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  1. John Anaszewicz

    John Anaszewicz Member

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    How do you like a Story to start?

    Discussion in 'Plot Development' started by John Anaszewicz, Sep 21, 2018.

    I always have trouble with this part, the whole "chapter one" part. I can do well once we get to the action part, after things get established and we're in the center, but it's always the start that I feel just doesn't grab attention compared to other books I've glanced back at to get some inspiration.
    But I'm not really getting anything.

    Should I try to do something that starts at like "theoretical chapter 4" and work on the exposition stuff between those bits?
    What are some good first chapter examples that work well? (somewhere in the fantasy/sci-fi spectrum)
     
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  2. Irina Samarskaya

    Irina Samarskaya Senior Member

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    I like to meet the main characters and see them interacting each other in a way that doesn't directly relate to the main badguy first. Books-wise, Game of Thrones sorta does this as the first chapter after the Prologue is about Ned Stark executing a deserter from the Prologue before hearing about his old buddy King Robert coming to town.The next bunch of chapters are essentially introductions to the main cast, and mostly show them interacting with each other and doing small things before eventually parting ways (which could be called the "real beginning" as that's when the snowball starts rolling).

    In general I've noticed 3 types of openings: the end at the beginning; a peaceful beginning, followed by conflict; and a conflict-heavy beginning followed by peace for the "true" conflict.

    I suggest just using the first few chapters as a foundation/introduction and re-writing it towards the end once you have a much more certain idea of what you want it to look like (like whether you want it to be a flash-forward, an action-y prologue succeeded by a peaceful first few chapters, or a peaceful intro that immediately introduces the main cast before the conflicts start happening).

    Personally I prefer a slow build-up and for character-building/introductions to take precedence for the first hundred or so pages. This way I can know who I'm reading from and invest myself into who they are before they start risking their necks. If they're risking their necks first, I won't really care about them until I get to finally know them (which in some cases may be "too late" if they were intended to die early or something like that).

    However still; there are many different preferences, and I think you should focus on that after your first draft is pretty much done. For now I'd suggest writing your beginning with the intent to introduce the main characters and let the reader into their heads a bit before letting them off to go adventure or struggle or whatnot. Especially if this book will be adventure/battle/puzzle heavy.

    EDIT: I generally don't like action-first because it tends to make me want to skip ahead as I don't care initially for Joe Schmo's noble self-sacrifice or a context-needed string of titles, places, and factions that I've yet to know or comprehend. Like if you opened with a big battle between two factions (unless they're historical and well-known), I'd struggle to care because I wouldn't even know why they're fighting let alone what sets them apart.

    However action-beginnings can be good (to me) if they show something about the main character(s) and allow some introductions. Like if Yaroslav rides into his hometown village to drive away bandits, this shows Yaroslav to be a hero right-away and shows how the village depends on him to defend it. Afterwards he ought to have some downtime, meet and greet his parents and siblings, perhaps see his crush/fiance, go prey at a church, etc. before eventually embarking on whatever it is Yaroslav's story is going to be about in the long run.
     
  3. Perth

    Perth New Member

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    First of all, if you're stuck with a particular chapter, don't fight with it; write other chapters meanwhile, and maybe you'll come up with an idea later.

    Second, it depends on what kind of impression you want to give the readers, because chapter one kind of serves as the "first impression" of the story. If you want to tense the readers, you can start with some violent or mysterious situation that doesn't involve the protagonist, and only in chapter two start with the protagonist. In the first chapter of "Harry Potter and the Goblet of Fire", for example, we don't see Harry at all; we're introduced to a dark scene that includes Lord Voldemort, his snake, his servant and a poor victim.
     
  4. Irina Samarskaya

    Irina Samarskaya Senior Member

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    I second this post. The intended "tense" is necessary as the First Impression could bring in or repulse window-shopping readers (as usually the first chapter or so is free to read online before having to consider purchasing). Maybe you want it to be representative of the whole book (like an action-heavy book starting with action) or make it an introduction to get the prospective reader to maybe care before going further (a peaceful start before a stormy middle, perhaps).
     
  5. John Calligan

    John Calligan Contributor Contributor

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    The first five minutes of "The Dragon Prince" on Netflix is a master class in shit I hate. Two episodes in and I like it okay, but man, that beginning is rough.

    "Clash of Eagles" by Alan Smale has a great opening line that has stuck with me:

     
  6. John Anaszewicz

    John Anaszewicz Member

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    I remember glancing at a book in the library the other day called "Killobyte" that started in the middle of an unknown battle (just the main character and some unknown guy).
    The blurb on the back and the synopsis got me hooked, so I guess the writer did a good job, haha.

