If you start your story correctly, you can captivate readers right away.
Every story needs to have a beginning. Although it nearly doesn't matter how you begin, it is important that you do so. So begin your tale. whatever is necessary to inspire you to write.
Later, the beginning of your narrative will be crucial because it will be the first thing readers will read, and if it is weak, they won't continue. Pay close attention to the beginning so that the rest of your work has the opportunity to shine, even if you've produced the most amazing work of fiction this century—especially if that's what you've written.
So how do you start a story? You don't have to start at the beginning, so let's start with that as our only piece of advice. It can be started at any stage of the procedure. You are not required to use the first line that comes to mind. or the second, third, etc. The only thing that matters is that your story's opening captures the reader's attention and encourages them to keep reading. Follow our advice on how to compose your opening by taking some time to consider effective ways to begin your story.
Pique a reader's curiosity
All you want at the beginning of a story is for people to keep reading. Use our advice to start off in a way that encourages people to. Ask a question, introduce a character, set the scene, entice readers with alluring prose, hint at the direction the book will go in, sow the seeds of an idea, make a dramatic impact, and whet their appetite for action. There are numerous ways to begin a story, but they all must compel the reader to keep reading in order to be successful. The first few lines serve as your story's calling card, piqueing the interest of readers (who, crucially, also include agents, editors, and publishers) to continue reading.
Put a person in a situation.
No, we're not referring to the flowery opening to Edward Bulwer-Paul Lytton's Clifford, which is now recognized as a standard example of poor writing. However, you might introduce a location and create a mood. "I realized I'd left the safe open when Grandma was setting out the cups for the funeral tea." "Mingus always slept in the rear room on the red blanket." Both "Laurence realized he'd left his phone in the office" and "He couldn't see the road for mist" place a person in a specific location while also offering details that pique readers' interest. whose burial? What is kept there? Why does Mingus use that specific blanket to sleep on? What effects will Laurence returning to the office have? Who is whose voyage the mist is halting, and where are they? Right now, we have a cast of characters, a setting, and unanswered questions.
Describe the main character.
Start with the character while writing a novel or short tale that is character-driven. Give the reader a reason to want to learn more about the character by revealing something about them. Imagine it as meeting a real person for the first time. It is boring to say, "This is Emma, and she works in HR." What are you going to discuss with Emma? maintaining client privacy? Conversation starter: "This is Emma, and she collects taxidermy frogs."
'Emma had yellow hair and blue eyes and was madly in love with her lover Greg' is a horrible start since the reader doesn't know who Emma is or care about what she looks like or how she feels about her partner. 'Don't try to squeeze in a full description immediately at the beginning. (You need to pique their interest.) It's considerably more exciting to say that "Emma had blue hair, yellow eyes, and had just devoured her boyfriend Greg" than the usual interpretation. Better still, make it relevant to the remainder of the book or story. The phrase "Emma saw the cars smash in the distance" conveys information about the speaker (she is the type of person who watches cars crash or she has just witnessed something terrible). It also provides a suggestion as to what might be discussed in the book (why Emma observed the cars collide and why), as well as a glimpse of the author's voice and the type of narrative that might come next (detached, dystopian).
Show something exciting via the narrator's eyes if they are the first person, and let their voice do the talking. I'm once more witnessing auto accidents. I arrived right on schedule.
Taking action first
It's a good method to make an impact and can be a really powerful opener to begin with action in a dramatic first scene. Start your story off in media res—literally, in the middle of the action—at a pivotal moment. In a crime thriller, it might be the finding of a body; in a rom-com, it might be the split with an unsuitable partner. Instead of building to a scene over many pages, plunge your reader right into it. Maintain it going. It is mundane to say, "Emma woke up, got out of bed, cleaned her teeth, and put the kettle on." It is dynamic to say "Emma jumped out of the helicopter." Activate your verbs. However, be cautious because if you want to begin writing a novel with a dramatic scene, you must leave yourself a place to go for the rest of the story. As a result, build up your story and save your major guns for when you really need them later on in the story, to create a dramatic clash.
Attach them.
