The First Three Chapters

[E.G. Gammon]

Most agents and publishers request writers to send them the first three chapters of their manuscript before they look at the entire thing. From that fact, we can assume that a great deal of planning should be put into those first three chapters, since it, along with a description and a good cover/query letter, sells the novel. Post tips on writing the perfect first three chapters or your views on the way to write them. (Also, include some examples of books with really great 'first three chapters' if you know any)

My view:

Manus & Associates Literary Agency has a great formula for writing a pitch and I think it would be a great starting point in developing a format for your first three chapters. Their forumla is:

1. The Set Up
2. The Hook
3. The Resolution

Chapter One would be the set up - establishing where the characters are, who they are, and their relationships to each other. Chapter Two would get into the action and start to show the plot and the thing that gets the story moving. Chapter Three would develop the plot a little more, ending on something BIG, either a major revelation, a cliffhanger, a character death, or a teaser at what's to come.

What does everyone else think?

[katiemac]

It's interesting to think about the first three chapters from my perspective. Even though they're written, I have no idea what they are.

I don't write chapter by chapter. I divide up all that writing after everything's finished. For the most part, my writing does evolve the way you described the first three chapters -- establishing characters and setting, working your way through the plot -- but it's all up in the air right now.

I do have a great number of line breaks, so I guess I'm just going to separate the chapters on according to how they feel. Once I know what they are, I might spend some more time developing them as chapters, but I plan on doing that with the rest of the book, too.

[zizban]

Interesting idea. I may try it once I recover from my flu.

[Jamesaritchie]

1. The Set Up
2. The Hook
3. The Resolution

Chapter One would be the set up - establishing where the characters are, who they are, and their relationships to each other. Chapter Two would get into the action and start to show the plot and the thing that gets the story moving. Chapter Three would develop the plot a little more, ending on something BIG, either a major revelation, a cliffhanger, a character death, or a teaser at what's to come.

What does everyone else think?

I usually want action a long time before chapter two begins. By then I've stopped reading. In fact, I want everything in chapter one that you list for the first three chapters.

[alaskamatt17]

I'd have to agree with James on this one. The first chapter should establish setting, characters, conflict, and a big lead-in for the rest of the book.

[maestrowork]

You don't "sell" using first 3. Usually how it works is that if they like the first 3, they will ask for the rest, and if they like the whole ms, they might consider offering rep.

So you should make sure you have the whole thing finished, and the first 3 fit well in your grand scheme of things. Otherwise, the agent would see through you...

I don't know if I agree or disagree with the "formula." I think I'd have to agree with JAR here: first chapter is the most important. Don't treat your first 3 as a mini-series. Treat your first chapter, instead. You've got to have a hook, give us good characters, and move us along with the plot and create suspense right in the first chapter. The purpose of 1st 3 is multifold:

1. Show the agent that you can indeed write
2. Give the agent enough feel of what your style is, and how you can make the reader turn pages
3. Give the agent a sense of your pacing... is this a slow story? A fast one? Does it go off with a bang, then whimper through? Or vice versa?...

But you've got to put most of your eggs in the first. Because in a real novel, usually that's how it works. You hook the readers right off the bat with the first chapter, give them something to look forward to turning the pages. Then you may scale back and do expo or slow down the plot a bit to build things up. You don't build things up with 3 whole chapters -- that's too late.

So, I guess I don't agree with the formula. If your first chapter is nothing but set up and character development, you will probably fail. The agent is likely not going to read on.

[E.G. Gammon]

Ok, what if you start the book in media res (in the middle of the action)? Chapter One begins with action that is thrilling and intriguing, but we aren't exactly sure who it's happening to - though readers might be given a general idea & this makes them want to know more. Then by the end of Chapter One, we immediately jump into the past a couple hours, starting to show the events that lead to that moment, introduce all of the characters and the plots (during Chapters 2 and 3 as well), and have Chapter 3 end where Chapter 1 began, only by that time, we know the characters involved in the "big event," we understand the event more (and describe it in greater detail), and that is used as a jumping off point to the novel. What about that?

