Holly and I are still very hard at work poring over the entries in the Surprisingly Essential First Page Challenge, so I don’t have an update on when we’ll have finalists. Instead, I know there are a lot of new visitors to the blog, and I want to encourage everyone to stick around! Consider this a pledge drive. If you enjoy your local Nathan Bransford programming, please, add the blog to your RSS reader or subscribe to the blog via e-mail. Every little bit counts. We depend on reader pledges for 100% of our operating budget of $0, so please show your support for programming like This Week in Publishing and You Tell Me and our many contests.
And seriously, you guys are some talented writers! Reading over the entries has been a pleasure, and can I thank everyone again for entering? I think I can.
Meanwhile, an interesting debate sparked in the comment section of last night’s time-calling post, and I thought I’d expand on it a bit here.
One of the things you always hear when you’re a writer is that you really have to grab an agent with your opening. And this is true — we read a whole lot of manuscripts, and if we’re not grabbed right away we’re going to move onto the next project.
BUT. This does not mean that you have to go out and try and grab the reader by the throat. Perhaps the most common shortcoming I’m seeing in some of the entries is that they try too hard to be surprising or shocking or pulling one over the reader. This is a common problem. Writers I talk to even sometimes tell me that they wanted to start with a more gradual opening, but their writing group said it was too quiet, so they went with the “bigger” opening instead. For instance, at least 7 openings in the SEFPC involve burnt and/or rotting flesh.
To be sure, this can be done well. But look at the openings of your favorite novels. Herman Melville did not begin MOBY DICK with Ishmael staring at the rotting carcass of a whale, Charles Dickens did not begin A TALE OF TWO CITIES by describing what guillotined heads look like. Even suspense novels that do begin with a shocking opener, like Jeff Abbott’s FEAR, which starts with the seriously awesome first line “I killed my best friend.”, double-back to gradually reveal details about the characters and world of the book.
This is because the purpose of an opening isn’t to grab a reader and start punching them in the face, but rather to draw them into the world of the book. A “shocking” event in the very beginning isn’t usually very shocking because it’s not earned — the reader doesn’t yet care enough about the characters or know enough about the world for it to resonate properly — so it feels more like a parlor trick. Even if it’s an action-packed beginning, it’s still necessary to orient the reader. So there are some definite dos and don’ts in the beginning, and I’d point you to Kami’s great comment from last night’s post for a breakdown.
The purpose of a first page is to begin to get to know a character, world, or plot in such a way that the reader wants to know more. It’s a taste. And great characters, a great plot, and/or great setting (and of course great writing) grab me a lot more than an opening that tries too hard to be surprising or shocking.
I didn’t submit anything for this contest but I love reading the work.
Nathan your post today is exactly why I return to this blog.
The contests draw in writers like bears to the honeypot but the comments keep them here. Your readers comments and questions continue to be interesting and your responses are quite enlightening.
I have certainly learned that I do not have the tolerance / patience to ever be an agent. 🙂
Now I’m off to find Franzen.
Thanks for the contest, Nathan. I love reading all the pages. I learn a bunch each time!
Hey lyz I agree of course. But you know, A TIME TO KILL will always have a special place in my heart. It touched on issues which really…well aren’t 100% cleared up today. I’m such a huge fan of his. I better stop before I start gushing. He’s like a rock star who actually knows how to sing.
And
I’ll let ya’ll in on a little secret: I was SURPRISED to be told that most people read a few pages before buying a book. I never did. I would read the back copy and that was usually enough. Once I heard readers were doing this, I tried it, but rarely find the first page to be the reason I read on. The back cover copy still counts the most.
And I always think of Harper Lee when a discussion of ‘grabbing’ the reader in the first page comes up. I hated “To Kill a Mocking Bird” until page 10 or so, but it’s one of my favorite books.
So, I think we can all agree on this: a grabbing first page does not always a good novel make nor a slow beginning a bad one.
Many thanks for your contests Nathan.
I do read the first pages. Always. I am one of those people who sits down by the book shelf in the grocery store or book store or library and reads it before she chooses it. I want to know if the writer can write and I want to be (depending on the genre) grabbed, charmed or moved. Back covers can be deceiving. If I bought books based on the back covers I’d have a lot of barely-read books on my shelves. I also think the kind of opening a book offers will hinge, to some degree, upon the genre.
Personally I prefer a first chapter that establishes the tone of the book immediately and I don’t mind being shocked if it’s justified fairly quickly afterwards. The only time this gets on my nerves is if the writer fails to establish a connection between the shocking events in the first chapter (like opening with a murder) and the established characters that appear later on.
Thanks for the mention, Nathan (blush!)
For the record, especially for those of you who are glad you didn’t submit something or feel bad because you had burning flesh in your opening–mine has burning flesh. First sentence, in fact.
