Monday, October 21, 2013

The Most Important Sentence

by Charlotte Firbank-King
editor, writer, illustrator

The most important sentence you'll ever write is the first line of your book or novel. There's nothing easy about writing that first line—but many times, that line will decide if the reader will continue reading or not. Here's what that first line must do:
Hook the reader
Here is an example of an opening line—the hook:
The captain stood on the deck of his ship in torpid heat, slowly whipping his wife.
This was an example given to me years ago by a publisher, and I use it all the time. A number of things cause the reader to want to read on—things that hook them.
1) What era is it?
2) Torpid heat? Where is it happening?
3) Why is the captain whipping his wife? More curiously, why is he whipping her slowly?
The reader wants these things answered. They are almost compelled to read on. Hook your reader in one or two sentences. 
Hit the ground running
The first line is the most important part, next the first paragraph, then the first page, but having said that, if the first five pages aren't fantastic you will lose the reader. Most certainly, you will lose the publisher or agent. They’re very busy and can tell in the first paragraph if they want you or not. Then they are more convinced if the first page is great. However, that interest wanes rapidly if the second page doesn't deliver, but they will probably forge on for another page. After that, if you don’t continue to deliver, it’s all downhill and your manuscript ends up on the slush pile.
The opening paragraph doesn’t have to be a mother throwing her ten children into shark infested water—tempting as the thought might be when your brood is that big—but it does have to grab the reader’s attention and hold it.

Smaller hooks at the ends of chapters.
You want your reader to keep turning pages, so end each chapter with a hook that will drag them to the next one. After a gut-wrenching chapter the protagonist finally makes it to safety. You slow the pace, bring the reader down until they are ready to fall asleep and read another day. But then you drag them right back into the action. They must read on.
Emma sagged to the floor in lifeless air, safe at last. Then a door snicked open and icy fingers caressed her neck. End of chapter. A bit dramatic, but you get the picture. You could drag it out and switch to another character in the next chapter, but you might piss your reader off, so choose your moments with care.
Four examples of opening lines:
The man in black fled across the desert, and the gunslinger followed. (Stephen King, The Gunslinger.)
It was the best of times, it was the worst of time, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair. (Charles Dickens, A Tale of Two Cities.)
They shot the white girl first. (Toni Morrison, Paradise.)
Lolita, the light of my life, fire of my loins. My sin, my soul. (Vladimir Nabokov, Lolita.)
Examples of first paragraphs/lines from our editors
Our team of editors is immensely versatile and talented. The nature of their job requires them to work in different genres, which they do with amazing ease and skill. Although our editors can work in multiple genres, they can't work in every genre, which is why IFW needs editors versed in various genres. On a personal level, they each write in their preferred genre.

Sandy Tritt, short story, “Cousin Mary”:
What is the truth? And is the truth always more honest than fabrication? More noble? I don’t know. It makes my head hurt. But here I sit at the Crystal Cafe, waiting for my sisters. Stuffed inside my purse is the truth. The real truth. And I have just a few minutes to decide if I will reveal it.

Jimmy Carl Harris, “I Come to the Garden Alone,” the first story in his short story collection, Wounds that Bind:
 I buried you next to him.

Jessica Murphy, “Nature’s Conscience”:
 I awoke with a sharp pain in my back, sprawled across what felt like cables.

Sandi Rog, Yahshua’s Bridge:
 Alexander held his breath as the man he’d never called Daddy forced him underwater.

Patsy Evans Pittman, Blood Kin & Other Strangers:
Deena stood in the kitchen of the house where she grew up, giving the creamed tomatoes one last stir. It was hot as blazes and the window air-conditioner in the dining room didn't help much. She blew the fringe of bangs out of her eyes, then swiped at the sweat on her upper lip with the sleeve of her over-sized WVU tee shirt.

Sherry Wilson, Second Beginning:
The cameras flashed as Danielle stepped out of the limo, her sights on the entrance of the Royal Albert Hall. The paparazzi swarmed around her like killer bees and she longed for a cloak of invisibility, if only for the short trip to the doors.

Rhonda White, Good Friends. Read the rest at Steel Toe Review: Contemporary Southern Arts & Literature –
She has a great body, my friend does, I’ll give her that. And I have no problem telling you she’s at least ten years younger than I am, and looks it.

C.F. King, All Things Carnal:
Thomas Gantry wore tolerance like a hair shirt, with grim determination. Daily, he did penance for Man’s sins. Self-flagellation was his redemption, and joy his nemesis.

As you can see, it’s important to start your story with a line that makes people want to read on. If you’re having trouble with this, let us know. We can help.

© 2013. Charlotte Firbank King. All Rights Reserved.

Monday, October 14, 2013

How to Keep Writing

Rhonda Browning White

The most ardent, self-disciplined taskmasters occasionally have weak moments when we find it hard to write, but it’s important to work through those feeble hours. How do we do it? How do we make writing a priority and encourage ourselves to put words on the page? These easy steps will keep you going through the driest days of writing drought (and doubt).

  • Give yourself permission to write. To whom does this dream, this life-goal, this road to success belong? It belongs to you! So why do you need anyone else’s permission to pursue it? Simply put, you don’t. You only need your permission. What are you waiting for? Go write!

  •  Beat your doubt into submission. Face it; you’re not going to wake up each morning eager to jump headlong into writing. In fact, most days you won’t even want to get out of bed without hitting the snooze button at least once. Don’t wait for the Muse to sit on your shoulder. She’s a fickle little witch, anyway. You don’t need her. Write without her, just to spite her!

  •  Write down your dreams. Start big! New York Times Bestseller list? Fine. Now break it down. Might need to write a book first, right? That’ll mean finding an agent, as well. How will she know you’re any good? Ahhh, yes, she’ll see your list of bylines. Don’t have any? Time to write some short stories, articles or poems. Have you already written some good ones? Then send them out! Breaking your dreams into manageable pieces is the first thing to do. Then take one step toward completing those steps each week (or each day). And keep writing.

  •  Accept that you’ll never see the bottom of the laundry basket. There will always be clothes to wash, pots to scour, floors to mop and bathtubs to scrub. And they’ll be there after you’ve finished writing today. (Trust me; the housecleaning fairy doesn’t exist—I’ve set many traps for her, to no avail). If dinner isn’t started on time, order pizza, and keep writing. Ask your family to pitch in and help with chores. If they ignore your pleas, they’ll figure out that someone needs to go to the grocery store when the cupboards are bare. In the meantime, keep writing.

  •  Learn to accept rejection. Realize that a rejection of your manuscript isn’t a rejection of you, as a person. It doesn’t mean you’re a terrible writer. It may simply mean that your work was too long, too short, too funny, too sad, or didn’t fit the space or theme of a particular magazine’s forthcoming edition. Or it could be that the agent or editor simply doesn’t like the genre or style in which you write. The next agent might think it’s the best thing she’s ever read! Rejection happens. Get over it, and keep writing.

  • Submit your work. The best thing I know of to inspire more writing is publication. Of course you must take a moment to dance your way back from the mailbox, and you may have to crack open a bottle of champagne, or go out to dinner tonight to celebrate your success. But as soon as you return home, start writing. It’s important to feed the excitement of inspiration with words and more words. And more words. Your words. Build off your own momentum. Keep writing!