[Trapped in amber]

That's an interesting idea, but I think there would be a danger of two things:
1. Confusing the reader
2. Annoying the reader
Both are lethal, I think (well, to me as a reader they are).

I'm not saying either is inevitable, if you're careful about it and write well enough I'm sure those problems are avoidable. But why not reveal the information that led up to the event in other ways, rather than going back before the opening event? I have read fiction that does similar things to what I think you are describing, but generally almost all of the rest of the book is moving back towards the point shown at the start. Sometimes it works, sometimes it doesn't.

I have to say that I've never written the first three chapters of a novel to hook an agent. I'm trying to interest the reader, any reader. I think if you succeed in that, you'll hook an agent as well. They're a reader.

[zornhau]

1. The Set Up
2. The Hook
3. The Resolution


I certainly wouldn't waste time on Set Up. I have conflict from the first sentence of the first paragraph of the first page. Resolving everything would seem to be a bad idea.

I'd treat the 1st 3 chapters as a Act 1, using chapter breaks to cover transitions in time and space.

Establish

High-Concept
Main story question
Act story question
Main Characters
Show

Initial stages of conflict
Answer to Act story question implying next Act story question
But I'm unpublished, so feel free to ignore me.

[pianoman5]

EGG, I wouldn't get too worked up about the first-three-chapters thing. It's just an arbitrary quantity, a taster for readers to decide whether they want to see more.

Some agents ask instead for 50 pages, which might be 2 or 10 chapters. Others ask for a selection of chapters, which gives them the opportunity to see whether your story is going anywhere and also whether the interest and style are maintained. (Some writers, opportunistic and desperate creatures that we can be, might put a great deal of effort into the first three chapters and tail off thereafter.)

Given that some agents are honest enough to admit that all they read initially is the pitch/synopsis and the first page of the submissions they receive, it could all be academic. I think there's a good case for sweating over the first chapter to make sure it contains all the necessary ingredients, but beyond that I'm not so sure.

[veinglory]

I tend to see the first three chaperts as


1) Hit the ground running
2) develop
3) develop

They can see then that you are going somewhere and things will happen along the way.

[Susan Gable]

pianoman5 said: EGG, I wouldn't get too worked up about the first-three-chapters thing. It's just an arbitrary quantity, a taster for readers to decide whether they want to see more.

I have to disagree. Those first three chapters are critical, IMHO. They are your chance to sell it to an agent/editor who requests a partial. I also agree that Chapter One is THE most critical - the opening is your chance to sell it to all readers, editors/agents included.

Doesn't mean it has to open with a body, or an explosion. It depends on the type of book. (Some books are slower paced than others.) But it does have to open with a compelling hook and chapter one has to end with a compelling hook. As does chapter three. Your goal is to keep the reader turning pages and wanting more.

If the first 3 chapters doesn't leave them wanting more, then you won't be asked to submit the full. If you aren't ask to submit the full, your chances for representation by that agent, or of selling to that publisher, are over.

EG said: Ok, what if you start the book in media res (in the middle of the action)? Chapter One begins with action that is thrilling and intriguing, but we aren't exactly sure who it's happening to - though readers might be given a general idea & this makes them want to know more. Then by the end of Chapter One, we immediately jump into the past a couple hours, starting to show the events that lead to that moment, introduce all of the characters and the plots (during Chapters 2 and 3 as well), and have Chapter 3 end where Chapter 1 began, only by that time, we know the characters involved in the "big event," we understand the event more (and describe it in greater detail), and that is used as a jumping off point to the novel. What about that?

No. Don't backtrack like this. Show the events as they unfold. Let the reader get to know the characters as the IMPACT from the big event unfolds. There is nothing wrong (in fact, there is something RIGHT) about letting the reader wonder for a while - that's what keeps them turning pages. Don't explain it all up-front. Preserve some of the mystery.

Example - in my book from last year, the prologue opens with a woman giving birth. Common enough. You learn some bits about her as she does, like the fact that she's been on the run. The hammer falls at the end of the prologue, when I let readers in on the fact that the baby she just gave birth to isn't hers. End of prologue.

