(Don't!) Start at the Beginning-Part 3

On the 15th of each month I’ll be chatting about writing craft.

Welcome to part 3 of my first 3-part series here on NN, where we have been exploring the beginning of a novel—and why you might not want to start your story there.

In the last two parts of this series, we talked about ways to hook readers by cutting out back story and launching into Chapter One in media res. Today let’s explore why introducing characters can undo all that hard work spent firing up that hook-tacular chapter.

Part 3: Never Introduce a Character

I can practically see your wide-eyed—or possibly narrowed—expression at this notion. How can there be a book without characters? There can’t be, of course. I’m not suggesting that you don’t have characters, just that you don’t “introduce” them. Introductions are where the story stops completely to give a head-to-foot overview of the character that just stepped onstage, complete with a fashion review and a psychological profile. Introductions can last a couple of paragraphs or a couple of pages, but in either case it can pop the reader out of their immersion in the scene unless it’s done properly.

So how do new characters join a scene already-in-progress if they can’t be introduced? The answer depends on the type of scene, the book genre, and the viewpoint character.

Let’s look at an example:

Joy is on the run from a wild tornado. As she zig-zags through a field to avoid rocks, debris, etc., she almost crashes into a man who is also intent on escaping the twister. They take off together in search of shelter.

Do we halt the escape and introduce this guy? Should they stop and shake hands in front of the tornado, hair whipping so wildly that they can’t even see one another while hollering names and cataloging vital statistics? Does the heroine segue into a slow motion mental recap of Mr. Hottie’s attributes?

Hardly! Joy barely has time to notice one or two quick things about the new guy. Later, when they are hunkered down in a rickety old barn, she'll pick up on strong arms and the intoxicating, male scent that is a legal requirement for all romance heroes. His reactions and clipped dialogue reveal something about his personality under fire, too. When it’s all over, they find out each other’s names, but it's not until they’ve gone separate ways that Joy finally has time to process just who was shielding her with that hot, powerful body.

Another example:

Joy and Blythe, the hot ski instructor she just met, are holed up in a tiny shack that is buried in snow after an unexpected avalanche thwarts her first skiing lesson. (Yes, Joy’s a vixen who’s always getting herself in a fix.) They are stranded for many hours while covered head to toe in ski gear. With all that spare time, do we do a full, expository reveal on Blythe?

Yes and no. Sure, romantic heroines have an uncanny knack to think with their libidos even when in dire peril, but just how attractive can two people be when their only exposed features are red, runny noses and chapped lips? How much can she fathom about his gorgeous bod when it’s encased in all that puffy, quilted nylon? And while I expect things might really heat up for the sake of shared body heat, she won’t take advantage of their quality time to query Blythe about his childhood or ab workout routine—their brains aren’t functioning on that level while they’re busy freezing to death.

On the other hand, let’s say Joy and Blythe are sitting around a mesmerizing campfire. It’s been a long, sweaty day of watching him flex and tease her during a cattle roundup on her western ranch holiday. We need a little break from the action and a gradual buildup of sexual tension to the crescendo that finds them shedding clothes and inhibitions in the dirt. Do we stop and “introduce” him? Not quite, because by now readers have picked up quite a few tidbits about Blythe. Still, it’s a good time to add personal details and history to boost the emotional connection that will ignite their established chemistry.

Romance writing practically demands full disclosure of characters--from the angle of their jaw to the length of their toenails. As such, the heroine cataloging attributes while she gawks at the hot guy who just walked into the bar definitely has its place! But just like spooning out back story instead of “introducing” it up front, readers don’t need to know all about a character up front to appreciate the story—in fact, it can take some of the fun out of discovery. Leave some mystery to keep pages turning. Knowing when and where to dole out tidbits is a clever tool you can use to intensify or lighten the tone of a scene. So the next time a character is gazing in a mirror or checking out the newcomer, ask yourself whether you're "introducing" them. Resist the urge to drown folks in the details all at once. Your readers will love you for it.

I hope you found this three-part series helpful. Next month, I’ll be starting a new series—on Feng Shui for writers. Until then, here’s my question for you: what do you prefer? Knowing everything about a character up front, or finding out juicy little tidbits along the way?

(Don't!) Start at the Beginning-Part 2

On the 15th of each month I’ll be chatting about writing craft.

Welcome to part 2 of my first 3-part series here on NN, where we will explore the beginning of a novel—and why you might not want to start your story there.


Part 2: Banish Your Back Story

Ever wish there was a sure-fire way to light your story’s firecracker so that it explodes off the page right from chapter one? In Part 1 last month, I discussed one way—by starting in media res to get things rolling. For Part 2, let’s go back to that all-important opening “hook.” Most of us who have studied craft know of this Holy Grail quest for the line that will magically light the match for literary dynamite. But just as important as catchy words in the opening sentence is the precise moment in time the words are taking place.

In my time working as a submissions editor, I came across a little truth that I’d like to toss out here:

The optimal opening hook often starts 1/4 of the way or more into the author’s “big picture” of the story.

One of the best ways I saw for otherwise engaging writers to land in the rejection pile was to send in stories that began with back story. “Prologues” are a notorious tip-off, as are tales that open with the character’s eyes fluttering open, shutting off the alarm clock, etc.

Why? Prologues usually contain an information dump of back story that readers almost never need/want at that point. Some of that back story the reader will never need. All that info is vital to the author, of course, so they get the mistaken impression that the reader has to have it up front, too. Not so. It’s far more interesting to start off when the character is up to some high jinks that make the reader question, question, question, then dole out the answers gradually while the plot is on the run or requires a temporary break in pacing.

This brings us back to last month’s idea of in media res. If you’re having trouble with this concept, banishing back story (until later, and in small doses) is a good way to find the perfect “middle” moment where the tale actually begins.

