Recently, I asked fellow
writers what advice they’d been given from other sources concerning opening
scenes and what not to do. I’d like to share what they told me and offer my
opinions on those “rules.”
writers what advice they’d been given from other sources concerning opening
scenes and what not to do. I’d like to share what they told me and offer my
opinions on those “rules.”
The very first rule mentioned
was to never start a novel with the weather. I can think of two reasons someone
might make this suggestion: 1) the author is using a conversation between
characters to provide information about the weather which isn’t necessary to
the plot and, therefore, leaves the opening dialogue mundane and stilted; and
2) opening with the weather is a bit overused.
was to never start a novel with the weather. I can think of two reasons someone
might make this suggestion: 1) the author is using a conversation between
characters to provide information about the weather which isn’t necessary to
the plot and, therefore, leaves the opening dialogue mundane and stilted; and
2) opening with the weather is a bit overused.
However, what if I’m
the writer of a novel about a community of people overcoming the aftermath of
terrible tornadoes such as the ones that devastated Oklahoma? Note, my carefully
chosen description. The novel is about the aftermath, but in order to connect
the reader to the story and to grab his attention, I can’t think of any better
way than to open with an approaching storm. If the writing is engaging, and
keeps an editor or agent turning the page, I don’t believe many editors or agents
would toss the book aside because it opens with weather.
the writer of a novel about a community of people overcoming the aftermath of
terrible tornadoes such as the ones that devastated Oklahoma? Note, my carefully
chosen description. The novel is about the aftermath, but in order to connect
the reader to the story and to grab his attention, I can’t think of any better
way than to open with an approaching storm. If the writing is engaging, and
keeps an editor or agent turning the page, I don’t believe many editors or agents
would toss the book aside because it opens with weather.
The second rule
mentioned was a dream. I classify this with the “overdone” issue as well. Many
writers try to use a dream sequence to tell back story. So, an author who opens
with this type of scene actually has the reader in the past before the story
ever moves forward.
mentioned was a dream. I classify this with the “overdone” issue as well. Many
writers try to use a dream sequence to tell back story. So, an author who opens
with this type of scene actually has the reader in the past before the story
ever moves forward.
Again, there could be
exceptions to this rule: a young adult or middle grade novel in which a child’s
dreams take them to places where danger and adventure await, but the child soon
learns that his dreams are reality—two separate planes of existence. I know an
author who has such a novel, and the dream lulled me right into his story.
exceptions to this rule: a young adult or middle grade novel in which a child’s
dreams take them to places where danger and adventure await, but the child soon
learns that his dreams are reality—two separate planes of existence. I know an
author who has such a novel, and the dream lulled me right into his story.
The third one is going
to have everyone nodding their head in agreement: don’t open a novel with a
mundane sentence or opening. Well, yeah, most often you want to grab the reader’s
attention. et, there are exceptions
to this rule. What if the intent of the author is to set the mood for a character’s
seemingly mundane existence? Everything appears normal. Nothing is out of
place, but little hints begin to crop up that not all is as it appears.
Something’s terribly wrong. Let’s say, for instance, our mundane character is
actually a psychotic serial killer. When the story opens, he’s smiling and
cajoling his wife who seems to be on edge. It’s best to let the reader see the
mundane and slowly show that the wife
the man is cajoling isn’t his wife at all. She’s his newest victim, and she’s
terrified. You get the picture.
to have everyone nodding their head in agreement: don’t open a novel with a
mundane sentence or opening. Well, yeah, most often you want to grab the reader’s
attention. et, there are exceptions
to this rule. What if the intent of the author is to set the mood for a character’s
seemingly mundane existence? Everything appears normal. Nothing is out of
place, but little hints begin to crop up that not all is as it appears.
Something’s terribly wrong. Let’s say, for instance, our mundane character is
actually a psychotic serial killer. When the story opens, he’s smiling and
cajoling his wife who seems to be on edge. It’s best to let the reader see the
mundane and slowly show that the wife
the man is cajoling isn’t his wife at all. She’s his newest victim, and she’s
terrified. You get the picture.
