{"id":10574,"date":"2014-05-15T03:00:26","date_gmt":"2014-05-15T10:00:26","guid":{"rendered":"http:\/\/writersfunzone.com\/blog\/?p=10574"},"modified":"2014-05-18T08:46:33","modified_gmt":"2014-05-18T15:46:33","slug":"story-beginnings-by-key-keppler","status":"publish","type":"post","link":"https:\/\/writersfunzone.com\/blog\/2014\/05\/15\/story-beginnings-by-key-keppler\/","title":{"rendered":"Story Beginnings by Kay Keppler"},"content":{"rendered":"
\"KayKepplerBook\"<\/a>

Betting on Hope by Kay Keppler<\/p><\/div>\n

Please join me in welcoming back author Kay Keppler<\/strong> <\/a>as she discusses the importance of beginnings in our books. In other words, have you gripped or hooked the reader from the first line? Enjoy!<\/em><\/p>\n

***<\/p>\n

Start Your Book on Familiar Ground<\/strong><\/h2>\n

When readers pick up a book, they decide quickly\u2014<\/strong>sometimes as quickly as the first paragraph, or even the first sentence\u2014whether they want to read further. Hooking that reader with an intriguing opening is critical, especially if that reader is unfamiliar with your work.\u00a0Many books have well-established ways of opening. Authors, like chess masters, can choose familiar opening gambits that help readers feel comfortable while establishing the story, stirring interest, and starting the action. You might want to think about launching your story with one of these familiar types of openings.<\/p>\n

Opening with the Storyteller<\/strong><\/h2>\n

Consider this beginning: \u201cCall me Ishmael.\u201d <\/strong>That\u2019s the first sentence of Moby Dick by Herman Melville. In this opening, the narrator talks to the reader. He tells you what to call him, not what his name is. Think how people introduce themselves. Someone might be very direct and say, \u201cMy name is.\u201d To establish an immediate connection that does not yet exist, someone might say, \u201cMy friends call me.\u201d A person might say, as Ishmael does, \u201cI am called.\u201d These different ways of self-introduction suggest different personality characteristics on which you can expand for the first-person narrator of your book.<\/p>\n

Opening in a Crisis<\/strong><\/h2>\n

Another well-known way to open a book is in a crisis situation.<\/strong> For example: \u201cCharlene Braddock slammed her laptop closed and hurled it across the bedroom.\u201d<\/em> This sentence opens Midnight Lies<\/em><\/a> by Ella Grace. With only the first sentence, we know only one thing for sure: Charlene Braddock is furious, and she is furious right now. But the fact that she\u2019s in the bedroom when she throws the laptop is suggestive. The location isn\u2019t random. Reading into the first paragraph, the reader learns that Charlene is furious with her ex-husband, whom she still loves. Using this kind of hint also draws the reader into the page to learn more.<\/p>\n

Here\u2019s another example: \u201cSomething terrible happened.\u201d<\/strong> This sentence opens Nadine Gordimer\u2019s The House Gun<\/a>.<\/em>\u00a0In this very short sentence, we understand that the drama is not immediate, as it is in Grace\u2019s novel. Within just a couple of sentences, we find out that the terrible \u201csomething\u201d that happened is in the news, on television, not personal. But in just a few more lines, the plot unspools. Something terrible happens to the characters, as well. And when it does, Gordimer switches to the present tense. The present \u201cterrible something\u201d reflects the bad news on the television.<\/p>\n

Opening with a History<\/strong><\/h2>\n

\u201cI\u2019d been waiting for the vampire for years when he walked into the bar.\u201d<\/strong><\/em> Charlaine Harris begins Dead Until Dark<\/em><\/a>\u00a0this way. The narrator opens the story with a simple truth of the story of her life. Readers like personal histories, everyone likes gossip, people want to know more about other people. This kind of opening suggests that the narrator is talking to a friend or family member, and we trust the narrator and the story she tells. It seems direct and honest. And in starting this way, although we know we\u2019re going to hear a lot about vampires, we also know that we\u2019ll be finding out a lot about the narrator, as well.<\/p>\n

Opening in Aftermath<\/strong><\/h2>\n

Sometimes you want to start a story after the triggering event or even after the dust has settled<\/strong>\u2014that is, not with the action but the characters\u2019 response to it. The Pelican Brief<\/em><\/a> by John Grisham \u00a0opens this way: \u201cHe seemed incapable of creating such chaos, but much of what he saw below could be blamed on him.\u201d<\/em> The next paragraphs discuss the chaos\u2014the mob, the police, and the riot. But Grisham shows this chaos and frames the discussion through the eyes of one man\u2014making the story not about indistinguishable multitudes, but just one man and what\u2019s at stake for him.<\/p>\n

But wait, there\u2019s more<\/strong><\/h2>\n

These are just some of the ways you can set up your novel and draw readers into your story<\/strong>. Other familiar ways include opening with an encounter, a death (or immediately after a death), or an illness. However you begin, hooking that reader quickly is imperative. Your beginning sells your readers on your book, making them want to read to the end.<\/p>\n

And at that point, the ending sells them on your next book. But that\u2019s another story.<\/p>\n

***<\/p>\n

ABOUT THE AUTHOR<\/h3>\n
\"KeyKeppler\"<\/a>

Author Kay Keppler<\/p><\/div>\n

Kay Keppler<\/strong> (www.kaykeppler.com)<\/a>\u00a0is an author Zero Gravity Outcasts<\/em><\/a>, \u00a0Betting on Hope<\/em><\/a>, Gargoyle: Three Enchanting Romance Novellas<\/em><\/a>, \u00a0and editor of fiction and nonfiction – Angel\u2019s Kiss, Outsource It! who lives in northern California. Contact her here or at kaykeppler@yahoo.com<\/a> to ask questions, suggest topics, or if you prefer, complain.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Hooking that reader with an intriguing opening is critical, especially if that reader is unfamiliar with your work. Many books have well-established ways of opening. Authors, like chess masters, can choose familiar opening gambits that help readers feel comfortable while establishing the story, stirring interest, and starting the action. 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