First Impressions Are Crucial
It takes less than twenty seconds for human nature to make a judgment when you first meet a person—which can be true for your writing. First impressions are crucial and you can’t afford to make a bad one. Although all aspects of a story are important, the beginning might be the most important. A reader’s initial reaction can make or break an opportunity if you consider the job of the opening line is to make the reader read the second line, then the paragraph, then the page, followed by…. you get the picture. If readers find the first words intriguing, they are more likely to want more. On the other hand, if the opening is dull and uninspiring, they may leave the story unread which is a missed opportunity for both the reader and the author.
Over the years, there have been some tremendous first sentences—some subtle, some brilliant, and some downright strange. All contain an element of intrigue and a promise to be fulfilled. Here are a few classic samples selected by BetterReader.
Pride and Prejudice by Jane Austen “It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife.” Austen’s opening line uses her trademark wit to playfully set the scene, essentially about wealthy bachelors and prospective wives.
A Christmas Carol by Charles Dickens “Marley was dead to begin with. There is no doubt whatever about that.” While Dickens’ first line is short, concise, and straight to the point, it leaves much to the imagination.
The Chronicles of Narnia: Voyage of the Dawn Treader by C.S. Lewis “There was a boy called Eustace Clarence Scrubb, and he almost deserved it.” Yes, his name is relatively awful and suggests his personality is not much better, yet hints at the redemptive arc this character will undergo.
Peter Pan by J.M. Barrie “All children, except one, grow up.” In six short words, J.M. Barrie summarizes the essence of his enchanting story about a boy who refuses to grow up.
1984 by George Orwell “It was a bright cold day in April, and the clocks were striking thirteen.” Right from the first line, Orwell suggests that in this world, nothing is beyond the control of Big Brother—not even time itself.
So, how do you create a beginning that appeals to readers? Here are six ideas to help you draft a captivating opening.
I. Define the Story Task
Open with the big picture goal, although; a subtask or a minor goal for the first scene that hints at the bigger picture or mirrors the primary task works. Remember, the reader needs to buy into the undertaking. Your job is to create a desire to see the goal achieved.
II. Introduce an Intriguing Character
Introduce a protagonist with an unusual mix of characteristics, like a rap-singing nun or a shoeless undertaker.
Present a character whose response to an event is relatable. Trigger a bond, think about a phobia, a pet peeve, or the love of chocolate.
Give the character an attitude the reader yearns to have but doesn’t have the nerve to carry off, like being a dare-devil, the ability to speak their mind, or not being encumbered by reality.
III. Pose a Mystery
Pose a problem: Who, what, why, how: find a dead body, empty safe, or hide message.
Suggest there is something mysterious about a character, place, or time.
Introduce a mysterious person, object, or disastrous event.
IV. Spring a Surprise
Use an unanticipated or astounding event, something that makes the reader think, “Wow!” or “No way!” Or— “I got to read this!”
Have the character do something surprising or unexpected such as a granny who arrives behind the wheel of a Lamborghini, a French-speaking begonia, or a character dressed as a bride attending a funeral.
V. Stage a Conflict
Tension in a relationship—co-workers, significant others, a neighbor and the dog next door.
Conflicting desires within a character, include knowing what is right and doing the opposite anyway.
Characters with opposing points of view that give the sense more overt conflict will happen later in the book.
VI. Action
The action doesn’t have to be a life and death conflict, but make sure your character is doing something, not watching, not remembering. Put them in the middle—NOW!
Intrigue can fall short. There needs to be enough characterization before the active conflict for the reader to care about the character. For example, if you begin with Joe hiding under the desk when the door opens, readers only care if they know who Joe is, why he’s hiding, and who is about to step into the room. Make the reader interested in finding out what happens next.
Make an excellent first impression; write, edit, and re-write until you get a beginning that really draws the reader into your story.