Do I need to reveal the story goal in the first chapter?

I say do it the way you feel it needs to be written. The more you can hint about upcoming events, the better, but don't feel like you need to follow a rule like that. It sounds like it's a rule to help writers who do a lot of throat-clearing before getting down to the real business of the book, anyway, so if you're not the sort to have to cut the first chapter (or two) after finishing a project, you're probably good.

It's definitely not set in stone. I use the first chapter to introduce my characters and world. And although the goal will be strongly hinted at, it won't appear until the beginning of the second. As long as the chapter is engaging, it works. So there are a lot of ways to go about it.

I agree with everyone else basically. If the main conflict doesn't happen until the second chapter, then keep it that way. I think as long as the main conflict is introduced in the first couple of chapters then you should be just fine.

While not set in stone, it is a fun thing to do, and usually helpful!

My MC's main goal is stated within 500 words...and since I am the most perfect and amazing author in the entire universe of forever, you should use that as a metric by which to judge all of your work!

(Or, ya know, do your own thing. That'd work just as well! )

My advice is NOT to rush the story. The worst thing you can do is push the story to just get to climatic scene. When writing you want to take your time. Allowing the character, feelings, scenes and motivations of each individual to develop to the point where you feel you need to put in your desired act. That's the advice I can give you. need any more help, pm me.

- J. Nova

Hope not, 'cause I don't.

I kind of believe that the first chapter should contain a micro version of the main story goal. Like, if the thing the MC wants most in the world is to find somewhere they truly belong (like in my current WIP), the first chapter will contain some inkling of those lonely/homesick feelings, and some tiny measure of relief (finding a new friend, feeling temporarily at home). The first chapter is basically the whole novel shrunk way, way down and simplified.

IMO, of course, and I'm famous for not following my own advice.

Becca C. said:

I kind of believe that the first chapter should contain a micro version of the main story goal. Like, if the thing the MC wants most in the world is to find somewhere they truly belong (like in my current WIP), the first chapter will contain some inkling of those lonely/homesick feelings, and some tiny measure of relief (finding a new friend, feeling temporarily at home). The first chapter is basically the whole novel shrunk way, way down and simplified.

IMO, of course, and I'm famous for not following my own advice.

Click to expand...

That sounds a lot easier to do with character-driven/contemporary? If the MC's goal is to bribe Charon to get into the bowels of hell so she can save so-and-so from a three headed demon dog thing....

Interesting theory, though. I don't think I've ever heard of anyone refer to the first chapter as a mini-version of the novel. Is it a specific method, or just something you try to do?

I do tend to get the plot rolling right from the first pages, or set up the conflict or problem very early on. And I do this for reader "hook." Rember that the first five pages are very, very important to hooking the reader, let alone a publisher or agent. I've been told this many times, since I've had a tendency to over-describe and set up the exterior scenes in the front pages, and get called on it because it was too lethargic, sluggish.

It's not a hard-fast rule to blast out of the gate. But I'd rather step on the accelerator from a standing start, rather than set it in cruise control.

That's just me. YMMV

Tri

DoctorK said:

I was reading somewhere that I should be revealing the MCs story goal in the first chapter, and that he should be committed to it by the end of the first act.

ETA: Incidentally, he has a secondary story goal - fitting in at his new school and becoming popular - which is revealed in the first chapter. But that's obviously not the mail story goal.

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I just want to know where you read this? Where is it put down in stone or carved in wood or set in bronze?

You do what is right for your story and that is all. If you want to follow this advice (wherever it came from), then go right ahead. But if you read enough novels, you'll realize you can do any number of things with the first chapter. You can dive straight into the story, the concept, the mystery, the motive, the reasontheheroisgoingonajourney...

Or you can be a bit vague and hedge and haw and go this way and that and give the reader nary a clue what is going on. You can mystify them, in other words.

Or you can set the scene and tell us about the MC.

Or you can have a murder on the first page - or on page 36, if you like.

Anyhow, do whatever you want to do. It's your story.

Edit addition: Sorry if I didn't help you much. It gets my dander up, is all, when a thread starts out...I've heard...I've been told...I know the rule is...I think the rule is...My English teachers always said...

missesdash said:

That sounds a lot easier to do with character-driven/contemporary? If the MC's goal is to bribe Charon to get into the bowels of hell so she can save so-and-so from a three headed demon dog thing....

Interesting theory, though. I don't think I've ever heard of anyone refer to the first chapter as a mini-version of the novel. Is it a specific method, or just something you try to do?