It’s all in how you do it. After seeing something like this contest it’s really easy to lose faith in your writing, especially if you think you’ve made a classic error (I know you’re all finishing that sentence with a Princess Bride quote!) But here’s a question: Did you do it because someone told you to, or because you felt a driving need to write it that way?
I suggest that you look at why you’re drawn to your opening. Does your character really shine in a fight? Then open with a fight scene, but make sure you reveal what you want to reveal in that scene. It’s probably not martial skill. It’s probably compassion, or emotional pain, or desperation, or loyalty– things that make a great character. Or maybe you did open in the wrong spot–but don’t just chuck it. You might have gold inside those steaming guts.
Oh, and books that in theory wouldn’t be published because they’re not ‘fast-paced,’ etc. Jonathon Strange and Mr. Norrell (I hope I spelled that right.) I loved it. I’ll be reading it again when I get the chance. I think it did really well, too. Did it become a best seller? Anyway, Victorian-ish English still lives on. I’d even argue that editing capabilities (like Nathan said, they’d have killed for a computer!) and the ability to get feedback in places like this has improved that gorgeous, plush style of writing over the years. I know, I know, toast in heck for suggesting that Dickens can be improved upon.
Same here, julcree.
It never occurred to me to read first pages while in a bookstore. I don’t know why. Maybe my addict-like relationship with novels? When I start reading something I plan to finish reading it, ignoring and/or neglecting all interruptions as much as possible.
Best to get home safely first!
Man, I love Blogiversity.
I have learned soooo much here…
@jul- I read the last page. Don’t yell at me I know I’m shameless!
I just can’t help it! A good last line (whether the ending is + or – ) sucks me everytime!
Am I alone?
“the purpose of an opening isn’t to grab a reader and start punching them in the face”
A hilarious way to express good advice!
Mostly what draws me into a book is a compelling voice. See, e.g., THE CATCHER IN THE RYE, CATCH-22, for distinctive and magnetic voices.
As for Kerouac: I could only get through ON THE ROAD once, but I have read THE DHARMA BUMS to pieces. I think Dharma Bums is his best, and urge people not to give up on Kerouac without trying that one. VISIONS OF CODY and DESOLATION ANGELS are for people who like more experimental stuff; BIG SUR is for those who like a taste of the nightmarish.
I too am going to post my first page on my blog. And I appreciate all the critiques I can get.
https://www.thepaperairplane.webs.com
@ laurel,
exactly! plus I really hate not knowing what happens, so I’m likely to scan for story even if the writing ends up sucking.
@ adaora,
SHAME
just kidding. I never do that one, but my dad does. So you’re definitely not alone (plus you got Harry from “When Harry Met Sally” who does it…wait, does it count when it’s a fictional character?)
Nathan and Holy, thank you so much. I have learned a great deal and now I am trying to fit it all together. Yesterdays comments were surprising, especially about the prologue. How do you know when you are grabbing too hard or not hard enough?
“How do you know when you’re grabbing too hard or not hard enough?”
The answer is on the shelves of the chain stores…in the books people buy every day. Pick a few bestsellers that you admire within your genre, and study what makes them work.
Nathan,
I’m one of your newbies. I’ve been lurking for the past three weeks too afraid to post anything because everyone seemed so high-brow and out of my league. Sometimes I just felt like putting on a waitress outfit and serving virtual drinks to everyone.
Would you like a vodka on the rocks, Mr. Bransford?
Well, anyway, thanks for hosting such a contest. I’ll probably go back to lurking again. If only there was a cute bartender around.
Sigh.
mlh-
Thanks for de-lurking! I’ll take a bourbon neat.
Coming right up, sir!
It’s on the house.
Regarding the right balance of “grabby” openings, I will speak for the thriller/suspense genre opening here, since that’s what I write and that’s what I like to read the most.
What seems to work the best are the openings (first few pages) that immediately convey to the reader that SOMETHING IS ABOUT TO HAPPEN HERE…SOON! And by the end of Chapter 1–that something should have either happened or be in the process of happening.
You want to drop them in to a scene late…and leave early.
Some of the entries I’ve read here are too heavy on action without any story development, while some are just the opposite. It’s tough to get just the right blend–plotting the action while dribbling in the character info as necessary. But I will say this: I think the entry titled, “A Midsummernight’s Revenge” (or something like that) manages to do it. [and no, this is not my entry]. But I consider this to be a solid thriller opening. Whether or not the writer managed to follow through with the the rest of the ms….who knows, but the first page is a good start.
A reference to Thomas Mann brought me out of lurkdom
I’ve been reading Mann’s Dr. Faustus (hmmm, somehow that doesn’t look like it’s spelled right) – as I dig through some of his convoluted (and translated into English) paragraphs, I joy and delight in coming across three or four paragraphs that perfectly describe, oh, say, the tail end of GWBJR’s tenure in the White House, or the hazards of globalization, or perhaps the impact of war on “high” culture…some of the descriptions of sexual relationships, and between the generations…gee, it’s just like that now!