Now, should Chapter One have opened with an explanation of how that's possible, how it happened? (i.e. going to the scene in the fertility clinic where she's implanted with this baby?) Heck NO! That's a gripping question to keep the reader turning pages. You eventually find out some of it in chapter one, but you still don't get all the answers.

We also don't have to be introduced to ALL the characters/plotlines by the end of Chapter 3, either. Again, there is nothing wrong with letting some of it come later. Don't overwhelm the reader. If you toss too many characters at them at once, a reader is going to get confused, they're not going to "bond" with any of the characters (which leads to a case of "why should I care?"), and they'll probably end up putting the book down in frustration.

As always, this is just MHO. :)

Susan G.

[NeuroFizz]

EG,
The advice coming through is sound. Put the same care and thought into every chapter, not just the first three. Those first three shouldn't be special on that account. With that said, the biggest curse a well-written story can have is that it is a "slow starter." It is essential that the first chapter gets into some action that sets the stage for the storyline, or for a main character, or both. Abandon the thought of using the second chapter as any kind of review. Backstory shouldn't come in large blocks. It's best to spread it out--bring it out in different ways. Same thing for too much foreshadowing. What's important for the beginning? Some characterization (the reader needs to identify with a character right away), some setting (the reader needs to know where the story is taking place, or about the environment in which it is taking place), and some action (the reader needs a hook to keep reading). There are exceptions, particularly in literary fiction, but for a beginner, it's best to avoid experimentation. That said, let your readers tell you if the beginning of the story is working. Re-read first chapters from contemporary books you like, particularly in your genre. Good luck

[E.G. Gammon]

Those are some great replies so far, you guys! Keep them coming.

The reason why I asked this question is because I recently decided (thanks to a suggestion from Uncle Jim) to write a novel while I write my novel series, and try to get it published before I even think of sending my novel series off to an agent/publisher. So a couple days ago, I had an idea for a novel that really got me excited to write it - I knew then that it was the novel I should write. Anyway, I was going to introduce the characters and show the event leading up to the horrific event (that sets the story into motion) that I thought would come at the end of Chapter 3. But, now, I guess I should START with the horrific event and as I begin to show the after effects, I introduce the characters and tease at how each of them will be affected by the 'tragic event,' throughout the novel.

[Jamesaritchie]

Ok, what if you start the book in media res (in the middle of the action)? Chapter One begins with action that is thrilling and intriguing, but we aren't exactly sure who it's happening to - though readers might be given a general idea & this makes them want to know more. Then by the end of Chapter One, we immediately jump into the past a couple hours, starting to show the events that lead to that moment, introduce all of the characters and the plots (during Chapters 2 and 3 as well), and have Chapter 3 end where Chapter 1 began, only by that time, we know the characters involved in the "big event," we understand the event more (and describe it in greater detail), and that is used as a jumping off point to the novel. What about that?

I think the jumping off point of the novel is the first sentence of the first page. I think you're looking at it too much as this, then this, then that. Much too linear. I think there should always be something happening, or the threat of something happening, and you can introduce characters, have action, and show the plot, all at the same time.

You can start off with action, AND show who it's happening to at the same time. More often than not, action without character is as boring as no action at all.

A character should be introduced when that character becomes part of the story. Often, usually, this will be in the first page or three for the protagonist, but other characters will step forward at different times in the novel.

In media res doesn't mean you have to start with an explosion or a dead body, though in a mystery novel the crime should occur very early on. It only means you start as late in the story as is reasonably possible. Starting with action also doesn't mean you have to begin with an explosion or a dead body. It just means have something happening. Stagnant openings don't keep the reader reading.

Backstory is not a bad thing, and is usually necessary. There's nothing at all wrong with flashbacks, if they're written properly, and most readers prefer flashbacks to prologues. But a well-written flashback is almost undetectable. You generally don't just drop two hours into the past and let the reader know what happened. Flashbacks generally deal with things that are much more than two hours in the past.

If you must show what happened two hours in the past, then two hours in the past is probably where you should have started.