Click to expand...

I know I read it somewhere, but I can't for the life of me recall where. I agree that it's probably easier to do with contemporary, but it doesn't have to be super literal. It could really just be along the same metaphorical lines as your main goal. In your example, there could be some example of bribery or the MC using those persuasive skills that are going to be important later on, or something like that.

triceretops said:

I do tend to get the plot rolling right from the first pages, or set up the conflict or problem very early on. And I do this for reader "hook." Rember that the first five pages are very, very important to hooking the reader, let alone a publisher or agent. I've been told this many times, since I've had a tendency to over-describe and set up the exterior scenes in the front pages, and get called on it because it was too lethargic, sluggish.

It's not a hard-fast rule to blast out of the gate. But I'd rather step on the accelerator from a standing start, rather than set it in cruise control.

That's just me. YMMV

Tri

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I think it's also worth mentioning that the conflict is not always the hook. Sometimes it's the world building or the concept.

While I completely agree that you should do what's right for your story and style, I do think it's important to remember that you shouldn't neglect getting the plot rolling in some fashion. There DOES need to be something in the first few pages that's going to hint at the story to come and give your readers a reason to keep reading. The form that takes is entirely up to you.

The story may work perfectly with introducing the conflict/goal in the second chapter. You could also try the exercise of cutting your first chapter completely and seeing if it still works to have it stated sooner. You can always put your first chapter back in, or move some scenes to later into the MS.

@maybegenius -- I totally skipped ahead to read your answer and it was a good one.

triceretops said:

I do tend to get the plot rolling right from the first pages, or set up the conflict or problem very early on. And I do this for reader "hook." Rember that the first five pages are very, very important to hooking the reader, let alone a publisher or agent. I've been told this many times, since I've had a tendency to over-describe and set up the exterior scenes in the front pages, and get called on it because it was too lethargic, sluggish.

It's not a hard-fast rule to blast out of the gate. But I'd rather step on the accelerator from a standing start, rather than set it in cruise control.

That's just me. YMMV

Tri

Click to expand...

I have to agree. No, nothing is set in stone. But your conflict should arise fairly quickly, in 5-10 pages if possible. In the Wizard of Oz, two pages in we see where the story is going. In HP, the first page. Thrillers often open with the murder scene...

It doesn't have to be stated, per se, but alluded to, yes.

missesdash said:

That sounds a lot easier to do with character-driven/contemporary? If the MC's goal is to bribe Charon to get into the bowels of hell so she can save so-and-so from a three headed demon dog thing....

Interesting theory, though. I don't think I've ever heard of anyone refer to the first chapter as a mini-version of the novel. Is it a specific method, or just something you try to do?

Click to expand...

I heard a similar theory, too, it boils down to representing the main dramatic issues of the story in the first chapter. Sort of: the story is about a teen girl who secretly befriends a young movie star and becomes obsessed with him, is he good or evil, and what about her? In the first chapter, we see her 1) lonely and dreaming of love 2) watching Oscars or going to movies 3) suggesting to her friend that the boy who dumped her needs to be "punished" in a morally ambiguous way.

There's also the old method of starting with a bang, then going back to the beginning. Open with a fight in a tavern, then explain that your merc hero went there because he got a letter from a mage promising a deal and got ambushed.

I would describe that rule as a simplified starting point for those with a lot to work on. It can make for a pretty poor novel if the main plot appears out of nowhere halfway through the novel, so it is generally better to try and start the story as close to the start of that main plot as possible.

That said, it doesn't need to be blatant. It can be enough to foreshadow the main plot, hint at it and build the scenario in which it takes place. And I certainly wouldn't have problems with a main plot that became apparent in chapter two. World-building matters, too.

sprunty said:

@maybegenius -- I totally skipped ahead to read your answer and it was a good one.

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Aw, thank you!

Reading the OP's post, I think it would be helpful to have a bit of the relationship between the grandfather and the MC first. Then the death is more meaningful/mysterious to the reader, because s/he's invested in the relationship.

For me, no matter what happens in the book, I have to care about who it's happening to. For the MC, this can be the voice, but if there's a secondary character (the grandfather) I need to be persuaded to care about him too. After all, grandfathers tend to die. They're old. I'd definitely like to first see the OPs character perform some quirky consipiracy-theory-related antics before he kicks it.

Long Post, Be Warned

Your goal shouldn't be introduced within the first five pages, or even the first chapter. That is completely misleading, and often impossible to do.

