How To Begin A Novel
How To Begin A Novel – Here on the blog, I don’t spend a lot of time talking about crafts, as it’s a huge topic that I can’t really do justice to; However, I like to talk about the best way to get your story off to a good start and get a compelling Page 1 and Chapter 1, and that’s where this guest column from novelist Leigh Michaels comes into play.
One of the biggest challenges you will face is figuring out where to start telling your story. You have little time and space, at most only a few pages, to capture your readers’ interest. If you start too slowly and include too many character stories, readers may tire of waiting for the interesting stuff to begin. If you start too fast, with too much action, they may become confused. Both miscalculations can cause the reader to put the book down and never pick it up again.
How To Begin A Novel
The best beginnings show that, within the first few pages or even paragraphs, the protagonist is under pressure and faces a challenge, a change in circumstances, or a threat that will significantly change the rest of his life.
Write Great Beginnings: How To Start A Novel, Hook Readers From Page One, Avoid Common First Chapter Problems By Sandra Gerth
There are no hard and fast rules on how to start your book, but some initial setups have proven effective over time. When deciding where and when to start, keep the following options in mind:
1. Start with one of your two main characters. Readers expect the first character they meet in the story to be the hero or heroine (and often it is the heroine), and are immediately prepared to care for this person. In this opening paragraph of his historical novel,
, Nicola Connick introduces his hero and gives us a clear idea of why we’re going to cheer for this war veteran to find love: as a reward for the hell he’s been through:
The April sunlight blinded like a flash of gunpowder and the bed curtains rang like a distant cannonade. For a moment, Jack, the Marquis of Merlin, wondered if he had gone to Hell and rejoined the Peninsular War.
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2. Start with action. A good option is to show the main character at a time when some kind of danger or threat throws the character’s life into disarray. The accident does not have to be life-threatening, it is best if it is not complicated and does not require long explanations. Opening with action is especially effective when the situation is easily understood or the danger is something readers can relate to, as in this example from Liz Fielding’s Traditional Dessert.
This is a mistake … Every cell in Ginny’s body slams on the brakes, digs her heels in, and ducks behind the protection of the rain-soaked fence that divides her roof terrace from Mallory’s Japanese garden of Richard’s perfection …
3. Start with an attention-grabbing statement. When readers are presented with something they don’t expect, as in Maureen Child’s unique title
Within a few paragraphs, we discover that “Baby Jesus” is actually an abandoned child and the heroine finds her life taking a dramatic turn.
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Every good story needs a good twist or two (or not) to keep it interesting. This week, ask your characters to make a plan. Often one of the hardest parts of writing a novel is getting started. The blank page has been known to intimidate even some great authors, so no matter how many novels you’ve written, whether it’s your first or your 30th, it should come as no surprise that getting started is often the hardest.
However, many writers and storytellers will tell you how exciting even that blank page can be.
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It’s filled with endless possibilities, endless ways to present your big story, and all the characters that populate that story — but can you choose just one?
In my years of studying stories, I have often found that the beginnings of stories are sometimes the most flexible elements of storytelling. This may be because the beginning of a novel can be easily edited without creating problems and holes in the narrative later, or because the beginning of novels tends to be more artistic and not focus on the narrative.
After all, starting a book is very important, so you need to do it right to attract readers and keep them wanting more.
But what is “right” for some books may be completely “wrong” for others. An action-packed opening scene may work for some novels, but for literary fiction, most readers are drawn to a well-thought-out paragraph.
Let This Ai Show You How To Begin Your Novel
So, with all the possibilities, where to start? And how do you find the best opening for your own story, not someone else’s?
In my years of writing both draft novels and short stories, I’ve seen my beginnings change over and over again, and I’ve found that the key to finding the best beginning for your novel is to write whatever comes to mind first, then fix it.
But that approach doesn’t work for everyone, especially those who prefer plotting to “breathing,” so I’ve compiled a list of seven potential ways you can start your own literary fiction novel, detailing the benefits of each start.
To get the most out of these different ways to start your fiction novel, I suggest imagining your work in each introduction or opening chapter, mixing and matching elements until you find a suitable opening for you and your story.
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Once you’ve found the right opening for your story, it’s time to put pen to paper, because guess what, you have no more excuses not to write!
Starting your novel with some kind of conversation is almost always a way to intrigue your reader, especially if it’s done mid-conversation, leaving a lot of guesswork on the part of the reader.
Also, when you start your novel with a dialogue, you can immediately introduce many features of your story without explaining things to the reader.
You’ll introduce characters easily by simply inserting them into dialogue, but you’ll also introduce how they talk, who they are, what their perspective is, and their relationship to the people they’re talking to.
Read A Book To Begin A Book
If you decide to start your novel this way, spend some time talking about who they’re talking to and what they’re talking about, as well as why they’re talking.
Since the beginning of the dialogue already focuses more on character than on other features like description and narration, think about how this dialogue at the beginning of the novel sets the tone for the rest of your book.
Are you able to subvert this expectation after barely using the conversation? Or is this conversation an indication of how the rest of your novel will read?
The choice isn’t wrong, but you have to have some kind of answer and understand how starting your novel in the middle of a conversation sets the tone for your story, because you’re letting your characters introduce the narrative, not you. the narrator
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One of the main strengths of prose is its ability to explore the interior. Unlike the script or the playwright, a novel can easily explore the inner world of our characters.
Beginning your novel with an internal monologue, in effect, immediately suggests that the work is rooted in internal dilemmas as much as external ones, and if not, your novel uses the power of prose to speak directly to your reader.
This immediately gives the reader a singular point of view from one character—not necessarily the main one—and it will affect the lens through which the reader sees the rest of the story.
It usually creates a bias in favor of one character — or against another — because as readers we’re given an intimate view of someone’s perspective — much more than we would if we opened our novel with a dialogue, as we did before. A new story.
How To Write A Novel
However, only because you might want to start your own story
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