But, yes, backstory is usually the best method of getting in the past, and it's almost always necessary to have some backstory after chapter one in a well-paced novel. You just have to make sure teh backstory doesn't interfere with the pacing, and isn't dropped in all at once to create an info dump.

[Jamesaritchie]

EGG, I wouldn't get too worked up about the first-three-chapters thing. It's just an arbitrary quantity, a taster for readers to decide whether they want to see more.

Some agents ask instead for 50 pages, which might be 2 or 10 chapters. Others ask for a selection of chapters, which gives them the opportunity to see whether your story is going anywhere and also whether the interest and style are maintained. (Some writers, opportunistic and desperate creatures that we can be, might put a great deal of effort into the first three chapters and tail off thereafter.)

Given that some agents are honest enough to admit that all they read initially is the pitch/synopsis and the first page of the submissions they receive, it could all be academic. I think there's a good case for sweating over the first chapter to make sure it contains all the necessary ingredients, but beyond that I'm not so sure.

I wouldn't submit anything to an agent who asked for a selection of chapters. All I've known refuse to read a selection of chapters, and for good reason.

Asking for the first three chapters really isn't all that arbitrary. Many ask for the first three chapters, OR the first 30-50 pages, whichever is less, and both numbers are there for a reason. You need one or the other to really understand how the writer is handling pace, flow, and development. The fact that sometimes chapters are very short or very long has meaning in itself, and can tell an agent or editor much, but far more often than not, those first three chapters are going to be somewhere within the vicinity of fifty pages.

I think there's extremely good reason to sweat over the first three chapters, and especially over the first page. It's true many agent and editors don't read beyond page one, but if they do, you'd better have the thing written so they keep reading. And if they don't, it usually means the first three chapters aren't any good, anyway.

Every chapter should be written with care, written as well as you can write, but unless those first three chapters are written well above average, and start the novel off well, how the rest of the novel is written just doesn't matter because it will never be read.

[E.G. Gammon]

Ok, I just restructured my first three chapters and I think it works really well. But, still keep this topic going for more discussion on "The First Three Chapters."

[jules]

I was going to introduce the characters and show the event leading up to the horrific event (that sets the story into motion) that I thought would come at the end of Chapter 3. But, now, I guess I should START with the horrific event and as I begin to show the after effects, I introduce the characters and tease at how each of them will be affected by the 'tragic event,' throughout the novel.

Without knowing what your event is and who the characters are it's hard to discuss this, but some things spring to mind:

1. You're writing a first draft at the moment. Put the events in that lead up to the big event; you can always take them out later if the start is too slow

2. I (and I assume other readers) often get annoyed by stories that start in the middle and then jump back to the beginning as you suggested before. While it is an accepted structure, it is one I'd be careful of.

3. If you can introduce conflict before the big event, you're onto a winner. Get your characters involved in dealing with less important problems before the big one lands right on top of them... but remember that they will have to solve those problems as well, before the end.

As an example of conflict in a chapter before the big event, in one of the novels I'm working on at the moment, the first chapter introduces the main character by having him take an important message on behalf of his king to a nearby city. This serves to introduce a few things: a conflict between the character's duty to his king and his desire to meet his sister as she returns home after a prolonged absence, a theme which will be revisited later; provides an overshadowing of the threat of war (because of the content of the message); introduce tension in the reader who (because of the content of the prologue) will have a nasty feeling that something bad has happened to his sister. And then he gets home to find that his sister is missing...

[TheNightTerror]

Hmmm, seems I've a bit off with how to start my stories. I always, always stick to introducing the main characters in the first chapter. Usually I just follow the main character through a day where something minor happens, I never start with a bang.

Is it really that bad to have a slow start? With the story I'm going to be starting soon, I really think it would be best to show what the main character's like before throwing the first major event at her. If I don't, she's going to seem extremely cold. The other option would be to tell the backstory with flashbacks, but I'd have to tell them right away, or else, again, the character would seem extremely cold. So, either way, I'm going to do something I probably shouldn't do, so . . . :o

[jules]

A slow start isn't bad, as long as it's an interesting slow start.