A friend also gave me a poem by Frances Villon, with the line “Where have the snows of yesteryear gone to?” (loose paraphrase). And then I was looking up a poem by Osip Mandelstam, and discovered that Mandelstam wrote something in response to Villon’s “snow poem.”
I love digging around in the old stuff. I think doing so grounds your writing, even if you are writing “contemporary” fiction. I’m always justifying my “strange” reading habits with: “There’s a lot of power in old poetry.” Fiction too.
Wanda B. on behalf of Thomas M.
Great post. I can’t believe I missed the contest deadline – and I even blogged about it! I think I need a vacation. 🙂
I really think it depends on the book. Thankfully, several fizzled attempts with Paladin are finally molding it into something almost viable. Getting feedback from various writers has helped me see the problems with the different incarnations.
My suspense opens with a man pulling a piece of tongue out of a horse waterer.
Another fantasy starts very slowly with mourning bells and a dead husband’s whisper.
I obviously don’t have it figured out, but I am convinced each story should be viewed as an individual child. What works for one may not work for another.
Aw, I love this post. You should come visit our thread at absolutewrite on this topic. We’ve had some good thoughts and would love some more. Here it is:
https://www.absolutewrite.com/forums/showthread.php?t=89934
Friend of mine has been telling me how great Moby Dick is, how beautifully it’s written, how he’s read it over and over throughout life…I’ve never read it but I have read the first page and I can tell you with certainty that had it started out with Ishmael staring at a bloated and rotting whale carcass instead of that lame, lame line “call me Ishmael” (who cares! tell me your name later!) then I MIGHT have read past the first page.
(I don’t require that kind of thing in books, however–just Boring Dick. And don’t pretend you’re not all thinking this, too, just because it’s a classic.)
anon-
Other people might think that, but it’s honestly my favorite classic book of all time.
carol – aww sorry love. Next time put it in your phone. My phone vibrated while in uni lecture. I use a laptop and so I submitted my buisness and went back to listening to the prof!
@lyn- Hahaha Hardy har har. I’m cool like that. I avert my eyes during the scary part of movies but my body doesn’t budge. So I look tough being the only one who did not buge. Shhhhhh don’t tell any date I have in the future.
@mlh – Can I get a cosmopolitan?
Ah I think I’ll go listen to some Boys II Men now.
Well, everyone who likes it as you do including my zealous friend can’t be all wrong. I might try it, after all, to illustrate your original point in your blog, not every book starts out with a bang.
Still. “Call me a slavering fool who eats rotting whale carcasses raw in his spare time. Some years ago–never mind how long…”
Dang it, I had the smell of burnig flesh 🙁
I shall console myself with the fact I didn’t actually show him murdering all those people, I just showed what happened after. Maybe I should start with the next bit instead.
Thanks Nathan, I’ve subscribed to your blog now – it’s very informative. I shall probably use it a great deal in my procrastinations, when I should be writing.
Attention, Interest, Desire, Action.
That is what has been advised.
I too would like to thank Mr. Bransford for the opportunity. There are some awsome writers out there. Everyone is in with a chance. Good luck to all.
mlh—Speaking of a waitress outfit, did you see that movie Waitress?
I’ve watched it twice now and I’m still amazed at the characterizations and how superb it is.
I don’t watch many movies, this one caught me and yanked me in. Adrienne Shelly wrote, directed, and played Dawn–I’m telling you this is a movie to study. She was murdered, a tragic loss, as she was brilliant.
Anyway, sorry to blab on if you’ve already watched it. If you haven’t-go get it right away!
I guess, I should clarify a bit.
I still think action is what most people want in an opening. I’ve noticed this over the past few months of watching blogs, contests, critique fests on a variety of sites.
However, I think a writer is the only one who knows their book. Some books need to start out more slowly. I have a friend, who could describe a dress hem and make you want to hurry up and read more. Unfortunately, not many of us can write as beautifully as Beth does.
As for length, Diana Gabaldon seems to do quite well with her lengthy novels.
My mom reads at least a few chapters if not half the book before deciding whether to buy it. She’s a pretty fast reader.
I took a gander at this contest because a friend is participating. This was all kind of ways cool to read!
Quite a few of the openings had me mumbling under my breath, “Oh yeah…hmmmm. Just like that, keep it right there,” and then…”oh, hell to the naw! No you didn’t leave me hangin’! What happened next??!!”
I agree, an opening needs to grab my attention, but don’t put me in a choke hold, grappling for breath. Just like lovemaking, bring it hot and furious, but you need to woo me, give mama some sweet kisses, nibbling caresses, sip my herbal essence and then when it’s time…oh snap, sorry, I got lost in the moment. Where was I?
