Advice needed

[Vanlisana]

Hi everyone,

I am looking for some advice or information about the beginnings of the short story.

What makes a good "attention catcher" of a short story? What makes a great beginning that would compel the reader to read on? Is the beginning more significant than the climax?

I would really appreciate any comments, opinions, facts, links or suggestions that has to do with the beginnings of a short story.

Thanks in advance

[Solatium]

Just my opinions here:

A good attention-catcher is anything that draws the reader into the plot, or makes him interested in the characters. This can be as simple as an ambiguous or odd-sounding line of dialogue that will make the reader want to find out the context. (Well, that's a technique I like to use -- not that it's gotten me anywhere much.)

Very stupid things have been done in the name of "a catchy opener." I've read many stories -- some of them published -- in which the author used ham-handed indirection to create the appearance of an intriguing situation, then revealed the imposture (and the actual prosaicness of the events) after only a few paragraphs. That's cheating, as far as I'm concerned. Better to have an interesting premise to begin with than to take something dull and try to make it look interesting.

Is the opening more important/significant than the climax? No. The climax is the point of the story, what everything else leads up to. The function of the opener is to bring the reader into the story so he can get to the climax. That's all.

[Lady Brick]

One of my favorite ways to open a short story is in the middle of a scene in progress. That way, the reader is instantly in the action and doesn't have to wade through a long introduction.

[black winged fighter]

I like to intro the reader to an odd charcater or a not-so-everyday scene, but at the same time I try to keep the situation familiar enough that the reader will be able to connect.

Sometimes, opening with a quote, a definition, or a theme plug works, too.

A strange name will pull me into a short story, or a short, concise description of a moment in time. For instance, if I'm going to write about a hurricane, I'll start with something deceptively calm, but inject tension into the passage.
"A breeze came early in the morning, pushing clouds into a sky that should have been clear..."
I try to devise a scene that a reader can 'float' on before plunging into the main thread. Kind of like giving them a small taste before the banquet.

But hey, anything that works...

[Crosshatcher]

In all the writing courses I've taken it was said that the writer should cut to the chase. Get the reader involved in some dramatic scene and have the reader wondering how the protag got there. After that you can slowly dole out the backstory.

[Anaparenna]

This is #5 in Kurt Vonnegut's 8 Rules for Writing Fiction (http://www.americanstate.org/vonnegut.html), which I've always found interesting. I chant it like a mantra when I'm revising. (I usually start where I feel the need to, and revise down to the best beginning afterward.)

5. Start as close to the end as possible.

My interpretation of it is "cut out the middle man."

[jdkiggins]

Vanlisana,

There’s been some great advice given here.

Some writers write the beginning last; others write it first. I like to give a reader a beginning that makes them immediately wonder what will happen next.

Beginning the story with a simple place and time, so the reader familiarizes himself with the setting, yet adding a complication/crisis, which intrigues the reader to keep reading.

This not only adds a hook—raising the question of what happens next—but it also creates a crisis immediately for the character to solve to the end of the story.

Another way to begin a story is with the setting. Describe the setting, as it was before the crisis, then in the last sentence show a notable difference.

Other ways to begin are with sensations, needs, and motives. These type beginnings will introduce your character to the reader and define what the character may need or want in order to accomplish the goal you’ve set.

It’s always best to experiment with different types of beginnings and see what works best for you.

I would recommend reading the Fiction Writer’s Workshop by Josip Navakovich. He gives clear information and step-by-step instruction, with writing exercises to help boost your creativity. Information can be used for both short story and novel writing. It includes beginnings, settings, characters, plots, POV, dialogue, scene, and endings. Pretty much everything you need to know is wrapped up in 250 pages. If your local library doesn’t carry it, you might still find it in the listings of Writer’s Digest Books.

If I think of any other books I’ll be sure to come back and let you know.

Good luck with your writing.
Joanne

[triceretops]

Lady Brick has a winner there. I always start off first pages of novels or shorts with a verbal or physical fight, turmoil, physical action. No need for set up here, let it fly and info dump later if need be.

I've also heard something that I garnered from way back in my ancient times-always have your characters on their feet--seldom have them sitting serenely and discussing things--whatch out for too many seated meals--this puts your reader to sleep (nod). Don't know how popular this trend might be nowadays, but I never seat all my characters all at once, anywhere.

Triceratops

[JAlpha]

Let's take one step back to the title, something I think short story writers (and poets for that matter) often overlook as their first opportunity to hook their readers. :Lecture:

Three key elements of a dynamic short story title (again I add poem, because I write both) are . . .

Convey an immediate image or idea
Invite the reader to explore the story
Embody the story's literary style or genre

JAlpha

[Jamesaritchie]

Two pieces of fairly loose advice.

1. Try to begin a story in media res, or somewhere in the middle.

2. If the first sentence doesn't make the reader ask who, what, when, where, or why, you need a new first sentence.

[ShadowGuide]

This is #5 in Kurt Vonnegut's 8 Rules for Writing Fiction (http://www.americanstate.org/vonnegut.html), which I've always found interesting. I chant it like a mantra when I'm revising. (I usually start where I feel the need to, and revise down to the best beginning afterward.)

5. Start as close to the end as possible.

My interpretation of it is "cut out the middle man."

Anaparenna, Thanks for the Vonnegut link. I've now got it bookmarked on my 'puter! :)

[Sailor Kenshin]

Apply the eavesdrop rule.

Would you try to eavesdrop on the action if it was within your earshot? That's an attention-getter.

[zeprosnepsid]

I don't think you can underestimate the importance of a good first sentence.

[Starwryder]

Vanlisana,
I have found that the only way for you to capture the reader's attention is to surprise him or her. You need to be quick and to the point. You do not have to go into depth with character but you should acknowledge who is the main character is.
You should try a few different ideas before you settle down with one.
Starwryder.

[Mike Coombes]

This may sound like a big DUH!... but READ! Read other shorts, see how they start, and why. You won't learn a damn thing from asking. Go looking, fond out for yourself.