Author RA McCandless: Three Ways to Hook Your Reader in the First 500 Words #specufic

Today we're visited by spec fic author RA McCandless. He's launching his newest book today so be sure to check out Hell Becomes Her. Hope you enjoy!

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.

Here's a few things that I try
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.

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.

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.

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.

Write Tighter, Write Smarter

In between promoting my latest release and running a multi-author giveaway, I'm still trying to make headway on my latest book project, The Heartbeat Thief. Since I'm editing today, I thought I'd share this post with my writer friends. Enjoy!

As a homeschooled writer, I'd learned to improve my craft one layer at a time.

My first WIP was a stack of notebooks, pages of endless prose that I'd written one summer. I wrote it for fun, an imaginary escape, without the least care for grammar or structure or plot. It was a technical wreck but I wasn't worried--because no one but me would ever read it.

My second…that was different. I knew I wanted to share that story. I also knew I had a lot to learn about writing. I began to amass my writer's library and scoured the internet for articles and discussions and workshops, all in the hopes of improving my writing. I spent years learning how to be a better writer--and will spend many more years learning, too.

Recently, I came across those notebooks of my first attempts at writing a novel and was shocked to see what my style was like when I wrote it eight years ago. I think the aspect that struck me the most was how much I rambled.

It wasn't that I wrote endless chapters of setting or backstory or dialogue. My problem was that I wrote the way I spoke--and I spoke with a lot of extra words.

Extra Words

Extra words make your sentences flimsy. A reader wants the heart of the story--and extra words get in the way. Readers crave hooks and action and a thrilling pace but extra words can cause the story to stumble.

My WIP had a lot of extra words. When I read back through those pages, I found myself skimming. That's the ultimate sign that I lost my audience--and my audience was me. How bad is that?

Tighten Those Lines

When I started homeschooling myself, I'd picked up loads of tips on how to improve the mechanics of my writing. Without realizing it, I began to write smarter because I wrote tighter. Of course, I was learning as I went--and applied most of my new skills through editing.

Editing is a technique that should always be done in layers--sentence, paragraph, scene, and story. You can tighten your writing at each of these layers, resulting in better craft and a better story.

Sentence Level

Extra words like to hide in sentences, adding bulk without substance. You can use the "find" function on your word processor to hunt out those words and eliminate them. The biggest culprits? Words such as really, very, and just, to name a few. You don't need them.

And not just single words-- entire categories such as adverbs and adjectives will loosen your sentences. If you need to enhance a noun or a verb, it may mean you didn't pick the right word in the first place. Find a stronger word and kick the enhancers to the curb.

Another tip to tighten your sentences? Skip the obvious. "He put his hat on his head." Unless he often puts his hat on a different body part, you can skip telling us where he put it.

You can also skip the obvious by eliminating things like "she could see" or "I heard"--because you follow those phrases with whatever is seen and heard. And gerunds? You probably don't need them--if your character grabs a gun and has no intention of swinging it like a club, you can drop the "to shoot" that might follow.

Paragraph Level

When looking to tighten a paragraph, I look for sections that feel like telling and not showing. I'll add a line or two that shows the action and then go back to eliminate the telling part.

Okay, you may be thinking, how can that be tighter? You're adding words!

Yes, I am…but they are healthy, vibrant words, packed with wholesome story goodness. I eliminated the empty calorie words. End result? Better writing and a stronger story.

Example: I could tell she didn't believe me.

The fix: With a sharp shake of her head, she jabbed a finger into my chest. "You do this every time! I tell you that I'm finally happy, and you concoct some stupid story about why I shouldn't be."

Yep, more words…but now the reader sees the disbelief and doesn't have to take the narrator's word for it. I added action and dialogue. That original line "I could tell she didn't believe me" is now fluff to be eliminated. Bye bye, extra words.

Scene Level

Sometimes your sentences are tight but your scenes aren't. Maybe you've got too much going on.

You can tighten your scenes by watching for unnecessary elements--any character or prop or intention or action that doesn't move the scene forward can be removed because they are distractions.

What if one of the characters wasn't present? Is someone worrying about an issue that is keeping the scene from being streamlined? If you can change a character's thoughts or attitude before the scene occurs, would you ultimately improve the flow of the scene itself?

Watch for elements that seem stagnant or present obstacles to your action. Removing them will tighten your scenes and your story.

Sometimes the element is an entire scene. Try deleting it and see what it does to improve the story.

Story Level

Take a step back and think about your story as a whole. How can you tighten it?

List your plotline and sub-plotlines. Do you have sub-plots that do little to move your story forward? If the little stories don't contribute to the plot or to the character's growth, you may be hindering the big story.  It's time to send those extra words on their way.

And the characters that are window-dressing? Send them home. Extra people mean extra words. If they don't work the story, there isn't a reason to keep them around.

Make the Cut

You may be intimidated by the prospect of cutting scenes and storylines and even characters from your story because of the damage it will do to your word count. Keep in mind that readers only want the words worth reading. You can always go back and add to the real story, using strong, vibrant language.

And think of it this way--you'll save an agent or editor the trouble of asking you to revise those same issues. Extra words keep your work from attaining "shelf-ready status". Be brave and do what's best for your story. You and your story and your writing craft will be all the better for it.

(Image courtesy of nkzs.)