Page One Woes

Back when Twitter launched, Tweets were set to a maximum of 140 characters, giving you exactly to the end of this sentence to say something.

Now, translate characters to words, and that is roughly the same length of time you have to introduce the conflict that drives your book. It can be subtle, it can be direct, but however you do it, it should be there, because it's going to be what captivates your readers, and you only have about 140 words to do that in, so you want these first words to become intriguing questions which beg for answers that can only be found by reading on.

The first page sells this book. The last page sells your next book. ― Mickey Spillane

There's a book called Hooked by Les Edgerton, which my editor suggested to me when I was agonizing over the opening to my series. I was having all sorts of problems, because neither the main character, nor conflict were present. (I had a prologue, and though there's a lot of controversy and personal opinion revolving around prologues, I do believe there is a time and a place for them...just not at the start of my series as it turns out.)

After discarding my prologue entirely and tweaking my first chapter, I was actually able to tighten the story up enough to make readers ask, "Whoa, what is happening here?" within three words. Never in my life had I thought that was possible. But it only became so when I stopped to ask myself what the central conflict was. Once I knew that, the opening line wrote itself.

A first-page reveal of the main conflict also establishes very early on what the book is about by clearly defining character goals and plot direction. This allows the reader to quickly determine if your book is for them, and the more likely they'll continue reading, because you've successfully connected with the type of person who wants to read your story.

It's, in essence, a means of being up-front with your reader.

There is no benefit from stringing the audience along under false expectations in hope of securing a larger reader base. Chances are, it will frustrate the readers who thought your book was for them and may just push away the very audience your writing seeks because they didn't think it was for them. There may be the odd reader who realizes the story is different than expected yet continues reading anyway, because they already made it through this far, but it isn't worth the risk of ruining your reputation as a storyteller.

I recommend checking out the book I previously mentioned, Hooked by Les Edgerton, to learn more about what makes a beginning stand tall or fall flat. He delves more into things like how to decipher what makes for a true main conflict ('story-worthy problems' as he calls them).

If you're still in need of help with your opening scene or chapter, shoot me an email, and we'll chat business.

Also! For anyone interested in the chance to win up to $1,000 USD for your completed first page, the Gutsy Great Novelist Page One Prize hosts an annual international competition. If you are over 18 and have an unpublished novel in the works, then this contest is open to you. You can read both the eligibility requirements and submission guidelines from the embedded links.

Jeannine

Let's talk! What are some opening lines from books that have stolen you into their story? What about it stood out or made you think? Have you identified your own book's central conflict? Did that help you develop a strong opening?