[maestrowork]

TheNightTerror... I can only speak from my experience. I did the same thing... starting with the hero's "ordinary world" -- minor things happening, etc. even though I hinted at a major event that would change his life... TOO SLOW. My betas' comments were along the line: "Where is the plot?"

You don't have to start with a bang, especially if you're not writing a genre where big bang openings are essential (thrillers, suspense, etc.) It's okay to start with the hero's ordinary world, but you MUST push the opening chapter as close to your first conflict as possible. You can fill in the blanks later. You need a hook, so that readers would care to read on. It could be something as simple as a foreshadow of what has yet to come, or an event that would eventually lead to the first conflict... but by the end of the first chapter, you'd better lead to the conflict so that the readers will continue to turn the page...

[pianoman5]

Whereas just about every other topic that appears in these boards flushes out a range of opinions, on this one there is universal agreement.

The first chapter must get the novel moving. If not necessarily with a bang in the form of mayhem, carnage or the destruction of a planet, at least not with a whimper.

Every reader, from your betas to agents and publishers will read the first chapter and expect to be sufficiently tantalised by it to keep reading. Many bookstore browsers look at the first page of a book to judge whether it's likely to interest them enough to buy it. Some writers even put their hook into the first line. So it's vital to get 'something interesting' happening quick smart.

[LightShadow]

I'd have to agree with James on this one. The first chapter should establish setting, characters, conflict, and a big lead-in for the rest of the book. However, remember they are already partly sold on the story idea based on your query. Usually after the query they want a description and synopsis. Then, if they like the story, they want to see if you know how to write, so they ask for the first 3 chapters, or the first fifty pages. Then, if they like that, they ask for the complete manuscript so that they can decide if they want to represent you. I agree the early chapters ought to establish setting, characters, etc., but also the grammar and style and word usage and editing needs to be spotless. Think of them as Simon Cowell from American Idol just looking for a reason to decide that you might suck, and then convince them that you are a professional. By the way, regarding writing chapters or not in early drafts, I write by the chapter, but that's because my books usually have opposing protags and I alternate chapter by chapter between them until it all comes together in the end.

[TheNightTerror]

A slow start isn't bad, as long as it's an interesting slow start.

Guess the tricky thing is trying to find an interesting slow start. Wonder how to go about it . . . :o should be tricky, but hey, the part of the story I know the best is the first segment, so I should be able to play with it a little bit. I hope. :tongue

TheNightTerror... I can only speak from my experience. I did the same thing... starting with the hero's "ordinary world" -- minor things happening, etc. even though I hinted at a major event that would change his life... TOO SLOW. My betas' comments were along the line: "Where is the plot?"

That's what I do in damn near every story. :o Guess I better not ship off any manuscripts anytime soon. ;)

You don't have to start with a bang, especially if you're not writing a genre where big bang openings are essential (thrillers, suspense, etc.)

Well, lucky for me, I usually write suspense. :)

It's okay to start with the hero's ordinary world, but you MUST push the opening chapter as close to your first conflict as possible. You can fill in the blanks later. You need a hook, so that readers would care to read on. It could be something as simple as a foreshadow of what has yet to come, or an event that would eventually lead to the first conflict... but by the end of the first chapter, you'd better lead to the conflict so that the readers will continue to turn the page...

It's amazing to hear about all the simple things I should've known. All I ever did was just tell a story, never worried about anything like that. Stupid, stupid! :Smack::tongue Although, knowing me, I'll write like I normally do, then edit it into something half decent later. ;)

[maestrowork]

That's what revisions are for. ;)

[TheNightTerror]

Ah, trusty revisions. May take a few dozen rounds, but you never know, something . . . 'interesting' could come from it. ;)

[Lenora Rose]

It's amazing to hear about all the simple things I should've known. All I ever did was just tell a story, never worried about anything like that. Stupid, stupid! :Smack::tongue Although, knowing me, I'll write like I normally do, then edit it into something half decent later. ;)

IF you think your opening is good as is, but it conflicts with this advice, you can always ask a beta reader...

My experience, however, is that to be sure of the opening, you need the ending.