    Then of course there's the Lightning Thief book 1 where it starts out with Percy monologuing to the reader.

    I guess I do like a combination of action and exposition, just something that gets to the business quickly, so to speak.
     
  7. AbyssalJoey

    AbyssalJoey Active Member

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    I like my starts somewhat slow like "The Hobbit", "Howl's Moving Castle" or "The Lord Of The Rings" (the 1st one), I like to know what is the status quo so that I can understand it better when it is broken buuuuuut, this only applies to novels and novellas, if I'm reading a novelette or a short story I like my stories fast, really fast... "in medias res" fast.
     
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  8. Irina Samarskaya

    Irina Samarskaya Senior Member

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    Then perhaps you could do something like my Yaroslav example; start off pitting the Hero against an adversary whose identity isn't important (like a Bandit--they're always evil, by definition) and have the Hero overcome that before having downtime to introduce the main cast and their close ones.

    I think downtime is important, especially in big books (especially big books intended to be parts of a series), as that not only allows for some exposition and flavoring but also gives the story a human/realistic element to it. In real life, few people are living constantly in action moment-to-moment drama. I may be niche in saying this, but I find too much action/drama to be tiring. There ought to be downtime to show off the good of the story (like if you used the characters you described in your last thread, a date outside the house between Zane and Yasuko would be a great example of both showing off character, taking a break, and building up to something in the future (like a little Zane or Yasuko in the making) as well as further invest the reader into the characters.

    Of course there's a lot of different taste buds and some people prefer A, others B, and others still C. You ought not go out of your way to conform to taste buds significantly alien to your own, but if your palette could be expanded then so too could your potential fan base. Like if you enjoy both action and downtime, then readers who enjoy either (especially both) would find enjoyment as well. If you like A, B, AND C, then you have the biggest potential audience. Of course, this also means those who only like A, B, or C might be like "it's okay" with only those who like A, B, and C really, really loving it. People who like A and B, B and C, or A and C, will probably generally call it good. Of course you could maximize the potential for reader enjoyment by doing each of these things really well so that even if a reader only enjoys A or B or C they won't be unsatisfied because that aspect was done as well as if it were the sole focus (if that makes sense).

    Of course actually doing this is tricky (and I don't know the answer; to some degree you just have to make the best thing you can make and see who bites, and then go from there). Personally I think I could really enjoy a novel that mixed adventure with family life as both things combined are very enjoyable to me, much more so than either individually. Plus, it's rarely done (therefore you'd be a pioneer in an untapped market). However, having said that, you must ultimately do what you enjoy and are best at since that will most likely result in the best possible work.
     
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  9. Artifacs

    Artifacs Senior Member

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    Chapter One = Start with an earthquake.
    Next Chapters: Increase it from that.
    As some famous director said. I totally agree.

    Of course, I agree with a metaphorical earthquake and depends on the genre. Can be an earthquake made of senses, perceptions or really thrilling action (but very difficult to achieve in the first chapter). There's nothing like an earthquake of serenity after a thrilling action quest solved scene. That moment after the storm when the characters have the chance to grow and you're allowed to read how those transformations take place.

    I like first chapters to be like an earthquake to my senses or thoughts. That's how I'd write Chapter One.
     
  10. Night Herald

    Night Herald The Fool Contributor

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    One paragraph of in medias res followed immediately by a flashback to three weeks earlier.

    Yes, I'm kidding.

    I like my books (the ones I read, not necessarily the ones I write) in on of two ways:

    Starting off slowly with normal every-day life (whatever that means for that setting and character(s)) then gradually building momentum. I like to find my footing a bit before things start going to hell. Get to know these people, have a look around.

    Beginning with in not so ordinary situation, though still taking place in what you might call a "controlled environment". A good example would be Jurassic Park before the inevitable dino uprising. You get the same gentle start, but with the additional hook of knowing what must go horribly wrong in just a bit.

    That being said, I'm not opposed to stories kicking off "after the fact", whatever that means.
     