Theme is what you're talking about. Your theme should be introduced within the first chapter, preferably the first five pages. Your theme is the opposite of your character's fatal flaw.

In Harry Potter, Harry has no idea what the fuck he wants in the first chapter. He has no goal. He's just cooking for the Dursleys and being miserable. However, you see the abuse he suffers at their hands, his loneliness, etc... What are the themes of Harry Potter? Friendship, trust, family, love, all of which Harry doesn't have in the first chapter. He doesn't even know he wants them. But the reader knows.

Now, I haven't read Harry Potter in a long time, so someone can correct me if I'm wrong, but he doesn't get a goal until the end of the first act. That's when you introduce a goal and break into the second act. And your goal can warp, develop, grow, change, whatever... He wants to stop Snape from getting the stone. But there are a bunch of mini goals leading up to that. And, as we develop the goal, the theme progresses. I have to say, for all the issues I have with HP, Rowling set that shit up pretty masterfully.

Then there's Looking for Alaska. It has the same set-up. Miles is a lonely loser with no friends. What is the theme? Family, friendship, love, death. All introduced within the first chapter. Note that I'm skipping the prologues in both books. HP doesn't start until we get into Mr. Dursley's head. LfA doesn't start until Miles gets to the school.

Now, I don't want to spoil LfA, so whoever hasn't read it, look away.




Good. Now, Miles' goal is not fucking/kissing Alaska, or even getting her to love him. He's never actively pursuing that. Sure, he wants her, but it's not a big deal in terms of novel development. Even when she was dead, his big concern was being the only person she'd ever loved. He wanted someone to make him feel unique, wanted, etc... His goal was more subtle. It was literally, looking for Alaska. He wanted to find out what made her tick, and in that way, he would "own" her. The sexual aspect was completely secondary. And, while he never accomplished the goal (remember, getting the goal isn't necessary, after all, Harry never completed his goal in HP, and Frodo never exactly completed his goal in LoTR) the theme was stated, wrapped up, and completed. His character arc was done. A goal only drives the story, but it doesn't need to complete. It's not necessary to complete a goal to satisfy your reader. It's only there so your story isn't static. The theme is what you need to state and finish, otherwise, your story is incomplete.

And, while I'm at it, here's one more example. In the Astonishing Adventures of Fanboy and Goth Girl, the goal isn't introduced until 10,000+ words in. I've counted. The theme, however, is hammered into the reader's head. In fact, I kind of wanted Lyga to stop being so obvious and get on with the fucking story. Too much theme repetition, and you've got a dull story that only serves as a patronizing message book.

In a lot of books, your character might have the worst goal ever. How to Be Popular, by Meg Cabot, has the most superficial goal ever. Be popular. But the first act is brilliant. Once again, the character doesn't complete her goal, but she does complete her arc and the theme (while rather anvilicious) wraps up. In fact, a lot of chick-lit books are like that. The character realizes she doesn't want her goal because it kind of sucks, or she buried her true goal under a bunch of stupid shit. I don't like chick-lit, but if there are two movies/books you should read to get a good idea of the difference between theme and goal, they're The Devil Wears Prada and Legally Blonde. Perfect character arcs, simple themes, solid goals.

I don't advocate following a beat sheet like it's your god, but if you have a problem with structure, you might want to check one out: http://www.lizwritesbooks.com/2011/04/save-cat-beat-sheet-spreadsheet-for.html

Save the Cat is useful if you have a problem with pacing.

And, because I'm super bored, I will continue typing. You mentioned the Hunt for Red October and The Hunger Games. I haven't read The Hunt for Red October. I'll use Minority Report instead. Thrillers/Mysteries are no different.

*spoilers*


The Fugitive is kind of set up like Minority Report. It's the standard "we're being chased but we have a mystery to solve" plot. Two goals. One, the character needs to solve. The second, the character wants to solve, but doesn't need to. If the character lets go of their second goal, they can easily evade capture and move on with their life. But because they refuse to let go, they're in constant danger of being caught.

What are the two goals in Minority Report? Find out who set him up, and resist capture from the police. They're both initiated at the same time, around ten minutes in. That's at 7% of the story. His theme is set up within the first two minutes. He works late. He over works himself. He's divorced. His son is gone. Themes: loneliness, grief, forgiveness, etc...

Combined with the premise, it's a clever movie. His goals change as the movie progresses, but the theme never does. The same can be said of The Hunger Games.

I guess an easy way to put it is like this -- Theme never, ever changes. It should be completed. Goals change, like people, and don't have to be completed in order to have a full story.