I finished a whole draft of a book, all the crud still included. I knew there was a ton of fat in the ending. I *thought* the beginning was better, even on rereads.

Until I cut out all the fat from the ending, I had no clue how wrong I was. It was after I'd cut the end that I found out how I needed to trim the beginning, and ended up removing about a chapter's worth of scenes.

[Fresie]

I find all these setup thoughts very interesting... the thing is, the last few novels I've read (action thrillers, in fact) all seemed to follow the same pattern: naturally they started with a lot of action and suspense, but all that action and suspense didn't relate to the main plot that followed, but belonged to a minor opening story that served as some sort of introduction to the novel. This little opening story also served, as I noticed, the following purposes: it introduced the protagonist and a few other main characters, it established the genre and pace, and it also (in the examples I read) managed to contain and symbolize the entire novel's idea and subject matter.

Oh, just one example:

The Evening News by Arthur Hailey, a fast-paced action thriller about international terrorists, doesn't start straight away with the terrorists' plans to abduct the reporter's family (which is what the novel is about). It starts with a minor incident, related in style and subject matter: a plane crash that the reporter and his colleagues have to cover. The plane crash and all the events around it serve as this "minor opening story" allowing Hailey to establish his style and pace, show the reader what kind of book they're reading, introduce the characters and foreshadow the novel's idea. It takes, if I remember rightly, exactly one chapter--Chapter One. Then this plane crash thing is off the pages, never to be mentioned again, and the actual story begins.

And the more I look at other people's novels, the more I notice how many of them follow this "minor story opening" pattern. A small, related story with its own conflict and resolution. One of the novels, in fact, even opened with this minor story written as the hero's flashback: the entire first chapter was his recollection of what had happened to him some time ago (no dialogue, no action, just straight narration packed with "had beens"). Then, in chapter two, the actual story started. But naturally, as I kept reading the book, I realised that the "minor story" told in chapter one foreshadowed all the main elements of that particular book: its subject matter, atmosphere and characters.

I have to admit that the opening of my novel follows this pattern, too -- I do present my hero in action (no overuse of narration or flashbacks!), I do try to build up tension and establish style and pace from the first sentence, but I don't start the main plot in the first chapter. What I do have is a related "minor story" that introduces the subject, setting, characters and such, foreshadows the details I need to be foreshadowed and also symbolizes the idea of the entire book. By the end of chapter one, this minor conflict is resolved and the chapter ends on a cliffhanger introducing the main plot.

Now that I know it's possible, I look around and I can see that virtually every other published novel uses this kind of opening. What do you think?

[Liam Jackson]

Valid point, Fresie. Many fast paced openings are used as character intros. Fast openings that lead straight into the major storyline aren't easy to sell to a lot of publishers. "Too much, too soon for most readers and you haven't had a chance to make a reader care what happens." (At least, that's the message I received while my novel was making the rounds.) A minor action scene that helped establish setting and characters was overwhelmingly preferred.

Perhaps Hapi, Jim, James, Ann or Victoria could weigh in on this issue.

[maestrowork]

Same here, and my novel is not a mystery or suspense or thriller. Present the protagonist/major characters. A setting. A problem. Some action, dialogue. Some kind of revelation. Then a cliffhanger to make them turn to chapter 2....main story.

It seems to work. ;)

[TheNightTerror]

My experience, however, is that to be sure of the opening, you need the ending.

I finished a whole draft of a book, all the crud still included. I knew there was a ton of fat in the ending. I *thought* the beginning was better, even on rereads.

Until I cut out all the fat from the ending, I had no clue how wrong I was. It was after I'd cut the end that I found out how I needed to trim the beginning, and ended up removing about a chapter's worth of scenes.

I always think the beginning of my stories are the best, and the endings suck, this sounds like it might just be the shoe that fits. Hmmm.

A minor action scene that helped establish setting and characters was overwhelmingly preferred.

And this is when I kick myself in the butt for not reading much anymore. I don't really have a good idea of what a minor action scene would be like . . . I do know my stories always start with some kind of minor event, I'll probably start writing this one from when the main character gets a new job, just so the reader can see what she's like, learn a bit about her background, and meet one of the other main characters.