It’s a balancing act. Hard and fast, then ease up and bring it sweet and slow. Hmmmm…
Cool blog~
K
When choosing a book I do read the blurb on the back cover but I don’t rely only on that. I’ll read at minimum three pages in, then riffle through the middle and skim a page or two to see if the writing’s still holding up by that point. (Sometimes it isn’t.)
I don’t need a splashy opening on the first page, but I do need readability, smooth flow, and a reason to read on. A quietly-sketched character on the first page will hold my attention just as well and often better than a slam-bang beginning.
“Last night I dreamed I went to Manderley again.”
That first line from du Maurier’s “Rebecca” is a very quiet line. But it’s packed with possibility.
Nathan, just curious if you and Holly will expand on what drew your attention to some of the finalists’ works after they are announced?
I’m not asking for a critique of each one, but I’m curious to know what drew your attention the ones you picked.
@Adaora a.
Sorry, I missed your order. I’m blogging from the east coast, so there is a time difference. But I’ll email you one right away.
@Michelle P.
No, I haven’t seen the movie. But it sounds terrific. Thanks for the heads up.
Hey! Wait! I’m supposed to be lurking in my dark corner now. Why are you people forcing me to respond?
Tee, hee.
Some of us aren’t new visitors, we’re just delurking for a bit. I read at work so if I’m posting, I’m not working. Oops!
Just wanted to say this was such a helpful post and so is the whole contest. Many thanks to you and Holly!
Here’s another delurker chiming in. Long time fan of the blog, but first time contest participant. Who knows, maybe after this I’ll come out of hiding more often.
“Last night I dreamed I went to Manderley again.”
That first line from du Maurier’s “Rebecca” is a very quiet line. But it’s packed with possibility.
That’s a perfect example! It grabs you immediately because you want to know what happened there – but there’s no question of action or gore nor promise of a thriller.
I had forgotten how much I loved that book when I first read it in high school. I’m going to have to whip out my copy of Rebecca this weekend.
On the whole “why you read a book” and “strong opening” theme I must make an embarrassing admission. I OFTEN judge a book by its cover. I know it’s shallow. It’s not the only reason I read a book. Sometimes I read a book because I hear a lot of good things about it, but 90% of the time the cover is what draws me to the book. The way I see it is that a publisher will give a good book a good cover and a bad book a bad cover. Surprisingly, this logic has rarely failed me.
As far as the opening goes, it’s what keeps me reading. Usually if I’m bored by chapter 3 I give up. Usually I stay around a while longer because of interesting characters. THE COUNT OF MONTE CRISTO, my favorite book of all time, is an excellent example of this. Edmund Dantes fascinated me from the beginning. If I love a character easily then I usually stick around. This isn’t the safest method, however, because sometimes I hate a book because of how things ended up for the character I loved.
Now that I think about it I could go into great detail about why I read an entire book, but I feel I’ve talked enough.
Great discussion.
After reading this discussion, I no longer feel so bad about writing less than explosive beginnings. A lot of what I write starts out slowly, because that’s what fits the story. When I write a beginning that grabs the reader (I hope), it’s because the story calls for it.
Obviously, it all goes back to the story. I’ve read books with exciting beginnings that fell flat after the first chapter, and I’ve read books with slow beginnings that I couldn’t put down. So, to echo many others, I say write the beginning that fits the story whether it grabs readers by the throat or gently eases them into the story.
@mlh- My cosmo has arrived. It’s just the way I like it. Even Vod, and even cran. Thanks hun!
Aaaaahh — Rebecca. Love the opening and the way it establishes tone, draws readers in to Manderley with the same sense of mystery and anticipation that the narrator has when she first sees it.
I also love that the protagonist has no first name. She defines herself by the way others refer to her: as “the second Mrs. De Winter.” The technique makes her predicament even more compelling.
And of course I have to brag that REBECCA is a Curtis Brown book.
Nathan, you’re making that up. Is it, really?
Taylor, there was an entire discussion on the BookEnds blog about what makes someone pick up a book.
As I mentioned there, I work in a library, and I can tell you that the best way to kill the circulation of a novel is to get rid of the paper cover.
Obviously, it all goes back to the story….I say write the beginning that fits the story whether it grabs readers by the throat or gently eases them into the story.
Perfect! That’s exactly it!
diana-
Sure is. We’ve been around since 1914 and have represented some amazing books over the years. In the New York office you can see the original ledger that has the royalty records and everything. Pretty amazing.
You guys need to read “My Cousin Rachel” and “Scapegoat”. I think they were even better than “Rebecca”. Scapegoat starts a little slow and perhaps implausible, but more than makes up for it later.