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| Well there's something you don't see every day. |
Plot, characters,
complexity—none of that matters on the first page. What's important is to hook your
readers. The cliche is that you need a
very good first line, but the truth is that if a reader has picked up your book
(or read the synopsis enough to buy the ebook/download a sample) they're
already invested and willing to give you some of their time. Usually, a page at least. So you have that much time to set the hook
and start to reel them in. Then,
complexity and layers and characters can all do their work.
complexity—none of that matters on the first page. What's important is to hook your
readers. The cliche is that you need a
very good first line, but the truth is that if a reader has picked up your book
(or read the synopsis enough to buy the ebook/download a sample) they're
already invested and willing to give you some of their time. Usually, a page at least. So you have that much time to set the hook
and start to reel them in. Then,
complexity and layers and characters can all do their work.
Here's a few things that I try
to do with my first page (about the first 300 to 500 words:
to do with my first page (about the first 300 to 500 words:
1 - Establish my world. Obviously, I'm going to need a couple ten
thousand words to really build out the world, but I want to give my readers a
real sense of what they're reading. So,
a steampunk books gets some steamalicious gears, or brass patina, or leather
and tin goggles out of the gate—even if it's only in passing.
thousand words to really build out the world, but I want to give my readers a
real sense of what they're reading. So,
a steampunk books gets some steamalicious gears, or brass patina, or leather
and tin goggles out of the gate—even if it's only in passing.
 |
| Tension! Conflict! Character! Meet the Trifecta! |
2 - Establish my main
character. The primary character, even
if he/she later fades to the background or is subsumed by other character POVs,
is introduced and the solid core of that characters is introduced on the first
page. Scoundrels are doing
skullduggery. Paladins are shining their
white cloaks. Harrison Ford is being a
good man under extreme pressure. You get
the idea.
character. The primary character, even
if he/she later fades to the background or is subsumed by other character POVs,
is introduced and the solid core of that characters is introduced on the first
page. Scoundrels are doing
skullduggery. Paladins are shining their
white cloaks. Harrison Ford is being a
good man under extreme pressure. You get
the idea.
3 - Tension/Conflict. You don't want your readers on the edge of
their seat throughout the entire story, they need some breathing room every now
and then. BUT in introducing the book,
there should be some kind of conflict, even minor and easily overcome, that
will draw them in and keep the pages turning.
Witnessing an airship docking.
Winning (or losing) a high stakes poker game. Being confronted by a police captain for a
bust gone horribly wrong. All of these
create tension or establish conflict that will (hopefully) pique readers'
interest.
their seat throughout the entire story, they need some breathing room every now
and then. BUT in introducing the book,
there should be some kind of conflict, even minor and easily overcome, that
will draw them in and keep the pages turning.
Witnessing an airship docking.
Winning (or losing) a high stakes poker game. Being confronted by a police captain for a
bust gone horribly wrong. All of these
create tension or establish conflict that will (hopefully) pique readers'
interest.
 |
| It is me, or did it just get complicated in here? |
Of course, you don't do these
separately. With 300 to 500 words to
work in, you weave these elements together to create a tapestry of world,
characters and tension. With any luck,
this informs your first line, and you've laid the bait, allowed the reader to
nibble, and by word 301 (or 501) you'd set the hook so firmly that no matter
how complex, layered or characterific your story, everyone is along for the
roller coaster ride.
R.A. McCandless is the author of the urban fantasy Flames of Perdition series. His first book, Tears of Heaven, was named a 2015 EPIC eBook finalist and winner of the 2014 Best Science Fiction and Fantasy Reader's Poll by Preditors & Editors. His latest book, Hell Becomes Her, is available now. He continues to write genre and historical fiction, battle sprinklers and play with his three boys.
separately. With 300 to 500 words to
work in, you weave these elements together to create a tapestry of world,
characters and tension. With any luck,
this informs your first line, and you've laid the bait, allowed the reader to
nibble, and by word 301 (or 501) you'd set the hook so firmly that no matter
how complex, layered or characterific your story, everyone is along for the
roller coaster ride.
R.A. McCandless is the author of the urban fantasy Flames of Perdition series. His first book, Tears of Heaven, was named a 2015 EPIC eBook finalist and winner of the 2014 Best Science Fiction and Fantasy Reader's Poll by Preditors & Editors. His latest book, Hell Becomes Her, is available now. He continues to write genre and historical fiction, battle sprinklers and play with his three boys.
