A Comparison of Breakfast To Storywriting

For the last couple of days, I have been reading a ton of submissions that hit Greyhaus. Unfortunately, for many, the end result was a pass on the project. I started thinking about that this morning as I was getting the kids' breakfasts ready and I realized there really was a great comparison here. Let me float this one by you.

We all know that "breakfast is the best meal of the day." Nutritionist argue this, the Cap'n Crunch ads argue this. O.K. Maybe that last one wasn't the best but you know what I mean. The truth is, what you start your day out with really becomes a foundation for what will happen to you the rest of the day. The same goes for the premise of your story - that foundation that the plot, the characters' lives and and the setting all depend on. Think of it this way.

If you start the day with a breakfast full of sugar and complete and total hyperness. We're talking a ton of junk food, what generally happens right before lunch? You end up with that total energy crash requiring you to find someway to energize yourself. In most cases, it is more caffeine that doesn't really help out much. Now, think about a story. Start out too strong, start out running that hard with that much action, you only have one future. The story will  crash. You have set the tone so high for the reader that when you bring it back to earth again, you hit a similar "caffeine/sugar crash." The difference is that the author will not likely wait until a couple of chapters later to get that next rush.

What if you start the day with a huge breakfast. We're talking over the top cruise level brunch here. You throw everything at us. Again, while it might be fulfilling, it is often too much for the body to handle and the rest of day, we walk around bloated and complaining. Think story now. If you do nothing but give us all of the backstory and all of the charcters, we have too much as readers to deal with. We're bloated and it takes us too much time to carry around that entire load.

Get the idea?

As writers, you always hear that editors and agents want a story that will really hook us. We're talking about that satisfying breakfast here that gives you the energy that you need, it tastes great and doesn't kill us. For editors and agents, that is an essential. We are reading so many projects that we depend on that opening to keep us going. Kill us too soon and I am sorry to say it, we won't keep reading.

Scott

What Does The First Line Tell Us

I think a lot of authors really miss the point with "the first line" and the "first scene" of a book. Unfortunately, too often, in an attempt to be "really creative" the author simply sends the message that they are likely to use whatever "plot device" they learned at a conference or workshop to make the story sound impressive, instead of really doing what an opening line should do, and that is to hook the reader.

If we think about an introduction in an academic paper or before a speech, the purpose is to do more than what most high school teachers tell us, "to hook the reader". The introduction does do this, but there is a lot more to to that introduction than meets the eye.

An introduction needs to really set the tone for the rest of the piece of writing. If the story is to be dark and gloomy, then the introduction needs to really create that tone and mood. If the writing is to be light and humorous, then the opening needs to do just that.

When it comes to stories, those opening lines also need to give us a sense of one of the characters and who this person is. We really need to really want to know more about this person. Whether it is an attitude or a situation, we need to see this.

I bring this up because I think you can see the really good opening lines compared to those that are really out to "be witty" or "to be cute" from this last Thanksgiving break contest here on the blog. While the lines may be great and certainly worthwhile to put into a book, the question is, "do you really want to start your story with this?

I'll be taking a look at the entries today and let you know the result tomorrow. Until then, please review those opening lines and then, think about your opening lines. Do those words you crafted really head us off in the right direction for the rest of the 55,000-120,00 words of your story? Or, do those words really seem out of place.

Scott

P.S Scott will officially be closing the office until the first of January. While submissions come in, do not expect an immediate answer. Sorry, but yes, agents need breaks too!

We Don't Need To Know It All Now!

Information dumping is a huge issue for a lot of beginning writers. Unfortunately, that information dumping is also a big reason for agents and editor to want to pass on a project.

We all know that stories need to really get going in the beginning. This doesn't mean it has to be action, but there needs to be movement. We need that energy to get the ball rolling. Unloading a stack of information on the reader early on is a sure way to not only NOT get the ball rolling, but to bring the book to a screeching halt before we even got started.

Part of the reason writers tend to do this, is because they believe the reader NEEDS that information for things to make sense. In reality, this is far from the case. Readers full accept that information will come to us when we need it. We can handle the wait. In fact, we like very much to go along for the ride and discover things when the characters do.

As you think about your opening pages, remember to think of your characters as real human beings. Do we really self-disclose during the first meeting? Probably not, and neither will your characters. Think about what we really need to know and the rest of that information can come out later in the story when the time is right. Think of a trickle of water here. Bring it out when you need it.

Scott

"If You Would Just Read The Whole Story..." Umm, no!

We talked yesterday about how important making that first impression is for a new author. The same goes for the opening pages of your story. You have to come off the blocks (yes I am back to swimming comparisons here again), with a story that really sucks us into the characters lives and their world. These opening pages are not the time for endless pages of backstory dumps or character descriptions that will likely die off in the next couple of chapters.

Honestly, think about this as a reader. How many times have you picked up a new book only to find in the opening pages you weren't hooked. In all liklihood, you dumped the book and went on to something else. The same goes for editors and agents. When we read a project, we are thinking along the same lines of the reader. Is this something that really draws us in. Yes, we might think there are things we can fix, but it is that initial first read that has to bring us into the character.

So, what is it that we are looking for in those opening pages? No, it isn't just a single witty line. We are looking for movement to get the story moving. It doesn't have to be the action of the story, but something that sets up where this story might be heading to. We're also looking for some great character development early on. In most cases, you will start with the protagonist and if that is the case, we have to really like this person. Sure, there can be flaws in the character but they have to be someone we can relate to and at least sort of like.