The type of story you're creating will have a significant impact on how you approach this. If it is literary, it will be accomplished by developing a distinctive style and an enticing promise that will make readers remark, "I haven't read anything like this before." If it's criminal activity, your initial duty might be to pinpoint the triggering event - i.e., the crime that initiates the inquiry. You might be intrigued to learn more about a serial killer with an interest in astronomy after reading that the stabbings "exactly corresponded to the locations of the stars in the constellation of The Plough." If it's horror, you'll want to imply that something is amiss: "It always felt damp in that room." If the story is historical, you must introduce the setting, the time period, and the character as well. For example, "Abigail wished she had the freedoms allowed to her brother, and was allowed to ride up front on the coachman's seat." When you give it some serious thought, you'd be surprised at what you can say in a sentence.
Make it explicit
While you should excite your reader, you also want to encourage them to keep reading, therefore you should make them feel comfortable so they can do so. You'll be giving readers a preview of what they can expect from the rest of the book if you can conjure the mood of your book in the first few lines, hint at its plot, or introduce a main character. Anything you mention at the beginning will take on a particular significance because readers will be searching for hints about what to expect right from the start.
Even if you're conjuring a dark wood full of murderers, you need to make your reader feel "safe" in the sense that you have created a fictional world that they can rely on to deliver a satisfying reading experience. Readers are actively hoping to be invited in by the start of your work, so you want them to be intrigued enough to continue reading but not bewildered.
Possess a distinct voice
The narrative voice used at the beginning of a story is among its most crucial components. The reader will first and foremost have the chance to experience your narrative style or voice in the opening. So give it to them a taste. Consider the openings of the stories you enjoy, whether they were written by Virginia Woolf, Stephen King, Charles Dickens, Zadie Smith, or any other author. Be like them by crafting those crucial initial lines in your own distinctive voice. But instead of attempting to sound like them, discover your own writing style and use the first few sentences of your story to best highlight it.
If your story uses a first-person narrator, you must establish their voice early on, so make sure their opening lines leave an impact and conjure up a sense of the speaker.
Make it lively
Give readers the sense that they have witnessed something incredibly exciting as it is happening by plunging them right into a situation. Put the reader right in the thick of an incident rather than building to a peak. Think like a movie. A family was being pursued through the woods in the opening scene of the television series The Handmaid's Tale. It made for an exciting beginning to the series, even though viewers weren't yet aware of the identity of the family or the significance of the chase. By placing the reader right in the middle of a scene, you can write in a narrative style for dramatic effect. Just action and impact—no buildup. If you have an opening scene that merits such impact, this is a dramatic way to start a story. You will need to figure it out afterwards (ie, it might be a great way to launch a thriller, with a fight or chase, but less useful for a rural romcom, where the village knitting marathon will not lead to the same element of tension).
A compelling exchange of words
A fantastic line of dialogue can draw a reader's attention right away, much as hearing someone say something can stop you in your tracks in real life, a play, or a movie. Just make sure it's fantastic or, at the very least, makes a striking impact. Remember to start painting the image with context as soon as you can after the conversation to give the reader a sense of the setting in which the words are said. This does not include beginning the sentence with "I want a divorce," followed by a cliche like "said Emma as she filled the kettle as her husband Ian ate his toast," or something like. You would have to demonstrate Emma's existential despair when she sees Ian chewing on yet another wholemeal slice.
Because the beginning of your story is so crucial, it's worthwhile to try out a few various beginnings and discover which one works best. You might already be aware of where your tale starts, or you might simply be trying to figure out how to get there. There is no one-size-fits-all approach to creative writing, so you must choose the approach that works best for your unique story. Try it in different ways. When you're done, be prepared to edit it again and again until it's flawless. We hope these advice on story initiation will be useful. Good fortune!
VERSION FRENCH
Si vous commencez votre histoire correctement, vous pouvez captiver les lecteurs immédiatement.
Toute histoire doit avoir un début. Bien que la façon dont vous commencez n'ait presque aucune importance, il est important que vous le fassiez. Commencez donc votre récit. Tout ce qui est nécessaire pour vous donner envie d'écrire.
Plus tard, le début de votre récit sera crucial car ce sera la première chose que les lecteurs liront, et s'il est faible, ils ne continueront pas. Portez une attention particulière au début afin que le reste de votre œuvre ait l'occasion de briller, même si vous avez produit l'œuvre de fiction la plus étonnante de ce siècle - surtout si c'est ce que vous avez écrit.