  11. James Terzian

    James Terzian Member

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    In my book I always start with a back story or introductory of previous story if part of a trilogy
     
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  12. peachalulu

    peachalulu Member Reviewer Contributor

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    I like to showcase the tone, the character -- his goal inner or outer, and setting. And I either start with a scene or with some telling that incorporates enough visual to make it feel scene-ish.
    I find the whole show don't tell thing to have gotten so out of hand a lot of newbie writer's don't seem to be able to handle simple prose without over thinking it. So I'm not going to be one of those show don't tell people.
    Basically I want to divulge to the reader a hint of the turning point about to happen. For instance in my WIP the mc is a young teenage boy whose mother has been pushing him for years dragging him to auditions in the hopes of turning him into a star. The first chapter starts with some background information about his conflict with his mother and her goal for him -- the second chapter is him sabotaging his latest audition which sets off a chain reaction and gets him the part. This change his actual protest to what she's doing -- gives her what she has always wanted.
    So for me it's about finding that sweet spot of when does the story start. Do I need to showcase the opening with a scene or more ideas (prose) to convey a mood. All in all though I tend to write the beginning, fret about it but realize I don't need to overthink it cause it may be eliminated in the next draft. As I've just found out cause I'm editing my novel and the beginning will have to be tweaked because the pov has changed.
    I haven't read too many sci-fi /fantasy stories but when I write those I usually follow the same pattern -- scene or prose.
     
  13. ChickenFreak

    ChickenFreak Contributor Contributor

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    I think I like an opening with relatively small stakes—some tension or conflict, but not the Big Conflict. Characters in perfect calm don’t reveal much character, but I do want to care before the really big stakes come up.

    I say “I think” because I’d have to do some thinking to see if my favorite books work this way.
     
  14. Artifacs

    Artifacs Senior Member

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    Maybe the first chapter is overarted. Who does remeber it, anyway?. I can't remember the first chapter of Dick's Do Androids..dadayaya novel. Wait. I think I do. But not Herbert's Dune. Damnit !!, I remenber that too. Ok, well...mmm Look!! a bird!!!.
     
  15. Homer Potvin

    Homer Potvin A tombstone hand and a graveyard mind Staff Supporter Contributor

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    Start with the action part then.
     
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  16. zoupskim

    zoupskim Contributor Contributor

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    A lot of it depends on the genre. A slow bake story like Foundation can start with a counsel meeting, but a sexually charged coming of age story like like Fanny Hackabout-Jones starts with some confusing fondling. What's the part of your book that you find the most interesting? You should try to include a flavor of that in your first chapter.

    You mentioned the opening chapter of Dune. That very first scene with Paul and Mother is just a condensed version of the WHOLE book, and shows us the deep dives into the character's psyches the book is going to embark on, as well as the weirdness of space nuns with lament configuration boxes.
     
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  17. BlitzGirl

    BlitzGirl Contributor Contributor

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    As other people have said here, I also prefer slower beginnings for the most part. I like the "everything was fine and normal until something changed the entire status quo" scenario.

    Even though my current story has a very slow/everyday life kind of beginning, the very first paragraph opens with the MC waking up from a disturbing nightmare. My hopes are that such a beginning will hook the reader, while also giving important information about the MC right away. No big battles or drama necessary.
     
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  18. Cave Troll

    Cave Troll It's Coffee O'clock everywhere. Contributor

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    For me the beginning has to do things.

    A. Fit the tone of the story, and not just be some fancy line.
    Cause you can have a fancy line starting things off, and then
    the story falls to shit, cause it doesn't live up to that grand
    first string of words. So it helps if it fits the story, and not
    trying to be the best thing about the overall story.

    B. Fit the pacing. While it should be based on genres, it
    shouldn't be some slow build if it is starting off in a frantic
    state of things. Nor be the opposite in a slower paced story
    that needs time (or can take the time to just meander) in
    setting up the characters, setting, and what not.

    C. Don't need to know everything about the character(s) in the
    first five minutes. They are going to change and evolve over the
    course of the story in their arc, so don't push all of that into the
    beginning, since they are not going to be the same person at the
    end, as they are at the beginning.
     
  19. ReturntoEarth

    ReturntoEarth New Member

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    "in media res" is something to look into if action is your strength. It roughly translates to "In the middle of" meaning in the middle of a story or in the middle of the action. You can start in the action scene and then back it up and revert back to the beginning as a "here's the action but you probably have questions so here's how it all happened." kind of way. You can also start the story in the middle of something action filled such as a battle, war, an attack/fight, a sporting event, etc and lead out into the character and their reasoning for being a part of the action and treat the story as if the audience already knows the character but slowly fill in the blanks as the story progresses.

    I personally like to touch into the backstory and parallel the past to what's happening in the present to blend it in so you know what the character has been through but you also dropped in on them in a similar situation as "already knowing them" you don't want to reveal every little thing about your character upfront because this doesn't create any mystery. I feel like if you follow through with the same character archetype it makes predicting their reactions or next move not as interesting. If they are essentially an unknown they tend to be more entertaining, and you want to learn more and more. Just my 2 cents.
     
