The first line

[Rkcapps]

I've always known that first line is crucial. Throughout my continual searching, I've read how it is recommended the first line (just one idea of many) should ask an invisible question. This resonated with me, and it may or may not resonate with you. But I've tried this technique. Does it work?

My first line (which constantly changes so it's not set in stone yet):

"Tizania Huntman suspected the worst."

 

[skip.knox]

That's fine.

I am not one who leans so heavily on the first sentence, mainly because I'm more of a first ten pages or first chapter sort of guy. And, fwiw, I'm mainly looking for reasons not to keep reading. It's less that the author needs to hook me as it is the author must earn my trust. If there are too many gaffes in grammar and spelling, if the writing is too obviously clumsy (a very broad definition), then I'm not going to invest my time.

There are some other bars to clear. If the book is written in the present tense, the writing is going to be awfully good to keep me in play. The bar is lower for first person, but that one is still higher than third. If it's about vampires, the writing will have to be brilliant. It's those sorts of things that are in play for me when I pick up a new book and, obviously, the first line alone cannot bear the burden of all that. I don't think I have ever said: oh, I read that book because of the opening sentence.

Not to say it's irrelevant, only that I wouldn't make too much of it. To me it's a bit like claiming that the opening chord of a song, or the opening four seconds of a movie is crucial. Nope. But the first verse, or the first scene certainly can be.

 

[Rkcapps]

Thanks! Yes, obviously this is just the first of many building blocks. I think that first line is subconsciously the thing that keeps someone reading. If you think about the line "It was the best of times, it was the worst of times..." it's not that invisible question but it conveys a setting and atmosphere that promises a story within a difficult time. This is the type of art I wish to trial for the moment. Wouldn't be surprised if that changes!

 

[Malik]

The first line, the first hundred words, the first page, the first five pages, the first ten pages, the first chapter, the first half. No one point is any more important than the others. You have to hit them all.

During this initial period, you want the reader to feel that they're in safe hands, and you should strive to reiterate this the whole way through. You're a stunt driver hauling ass through a treacherous course, and they're riding beside you with no seat belt and no crash helmet. How you handle the first few turns is going to make them decide whether to stick it out for the ride or open the door and jump.

 

[DragonOfTheAerie]

The first line, the first hundred words, the first page, the first five pages, the first ten pages, the first chapter, the first half. No one point is any more important than the others. You have to hit them all.

During this initial period, you want the reader to feel that they're in safe hands, and you should strive to reiterate this the whole way through. You're a stunt driver hauling ass through a treacherous course, and they're riding beside you with no seat belt and no crash helmet. How you handle the first few turns is going to make them decide whether to stick it out for the ride or open the door and jump.

This is a good point. It's not one hook, it's a series of hooks that build on each other.

I like the guideline that the first line should introduce a character and hint at conflict. I've heard it explained like you introduce a character doing or wanting something. I know not all stories are going to follow this, though. Actually, mine doesn't. But I feel that it's a good guideline.

Maybe the question should be in the first line (little hook) and the character and conflict hints be in the following (slightly bigger hook.) As Skip said, it doesn't all lean on the first line. I've never put a book down because of the first line.

(Okay, I actually did, once. It was just so egregiously stupid. But that's mostly beside the point.)

I think it's important to bring up the concept of a series of hooks instead of just one initially, because I personally have read lots of books that start off with an intriguing first line...and then turn boring. No more hooks. You have to keep drawing your reader in. Due to this i think the first line is somewhat overemphasized. Important, sure, but what follows is just as important.

 

[Rkcapps]

Yes, I think the first line is just the start in a row of dominoes.

 

[Russ]

Malik makes a very good point.

The editors I have been speaking to lately all say they look for a sense of control in the early part of a book. They want a feeling from the work that the author knows where they are going, and how they are going to get you there.

Then of course you have to deliver. But his analogy about a driver is simply bang on.

The first line you have suggested is okay. However it has no action or real hint of the threat or problem. It is completely inside your pov characters head, and give nothing about the real world. It does establish pov in the first line which is good habit. I think it could be better than it is. I don't know squat about your story but you could say something like "When X happened TH suspected the worst."

 

[Demesnedenoir]

There is no single rule for the first line, I think that’s obvious. It doesn’t even need to be great.

Over the weekend I was in Seattle for the Emotion workshop/seminar with Donald Maass, so not shockingly, he pointed out emotion. He did speak about intros, and the opening segment, in emotional terms and how they grab us, but he also spoke of opening lines in middle chapters and how setting an emotional mood/hook is valuable, and it’s one of the things he looks for and feels is lacking in the slush pile.

But there simply isn’t an easy answer. What might appear a bland opening line could be great because of what comes after, or a great opening line could suck because of what comes after. I always go back to Moby Dick and the opening line often considered so great... Is it really? By itself it’s “meh” but it turns out to be a great line because of what follows.

 

[Aurora]

In one of Sanderson's youtube lectures, he mentions something about starting your opening paragraph like this (off memory here and this was a while ago):

-sentence 1: something that reveals character
-sentence 2: something that reveals setting
-sentence 3: something that reveals conflict
-sentence 4: something that reveals character again

And so forth...

I'd advise not fixing too much importance on the first sentence and just focus on the story you want to tell. As a side note, I read a lot of questions here on these forums asking, what I kind of think, are superficial points of attention. Our main goal as storytellers is a story. Outside of that, first sentences, grammar rules and throughlines don't matter as much. Readers just want a good story they can connect with and be inspired by. Just my 2 cents.

 

[FifthView]

A very early episode of Writing Excuses had a nice discussion of beginnings: Writing Excuses Episode 4: Beginnings | Writing Excuses

Among other helpful thoughts on the topic, Sanderson inserted a proviso: Don't let yourself become so focused on your first line or paragraph, trying to make it perfect, that you fail to write the rest of the story. You can always come back later and write a new opening or fix whatever opening you have.

 

[Rkcapps]

The link isn't working I'll try again later, says to do that. Must be busy.

 

[Rkcapps]

Great podcast! Thanks fifthview