There is a tendency to unload a pile of backhistory and world building in those opening pages. While this is certainly information that needs to show up potentially in those early chapters, it doesn't have to all come out on page 1 of the story. You will simply bore the reader. Yes, it is important and yes we do need to know it but not all in the first page.

Remember that we have never seen this before. We don't know what is going on or who these people are. You know the information because you have been with them for several months now, but we haven't Read your story from the standpoint of someone who is really coming at this fresh. Even someone who might not read your genre. Is this something that will draw them in or send them running? That is your test.

Scott

You Have To Hook Us

I want to take some time today to talk about the first chapters of your book. Before I do, I want to stress once again that there is no right or wrong way of starting a book. Prologues, dialogue, narration, action and so forth all work in different situation. The key is to find the right beginning for your book. Do not (I repeat) DO NOT assume only one approach works.

As we all know, the opening pages of a story are beyond crucial for the success of a book. The reason is simple. Readers do not have patience to wait around for something good to happen. I don't know how many times I have received a comment from a writer I rejected after reading just the first part of their book complaining, "If I had read the whole book, you would see how amazing it is." Ahh, I love that line. Why? Because I know good and well that those complaining writers probably have a ton of books they haven't finished because the beginning just wasn't there for them.

The key is to find a way to hook the reader. You want the reader to have a "buy in" to the things you have to say in your story. This "buy in" can actually come from a lot of different things. Maybe you have a great scene that makes the reader think to something that has happened in their own life. Maybe you have some witty dialogue that makes you want to know more. Maybe it is a bit of an information dump that draws us into the situation and story. The key word here is "draw us in."

Your job as a writer is to find a way to suck the reader into the story. We want to be part of the story and not simply sitting on the outside looking in. By doing so, we will feel the pain and joy of the characters. When they are hurting, we hurt. The stronger the connection you make with the reader, the easier it is to convey the message of your story. Wordsworth once said, "there is an implied contract between [the] author and reader." In your case, the contract is a promise that you will entertain and make them part of your story.

I bring all of this up because honestly, the desire for any editor or agent to read more of your project, amid all of the other stories that cross our desk, relies on your ability to make that connection early on.

Now, does that mean we will give up every time? Absolutely not. There are times that I have read a beginning of a story and thought "maybe there is something there."  So I read the synopsis and see where things are going. If there is that "something" there I might ask for more. Does this happen a lot? Not really, and the simple reason is that the beginning of the story is just mediocre.

Find a way to go off the blocks with a bang! Make it good. If you do, you have increased your chance the reader will want to see more. Of course, with that said, you now have a new challenge. Make the remaining chapters even better.

Scott

Why Am I So Hung Up On The Beginning?

The beginning of any book is key to me. This is the moment that you either hook me or hint to me that your book is not for me and I move on to something new. And yet, authors still will rant yell and scream when I (or for that matter any other agent/editor) will reject a book based on the early pages of a book.

"But Scott, the book get's so much better as we move through the story." Well, frankly, with some of the stories I have read, I would certainly hope so. With that said though, I find it always interesting that writers seem to think that the rules change for their story. For some reason, as an agent, I am expected to slog my way through the story, waiting until I hit that chapter that suddenly shines light on everything and makes me say, "wow, this story is amazing." My question to those writers is simple: "Do you sit though a book hoping that at some point the story will get good?" The odds are no.

The goal of those opening pages is not simply to get me hooked with the action of the story, but to draw me into the pages of the story and to give me a voice of the author that I want to hear more of. There is a lot that has to happen in these opening pages and, as a writer, if you want me to read more, it is your job to deal with these points successfully.

We need to be drawn to the characters
You never get a second chance to make a first impression and the opening pages is just the place to do it. This really needs to be a love at first sight. I want to be introduced to a character and be so drawn to this person that I want to follow them. In many ways, think of this introduction as being similar to seeing someone amazingly attractive. You don't have to hear the person talk or do anything. You don't even need to know his or her history, but you simply can't take your eyes off the person. That is the attraction you shoot for.

I guess it is for this same reason that I am not a big fan of starting a story off with the villain. I am not attracted to that person. I want to see what is at stake first and then be hit with the villain. It is like having the carpet pulled out from under me.

We need to have movement
This is that same action stuff we have talked about in the past. Starting off a story that has no forward movement is just a killer. If I buy a book, there was something about the cover or the blurb on the back that drew me in. I am excited about the story and I don't want to suddenly have that excitement sucked out of me like a vacuum. Keep that enthusiasm going and get me going with the story.

Does this mean you start with the central action of the story. No. What this means is simply have the character doing something worthwhile. This movement can also give the reader a chance understand the character a bit more as well. Hey, let's kill two birds with one stone here.

We need to get a sense of your voice
Remember you are the author here. I want to see that unique voice of yours coming out from page 1. I am reminded here of Janet Evanovich's books. You read the first paragraph and you are hooked. It's like having that comfort food. There is this feeling of "Ah yes, I'm home."

Look, there is no right or wrong way of beginning a book, but think about what hooks you in a book. In fact, a better approach would be to think of the books you don't finish. What is it the author is doing that makes you stop reading. What ever that is, get rid of it in your story.

Scott