All that said, my own writing must be devoid of opening volley back story, right? Um, ::cough:: I’m getting better, but have been infamous for dragging out the back story in Chapter One. I can think of two manuscripts in particular I could not get happy with after several rewrites. I finally realized I’d started off with back story—three chapters’ worth for one and almost a full chapter for the other. Out they went. Talk about “killing your darlings!” Painful stuff, but necessary if we want to tell our readers a story rather than ourselves.

In Part 3 I’ll be talking about why we should never introduce our characters. (Hang on! Don’t get out the pile of rotten tomatoes just yet.) Meanwhile, I hope you’ve found this month’s installment useful, and here’s my question for you: As a reader, at what point do you like to hear the MC’s whole story? And do your novels reflect that as a writer?

(Don't!) Start at the Beginning-Part 1

Hey, everyone! I’m excited to be joining forces with the Nocturnal Nights gang. My (pen) name is J. Rose Allister, and on the 15th of each month I’ll be chatting about writing craft. As good things come in threes, I’ll be doing three-part series segments--hence my three little piggy graphic.

In honor of new beginnings here on NN, my first 3-part series will explore the beginning of a novel—and why you might not want to start your story there.

Part 1: In Media Res

Remember when stories started at the beginning? “Once Upon a Time…” If a tale could be likened to a winding road, the author set the reader’s feet on the edge of the map at the start of chapter one. Characters were introduced gradually, scenery and premise was intricately painted, and the whole “before” scenario was carefully constructed so that the aftermath of exciting events later was that much more of a contrast.

Not so much these days.

Many publishers want fiction that starts off in media res, which in Latin means “in the middle of things.” These markets are looking for work that sets the reader’s feet in the middle of the map. Characters start off on the run, and then things get wilder.

So how exactly does this translate onto page one? Here are a couple cool opening lines that demonstrate this “in the middle” concept:

The man in black fled across the desert, and the gunslinger followed.
–from THE GUNSLINGER by Stephen King (and my favorite opening line of all time)

I’d been waiting for the vampire for years when he walked into the bar.
–from DEAD UNTIL DARK by Charlaine Harris

Example 1 starts in the middle of a hot pursuit. The reader is off on a merry chase to catch up, and later learns the gunslinger’s quest has been a lengthy one. Example 2 dives right into a long-awaited moment for the main character—and raises more questions than it answers. Thumbs up.

Sounds simple, but starting in media res is no easy matter. The “middle” approach gets even dodgier when we’re talking romance, where the traditional formula involves meeting the characters, letting them meet, fall in love/lust/preferably both, and then throwing some curve balls at 'em before they get to Happily Ever After. How can that angle work with in media res?

In example 2 above, the vampire mentioned is about to become her love interest—when they meet on page 2. (Not chapter 2!) In my book KATA SUTRA, I open with the male lead getting aroused thinking about the “annoying” female student who winds up as his lover in fairly short order. SINFUL ELLA AND THE WOLF opens with the heroine standing naked in a window, being bathed by a male house servant while her eventual mate watches from outside.

Am I suggesting that all romances/novels MUST cut to the chase with characters already acquainted and banging it out by page 2? Certainly not. But romantic stories that fly fast to the juicy stuff (which can mean sexual chemistry and tension, not just hitting the sheets) is a popular sell with pubs and readers alike these days.

In parts 2 and 3, I’ll be talking about why the way we introduce our stories and characters to ourselves in the first draft is often not the best way to serve them up to the audience. Until then, I hope you’ve found the idea of in media res an interesting one to chew on. My question for you: What do you think of stories that leap in with a bang? Rarin' to go, or too much too soon?

Managing your time

Writing can be an all-consuming activity. If you're like most writers, you find an idea or scene or character that really grips you, and you can't wait to start writing.

I started writing my first novel in this mindset. I just couldn't wait to get going. I read on the internet and decided to do an Excel worksheet that would break my story up into scenes. But when I started to actually type it out, I thought, "Oh, this is marvelous! I could go in so many directions here! Who cares about the scene-by-scene thing - I wrote it, and I can ignore it if I want! Yeah, not such a great idea.

What happened was that by the time I was done with the monster of a novel, it was a mess of characters, plots and subplots. I knew whom I wanted the heroine and the hero to be, but I got so caught up in the lives of the other characters that I wanted to give them all "full" stories, too. So everyone ended up telling their own story, my heroine was in there shouting to receive attention in the mix, and my poor hero didn't get very much attention at all.

So, you might be asking yourself, what exactly is the point here? Well, ladies (and gentlemen), here is the biggest tip I can ever give you: once you have a idea of where you want your story go, who the main characters and secondary characters are (see my previous post about character charts), PLOT OUT EVERY SCENE. I'm not shouting, I promise, but I really do want to get your attention. Put down each major scene, from the beginning to the end. When you're writing, you might decide to change minor things, or move a scene to another part of the story, but don't completely diverge from your original outline.

Currently, I have my second novel plotted out into scenes. The novel is being told by two different characters, so it can get confusing. So what I did was, I wrote down the scenes that each character would have, as the story progresses. I outlined each character with a different color, so I could see at once who was going to do what. Just a small word of caution: don't jumble your points of view because you could really, really confuse your reader. In my case, each character gets a chapter or two to tell her story, and then it switches to the other character. In other words, my readers will have a chance to really immerse themselves in each character's vastly different lives.

My second novel has been going fantastically well so far. I'm about 1/3 of the way done, and it's progressing much faster, and much less confusingly than my first novel. I can already tell this one will be a lot easier to edit.

Anyway, thanks for reading! Let me know if you have any tips on how to organize your book before you start typing it out.

Adriana