[Fresie]

Maestro, I still have to thank you properly for your critique of my novel synopsis! Because of your suggestions, I had to rework the entire concept completely so if I'm currently on the umpteenth rewrite (and the book is finally taking a proper novel shape), it's all thanks to you.

[maestrowork]

Oops, my sincere apologies! ;)

I mean, I actually have POWER over someone? WOW! I am POWERFUL.... BWHAHAHAHAHAHAHAHAHA. Yield before me! BWHAHAHAHAHAHAHAHA.

[azbikergirl]

My most recently-completed novel starts with the hero taking the first step toward the end of the story. It's an action scene, but not action in the sense that someone's fighting or a bomb goes off. The hero takes action, it causes a problem for him, and it snowballs.

Chapter 1 sets the scene (world, culture) and introduces the hero and his goals. Chapter 2 introduces the opposition, and Chapter 3 puts the hero on a course that will ultimately lead him into conflict with the opposition.

[CJWilkes]

Most agents and publishers request writers to send them the first three chapters of their manuscript before they look at the entire thing. From that fact, we can assume that a great deal of planning should be put into those first three chapters, since it, along with a description and a good cover/query letter, sells the novel. Post tips on writing the perfect first three chapters or your views on the way to write them. (Also, include some examples of books with really great 'first three chapters' if you know any)

My view:

Manus & Associates Literary Agency has a great formula for writing a pitch and I think it would be a great starting point in developing a format for your first three chapters. Their forumla is:

1. The Set Up
2. The Hook
3. The Resolution

Chapter One would be the set up - establishing where the characters are, who they are, and their relationships to each other. Chapter Two would get into the action and start to show the plot and the thing that gets the story moving. Chapter Three would develop the plot a little more, ending on something BIG, either a major revelation, a cliffhanger, a character death, or a teaser at what's to come.

What does everyone else think?
I think that I could learn alot about writing from you :)

I happen to agree.

[gogoshire]

Regarding starting in media res:
That's an interesting idea, but I think there would be a danger of two things:
1. Confusing the reader
2. Annoying the reader
Both are lethal, I think (well, to me as a reader they are).

I disagree. I just finished Donna Tartt's A Secret History, and while I think the book's structure deteriorates towards the end, the beginning is so fantastic that everything else is forgiven.

My $0.02.

[LightShadow]

I present my characters with an impossible situation in the beginning, and then the whole book is about them working it out. Each chapter, however, things get worse, making the reader keep reading, until it all comes together at the end...but not cheap ways out. My characters have to take care of it themselves. No magical developments that would otherwise be impossible are not allowed in my work. Anyway, I agree that the characters, setting, and the initial problem that gets the wheel rolling must be presented in chapter one.

[CJWilkes]

Thinking on this I began to look at the way I read books and what keeps me going. Basically... I like it when I get hooked in the first chapter. If my interest is not peaked then... it is hard to keep going. Sometimes, I just quit.

So my question would be... What hooks a person?

[brokenfingers]

So my question would be... What hooks a person?

Ahhhh.... that's the golden question.

I could blather on about character and situation and genre and blah, blah, blah - but the best thing you could probably do is just check out some books you really enjoyed and study the beginnings in them and try to find out how they hooked you.

This will SHOW you the answer as opposed to me TELLING you the answer ;)

[maestrowork]

IMHO, if I care enough about the characters or situation, and want to find out what happens to them, then you have me hooked.

It doesn't matter what genres -- there are certainly some expectations with different genres, but it all comes down to: Do I care about the characters to find out what happens to them?

If it's a thriller/suspense, and a bunch of things blow up and someone on the street dies... I will close the book and go on with something else. Because... who cares?

Now if a bunch of things blow up and our hero has a choice to save his father who killed his mother just yesterday, or to let him die in a most gruesome way, and our hero is the President of the US... ooh, now I want to read on and find out.

[brokenfingers]

Actually I think the best thing anyone can do is look into a book they like for the answer.

For one, it will show you a successful example in the genre you are wanting to write in.