  20. saxonslav

    saxonslav Member

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    I would like to point out that in media res doesn't necessarily mean action, just being in the middle of a scene that would typically start earlier.
    Action just happens to be a suitable situation for in media res.
     
  21. jannert

    jannert Retired Mod Supporter Contributor

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    I like to be immediately oriented. I dislike story openers that don't tell me what is going on, and don't give me a good idea of who the story is going to be about. All flash bang whee, slash, hack ...but we don't know—or care—who all this action is happening to. If I stick with this kind of a book at all (and I usually don't) I always skim ahead until I can figure out what the whole thing is all about and who I'm supposed to be paying attention to. I prefer openings that set a scene and let me get to know the characters as they are, before the action (which is about change) begins.

    This 'media res' business is over-rated, in my opinion. Either that, or it is often misunderstood. You can open a story with an intriguing situation or even a statement that launches the story in the right direction. But the reader has to care, and fast, or the beginning can be a distraction from the actual story rather than an introduction to it.

    Media res action fans also need to be aware that after the opening action finishes, the action drops—and then explanations and orientation starts, which can seem anticlimactic. Traditional stories usually start with characters and a fairly static situation that is about to change, and the action builds from there. These traditional stories get more and more exciting as the tension builds. These stories don't start with a climax and then drop off to begin again.

    I'd say if you want to write an action-packed media res beginning, and that gets you going, fine. But when editing your drafts, you might want to consider dropping that opening scene (or moving it elsewhere) and actually beginning the story with what happens next. When the action drops, what comes next? That is often the best place to begin.

    Remember, your readers are coming cold to a story you already know intimately, because you wrote it. However, they know nothing, and may be sitting down with a cup of coffee, after a hard day of work or whatever. They want to get immersed in something that is different from what they've just been experiencing. So you've got to give them time to settle and open up to the world of your story. Don't be afraid of a 'slow' start. It won't seem slow if it's interesting enough.
     
    Last edited: Sep 23, 2018
  22. deadrats

    deadrats Contributor Contributor

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    I like a story to start in a way I never imagined it starting. Those are great beginnings.
     
  23. Ian37

    Ian37 New Member

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    I think a good bet is to try doing all possible catching the reader/viewer and his/her attention. This needs to be done right away really or attention may be lost for good. Even if you have something intriguing or important to say. As for what specific blueprint to follow. I think that is ultimately up to the writer to find. It does not seem like there should be a way it 'has to be'. I also agree that maybe it is okay to skip around as necessary. No need to start with the very beginning so long as you have some sort of ultimate end.
     
  24. John Anaszewicz

    John Anaszewicz Member

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    That's the problem though. I can create characters off of a stray thought (and I mean whole groups of characters sometimes), but the problem is making a book title or beginning section that makes you want to keep reading.
    I know there's not necessarily a, like you said, blueprint, but some books start off with a one liner, or they don't, but either way there's just something about them that makes you keep moving to the next sentence.

    And I could either start the story off at the turning point (when the actual premise of my story starts) or do the slow start that eases into things (I'm a fan of the "easing into things" to be honest, let's me explain things first and gets you acquainted with the characters, or narrator if it's first person)

    I also think I have to read some new books in my genre-of-interest, I've been reading too many graphic novels recently.
     
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  25. ReturntoEarth

    ReturntoEarth New Member

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    I would have to ask what you deem "Traditional"? Shakespeare often placed his stories "in media res". The Odyssey is a great example of in media res as so much had already happened before we follow Odysseus. Dante's Divine Comedy also starts this way as well... I could name at least a dozen or so classics that begin this way. It is not a new idea, hence why the term is in Latin and not a more modern spoken language.

    Yes, it means "in the middle of things" so not specifically in the middle of action but in the middle of the story itself. However, you said you were great at writing the action parts and it's much easier to start with what you know, start with your strengths and work your way to the rest. Everyone is different and has their own writing style. Some people write out all the big dynamic scenes first and then link them together with more static scenes and build on to them that way. Some people sit down and write straight through and then nitpick later, some people write the ending first and work backwards. It's all about finding what works best for your own workflow.

    If you're great at action scenes then you can also save them for last and work on the static scenes first because you know you've got the action scenes in the bag. Just play to your own strength and writing level, the more you write the better you'll get and no one can tell you exactly how to write, we can only give ideas, advice, and support. :)
     
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