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May 29, 1. Spies an interesting book. What does she do? Flips to the first chapter before anything else. Then I smell the book and rub it on my bare stomach in a circular motion and make mmmmmm noises. One way or another, I want to see that first chapter. The first chapter is where you use me or lose me. This is why origin stories are often the weakest iterations of the superhero tale. A great first line is the collateral that grants the author a line of intellectual credit from the reader. The reader unconsciously commits: A good opening line is a promise, or a question, or an unproven idea. It says something interesting. It shows a shattered status quo. A good opening line is stone in our shoe that we cannot shake. Writing a killer first line to a novel is an art form in which there are a few masters and a great many apprentices. But it goes like this: Did I mention Christopher Moore knows a lot about whale penises? Your Protagonist Has One Job: But I damn sure need to care about her. Crank up the volume knob on the give-a-fuck factor. Let me know who she is. Make me afraid for her. Speak to me of her quest. Whisper to me why her story matters. Dialogue is easy like Sunday morning. And dialogue is the fastest way to me getting to know the character. Look at it this way: Or do you want to go up and have a conversation? And conflict is what feeds the reader. Begin the book with conflict. Big, small, physical, emotional, whatever. Conflict disrupts the status quo. Conflict, above all else, is interesting. Your first chapter is not a straight horizontal line. It has to matter. What are the costs? What can be gained, what can be lost? Can someone be saved? Did someone say I can have pie? Mood Lighting First impressions matter. Impressions are in many ways indelible — you can erase that thing you just wrote in pencil or tear up the page with the inky scribbles, but the soft wood of the table beneath still holds the impressions of what was written, and so it is that the first chapter is where the reader gets his first and perhaps strongest taste of mood. What first taste hits their emotional palate? That is also the codeword that will get you into my super-secret super-sexy food-and-porn clubhouse. A story is very much like that. Every story is an argument. And the theme is the crystallization of that argument. And just as the thesis of a paper goes right up front, so too must your theme be present in the first chapter. The rise and fall of the tale. An inciting incident leads to rising tension which escalates and grows new conflict and the story pivots and then it reaches the narrative ejaculation and soon after demands a nap and a cookie. The first chapter is perhaps best when thought of as a microcosm of the macrocosm — the chapter should have its own rise and fall, its own conflict which may become the larger conflict of the narrative. Specifically, context for the characters involved in said action. Because I have no reason yet to care. Now, if you can get us in there and make us care before throwing us into balls-to-the-wall action, fuck yeah. What does the symbol of the winged armadillo mean? Do not say it aloud. Eschew Exposition, Bypass Backstory The first chapter is not the place to tell us everything. Give us a reason to care about that stuff before you start droning on and on about it. You want the reader drawn in by mystery but not eaten by the grue of confusion, and so you illuminate a little bit as you go — a flashlight beam on the wall or along the ground, just enough to keep them walking forward and not impaling themselves on a stalagmite. Flung Off The Cliff TV shows generally follow a multi-act structure, with each act punctuated and separated by commercial breaks. This trick works at the end of the first chapter. Also, keep it short. The first chapter is not a novel in and of itself. Your voice in that chapter must be calm, confident, assertive — no wishy-washy language, no great big bloated passages, no slack-in-the-rope. Your voice must be fully present. All guns firing at once: Also, wrong — a prologue should never be an automatic, but hell, if you need one, you need one. So, grab ten off the shelf. Read their opening chapters. Find out what works. Find out what sucks. Do it and get through it. More Time Under The Knife What that ultimately means is, a first chapter may see more attention — writing, editing, rewriting, and rewriting, and then rewriting some more — than any other chapter outside maybe the last. Take the time to get it right. Because the first chapter, like the last chapter, must have it all. If you ignore most of the things on this list: The greatest crime a writer can commit is by telling a boring story with boring characters and boring circumstances: Want more just like it? Nerdgirl porn

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5 Comments

  1. Spies an interesting book. But it goes like this: The first time Steve sees Bucky Barnes, he knows he is so fucked.

  2. Because I have no reason yet to care. Then I smell the book and rub it on my bare stomach in a circular motion and make mmmmmm noises.

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