first page. near the end of the first page you need one that will get them to continue through the first chapter. and at the end of the first chapter you need another that will get them to read the book.

Interesting technique...I would not really characterize those as three "hooks" (which when I read your first line made me go...dang that seems like a lot to do in a short period of time). But as I read the rest it made more sense and I say I'll agree to some extent. I think the important thing is the starting chapter is like reeling in a fish. You need to give them enough to pique the interest and keep providing more (it could be a bit of clarication on your first "hook" or a whole new one) but the bottom line is don't give them an opportunity to get away. Keep the pressure on through the end of the chapter and you're likely to get them to read further.

 

[Terra Arkay]

I guess so, my story shall start within a dream, the protagonist has been having these frequent, recurring, lucid dreams, some prophetic, some just bizarre.

 

[Thalian]

My prologue is a short 2-3 page introduction of the main enemy ordering one of his small forces to attack the farmlands of a large human city, effectively destroying their main source of food. I think it works because it is mysterious because you don't know why the attack is being issued, and my mother-in-law, who is admittedly not a fantasy reader, said she was intrigued and pulled into the story after those first few pages, so I guess it works. My first chapter is a couple weeks after the prologue and starts off with a small farming family sitting down for supper until they get ambushed by the aforementioned war party. The battle that ensues with an elven party from the nearby forest introduces the main characters for the novel and gives readers an early taste of action.

 

[Solomon Tan]

It just boils down to who is the reader. For me, I prefer a 40% of actions and the rest in explaining or describing the scene. I think a balance is required in getting started.

Then again, some readers just read fast and skip details, while some really goes deep on the details and imagine the whole scene... I do have friends who finished reading the same fantasy book that I read and didn't know some of the details...

I do enjoy a good description of the characters, or important places...

 

[sashamerideth]

I am re writing my beginning, to make it a bit more serene, but to interrupt that serenity with bits of "not quite right"(tm) from the start, but not a bang, just an uneasy feeling and foreboding

 

[lawrence]

Some great posts here, thanks folks.

The book I am currently reading, Eragon, though laden with serious flaws, has a cracking opening and it definitely hooks you in to read on. I favour starting pages that thrust you into the story. Who wants to be greeted with a lecture on the geography and genealogy of the world they are entering ? I want to feel as though I am embarking on a story not a guided tour

 

[Kelise]

Just wanted to un-earth this to generate some more discussion on it.

I've had one or two comments on the start of my novels saying that the start is a bit slow or needs some action. What if you're writing something where there simply isn't any 'action' as such at that stage (for example, a character is dying that gives the main character reason to go on a journey, etc) - in these cases, do you start off with a scene from later in the book?

Or is it just that some people need an action scene to want to keep reading, and others are happy as long as they're quickly invested in the novel?

I ask because when I was musing my critique over, wondering what kind of action I needed, I realised my top three series (Mistborn, Kingkiller and Gentlemen Bastards) all start off by welcoming you into the world, which are not exactly action scenes (at least not in the first 1,000 words).

Thoughts?

 

[rhd]

I'd say yes, beginnings are incredibly important. The last book I read that drew me in immediately was 'The Hungry Ghosts' by Anne Berry. Am I allowed to reference non-fantasy lit? Well it has ghosts in it:
The Hungry Ghosts: Amazon.co.uk: Anne Berry: Books
You can read the prologue, she's pretty hardcore, spares no detail, and the rest of the book is up to par. Beginning with action is good, building up the tension for it equally important.

 

[Graylorne]

I think it depends on your writing style. I tend to be descriptive, so I wouldn't hestitate to start with a slow scene. But I try to make my descriptions vivid enough to catch and keep people's attention.

So in Kelise's case, with a character dying, that could give a strong, emotionally charged opening. I certainly would start with that.

 

[JCFarnham]

As was said last time this thread was active we shouldn't be talking about scene setting, or action, or even activity. Instead HOOK. What a good opening should have (imo) is the following:

1) You should probably set up your protagonist as soon as you can (characterise, introduce, whatever's necessary for the moment). That way the reader will be in no confusion. This is the person we will be following, therefore this is the tone you need to be able to cope with. Following on from that ...

2) Set up the tone. If the book is about mystery start there. If its about love, have some musings on love.

Thats probably it for me. So you see, there are many variations possible within the above frame work, but what really matters is what works for the book in question.

There was an article on .. Omnivoracious I believe it was about good opening paragraphs. Something was highlighted that went against my instinct. Very few of them introduced a specific protagonist, rather, they introduced an idea. The core theme to come. Take Dune for example. We get the tiniest of hints about the boy Paul, which is rather over shadowed I'd say by the upheaval present in the setting. We are told very little of the plot, but we can gleen from that opening that someone is moving somewhere, this is of great importance within the setting, as are the characters. Herbert wasted little time in getting on a political tangent, as that is what the book is mainly about.

People often misphrase what they mean. They may say they want more action but I say what they really want is a better hook. What you need to be asking yourself Katharine is "what is the core theme and style of my story?". Start how you mean to go on. If you can hit that with enough intrigue to pull a reader into the next paragraph you should be fine. A death at the beginning of a book must be in my mind an important event, if its not and is quickly dropped I as a reader will be confused. In addition I would also expect the death to be addressed in the climax of the book (start as you mean to go on. begin with love end with love, start with mystery end with the solution)

Most of all, if your story is character oriented, don't forget to introduce your protagonist as soon as possible. You want people to be intested in the character right? So wasting time on the setting isn't that efficient. Likewise if you're telling a grand epic about a civilisation we don't really need to know about protagonists yet, but DO need some sense of scope, of a start point, and of an inciting problem.


My current (and only fantasy story at the moment) is a first person detective style narrative in an Urban Fantasy world. Although I haven't perfected it yet, my first paragraph needs to introduce the character first and foremost in a way that readers begin to sympathise with her as soon as possible. They are going to following her exploits for a while. They need to care about her. Secondly I need to get across the premise. You need to know that Catherine is a "wizard" of sorts, but that humans don't weild magic directly (if they did they'd be in violent physical trouble). and you need to know that the Fae are a focus.

To this end I figured that I should start with "action". Catherine on a job, search for some Fae for some reason, and altogether wanting to be some where else. This is what she does and will be doing. It resonates with the character. Once the reader emphathises with the character and with the books theme, then I can begin to slowly dole out worldbuilding and plot. And only then.


Summary:
1) Figure out the most important elements of your story what ever they may be and get them across as interestingly, efficiently, and quickly as you possibly can.
2) Then worry about going deeper. Then worry about characterisation. Then worry about world history.
3) If anything in point 2 IS your stories focus, start with that in point 1, but don't be boring.

 

[JCFarnham]

Its not the article I was going to reference but maybe you lot can dissect the following opening lines:

Omnivoracious: First & Last: Opening/Closing Lines from Our Best Books of the Month

 

[Justme]

I'd rather explain a image through the eyes and senses of the charactor to build up curiousity in the reader. Then capture him.

 

[Jabrosky]

My story's first draft begins with a sad scene, but I did attempt to hook the reader with the first sentence (not going to reproduce that sentence here, as it has been my experience that submitting WIPs for critique before they are finished ruins your momentum).