Different genres require different styles, etc. A wham-bang action opening isn’t going to help someone writing mainstream/literary or a children’s book. And devising a good hook and an intriguing opening is something many writers struggle with.

Second, some people need to see the answer, you can’t just tell them.

Like when I was a teenager and was told a zillion times how I should never put all my eggs in one basket; now I knew it made sense and I dutifully nodded my head every time I heard this sage advice – but it wasn’t until I’d quit my job, sold or gave away all my belongings, defied my family and said goodbye to all my friends and put all my money into a junker car that left me stranded on a lonely highway that I really learned this lesson.

Sometimes it's better to see for yourself than to hear it secondhand.

Plus, the opening and hook, in my opinion, doesn't really gain prominence until after the first draft is done. Once you know the full shape of your story - it is easier to decide the entry point for your reader and you also have the added benefit of knowing exactly what material you have at hand to shape a good opening.

[LightShadow]

That's what revisions are for. ;)I agree, and it's amazing how the story changes after all of those revisions.

[Darkhaven80]

One of the novels, in fact, even opened with this minor story written as the hero's flashback: the entire first chapter was his recollection of what had happened to him some time ago (no dialogue, no action, just straight narration packed with "had beens"). Then, in chapter two, the actual story started. But naturally, as I kept reading the book, I realised that the "minor story" told in chapter one foreshadowed all the main elements of that particular book: its subject matter, atmosphere and characters.


I just read a book that did the exact same thing - it was Like Death by Tim Waggoner. But yes, I have noticed this pattern too. So you can sort of keep the character in the ordinary world and then hit them with the story's inciting incident -- as long something action-orientated is happening to them in the beginning? Never see this mentioned much but if you follow patterns by reading...

[Darkhaven80]

And this is when I kick myself in the butt for not reading much anymore. I don't really have a good idea of what a minor action scene would be like . . . I do know my stories always start with some kind of minor event, I'll probably start writing this one from when the main character gets a new job, just so the reader can see what she's like, learn a bit about her background, and meet one of the other main characters.

Or, better yet, have her having some sort of trouble/crisis at the job. I know everyone says readers and editors salivate over action, but to me the thing that interests a person most is 'bad news'. Crisis/conflict are all problem orientated, right? Starting a book at a normal wedding or the birth of a baby, while a heart warming experience, won't nab the interest. However, if you said in a few sentences at the beginning that this was supposed to be the most important day of their life, their wedding, until their husband to be got shot, this would surely keep them reading. Tragedy and bad news seems to bring them in.

[TheNightTerror]

Or, better yet, have her having some sort of trouble/crisis at the job.

Hmmm, I think I can pull that off. In fact, I had a scenario like that planned out for the second chapter. The main character takes the job as a temporary thing, but there's a chance she could keep the job permanently, so she doesn't want to look like a slacker. She ends up having to stay at work overnight to make sure a rather tedious situation doesn't get any worse than it is, along with a guy she's never met before. (I wanted to show her first day at work before having that happen, but come to think of it, it doesn't have to be that way.)

Might make for a fairly dialogue heavy opening, but it would probably be the most painless way for getting some of the backstory in. The characters both have to stay awake with nothing to do, so they just start chatting. I could slip in info about why the main character's so strapped for cash, a bit of her background, a bit of the other guy's background, that kind of thing.

It's probably going to be one hell of a dark romance-like story if it turns out the way I want it to. :o The main character and the guy she meets that day end up hooking up early on in the story, I'd probably show major progressions in their relationship, just to estabilish how things are when the main portion of the story starts, then get to the event in the main character's life that gets the main plot rolling.

Sound okay? :o


Mwahahaha, I can't wait, I get to start writing in around 24 hours, I have the house to myself for a few days and caffeine, so nobody can possibly bother me. Just gotta get some sleep first, now couldn't be a bad time. Been up for 32 hours, yet I'm not tired, despite no caffeine intake today, what a weird one I am . . . :Wha:

[LightShadow]

I know what you mean. I work construction, but when it rains I'll sit in my chair for days taking momentary breaks to the can, kitchen, or smoke. Once I get going, I don't like to interrupt my writing flow.