The fourth rule
mentioned was to avoid unlikeable characters. This one, I’m going to say is
true at least 99.75% of the time. An author wants to connect the reader with
his characters. However, what if your main character is the psychotic serial
killer above. The author wants to connect the reader with “crazy” as soon as
possible. That’s part of the conflict. He’s not going to be likeable except to
another serial killer, but his character and his actions provide the conflict
that pull the reader into his world.
mentioned was to avoid unlikeable characters. This one, I’m going to say is
true at least 99.75% of the time. An author wants to connect the reader with
his characters. However, what if your main character is the psychotic serial
killer above. The author wants to connect the reader with “crazy” as soon as
possible. That’s part of the conflict. He’s not going to be likeable except to
another serial killer, but his character and his actions provide the conflict
that pull the reader into his world.
There’s also another
instance. What happens if the main character does something unthinkable,
something that, in our normal existence, we can’t imagine every doing? The act
appalls the reader. Again, this should not be done in most cases, but if the
character’s actions result in telling a story of redemption, if all will be
made right, if the reader begins to see this character as someone to be pitied,
who needs love, who accepts God’s love, then the horrifying act that served to
make us draw away, pulls us back toward her, and we begin to connect. One such
book is Mother of My Son by Rachel
Allord, available now from Pelican Book Group (Harbourlight Books). This
technique is masterfully woven into the story.
instance. What happens if the main character does something unthinkable,
something that, in our normal existence, we can’t imagine every doing? The act
appalls the reader. Again, this should not be done in most cases, but if the
character’s actions result in telling a story of redemption, if all will be
made right, if the reader begins to see this character as someone to be pitied,
who needs love, who accepts God’s love, then the horrifying act that served to
make us draw away, pulls us back toward her, and we begin to connect. One such
book is Mother of My Son by Rachel
Allord, available now from Pelican Book Group (Harbourlight Books). This
technique is masterfully woven into the story.
The last rule we’re going
to look at tells us to “never, ever, ever, ever start a novel with back story.”
To this rule, I say, “amen.” If a writer cannot figure out a way to layer a key
portion of back story into the novel without stopping the front story, a prologue
is useful. While prologues are okay, they should be used only when necessary,
and they have to be written in such a way that the reader must know what
happens from the end of the prologue.
to look at tells us to “never, ever, ever, ever start a novel with back story.”
To this rule, I say, “amen.” If a writer cannot figure out a way to layer a key
portion of back story into the novel without stopping the front story, a prologue
is useful. While prologues are okay, they should be used only when necessary,
and they have to be written in such a way that the reader must know what
happens from the end of the prologue.
The truth about back
story is that it should never look like back story. The character’s past needs
to be woven seamlessly through the front story—always moving the novel forward.
story is that it should never look like back story. The character’s past needs
to be woven seamlessly through the front story—always moving the novel forward.
Rules, rules, rules. We
all hear them; we all dispense them, sometimes without knowing the true reason behind
them. In some cases, an agent or editor is one that has heard the rules, and
well, a rule is a rule. You’re not going to get past them by breaking something
they hold sacred—even if they don’t understand why it should be held that way.
all hear them; we all dispense them, sometimes without knowing the true reason behind
them. In some cases, an agent or editor is one that has heard the rules, and
well, a rule is a rule. You’re not going to get past them by breaking something
they hold sacred—even if they don’t understand why it should be held that way.
The decision for the author, when editing his book, is to determine if the
opening scene they have utilized fits the necessity of the novel. If so, and if
done correctly, there is an agent or an editor out there waiting to read and
acquire his work.
opening scene they have utilized fits the necessity of the novel. If so, and if
done correctly, there is an agent or an editor out there waiting to read and
acquire his work.
Feel free to share any “rules”
about opening scenes that you may have heard.
about opening scenes that you may have heard.
And happy editing.