Alors, comment commencer une histoire ? Il n'est pas nécessaire de commencer par le début, c'est donc notre seul conseil. On peut la commencer à n'importe quel stade de la procédure. Vous n'êtes pas obligé d'utiliser la première ligne qui vous vient à l'esprit. ou la deuxième, la troisième, etc. La seule chose qui compte, c'est que l'ouverture de votre histoire capte l'attention du lecteur et l'incite à poursuivre sa lecture. Suivez nos conseils sur la façon de composer votre ouverture en prenant le temps de réfléchir à des façons efficaces de commencer votre histoire.
Piquez la curiosité du lecteur
Tout ce que vous voulez au début d'une histoire, c'est que les gens continuent à lire. Utilisez nos conseils pour commencer d'une manière qui encourage les gens à. Posez une question, présentez un personnage, plantez le décor, attirez les lecteurs avec une prose séduisante, faites des allusions à la direction que prendra le livre, semez les graines d'une idée, créez un impact dramatique et mettez le lecteur en appétit pour l'action. Il existe de nombreuses façons de commencer une histoire, mais elles doivent toutes inciter le lecteur à poursuivre sa lecture pour être efficaces. Les premières lignes sont la carte de visite de votre histoire et suscitent l'intérêt des lecteurs (parmi lesquels figurent également les agents, les rédacteurs et les éditeurs) pour poursuivre la lecture.
Mettez une personne dans une situation.
Non, nous ne faisons pas référence à l'ouverture fleurie du Clifford d'Edward Bulwer-Paul Lytton, qui est désormais reconnue comme un exemple standard de mauvaise écriture. Cependant, vous pouvez introduire un lieu et créer une ambiance. "J'ai réalisé que j'avais laissé le coffre-fort ouvert quand grand-mère a sorti les tasses pour le thé des funérailles." "Mingus dormait toujours dans la pièce du fond sur la couverture rouge." " Laurence s'est rendu compte qu'il avait laissé son téléphone au bureau " et " Il ne voyait pas la route à cause de la brume " placent tous deux une personne dans un lieu précis tout en offrant des détails qui piquent l'intérêt des lecteurs. dont la sépulture ? Qu'est-ce qui y est conservé ? Pourquoi Mingus utilise-t-il cette couverture spécifique pour dormir ? Quels effets aura le retour de Laurence au bureau ? Qui est celui dont le voyage est interrompu par la brume, et où sont-ils ? Pour l'instant, nous avons des personnages, un décor et des questions sans réponse.
Décrivez le personnage principal.
Commencez par le personnage lorsque vous écrivez un roman ou un récit court axé sur les personnages. Donnez au lecteur une raison de vouloir en savoir plus sur le personnage en lui révélant quelque chose à son sujet. Imaginez que vous rencontrez une personne réelle pour la première fois. Il est ennuyeux de dire : "Voici Emma, elle travaille dans les ressources humaines". De quoi allez-vous parler avec Emma ? De la préservation de la vie privée des clients ? Amorce de conversation : "Voici Emma, et elle collectionne les grenouilles en taxidermie."
'Emma avait des cheveux jaunes et des yeux bleus et était follement amoureuse de son amant Greg' est un début horrible puisque le lecteur ne sait pas qui est Emma ou ne se soucie pas de son apparence ou de ce qu'elle ressent pour son partenaire. N'essayez pas d'introduire une description complète dès le début. (Vous devez piquer leur intérêt.) Il est nettement plus excitant de dire que "Emma avait les cheveux bleus, les yeux jaunes et venait de dévorer son petit ami Greg" que l'interprétation habituelle. Mieux encore, faites en sorte que cela ait un rapport avec le reste du livre ou de l'histoire. L'expression "Emma a vu les voitures s'écraser au loin" transmet des informations sur la personne qui parle (elle est le genre de personne qui regarde les voitures s'écraser ou elle vient d'être témoin de quelque chose de terrible). Elle donne également une idée de ce qui pourrait être abordé dans le livre (pourquoi Emma a observé les voitures s'écraser et pourquoi), ainsi qu'un aperçu de la voix de l'auteur et du type de récit qui pourrait suivre (détaché, dystopique).
Montrez quelque chose de passionnant à travers les yeux du narrateur s'il est la première personne, et laissez sa voix parler. Je suis une fois de plus témoin d'accidents de voiture. Je suis arrivé juste à temps.
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