How to begin a novel?

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iwannabepublished

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When writing a short story every word counts. I understand that the hook must come early. However, does the same rule apply to a novel? In other words, when you are writing something that will be 85,000 to 100,000 words, can you take the liberty of introducing your main character first and only hinting at the hook? Someone told me that for an unpublished author, inserting your hook right away is critical. How will the reader know you are new? Obviously, if you are attempting to get an agent, you must provide both the hook and a sample of your writing style. But you are providing a prospective agent a cover letter and synopsis that will obviously provide the hook. If you go the route of self-publishing, through Kindle e-books for example, you are required to include a brief description amounting to a synopsis so prospective readers will have a sense of your story before they make a purchase.
 

Persei

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It depends on whatever it's important for your story, me thinks. What if the thorough description of an ordinary pin is the major plot point and has to be explained beforehand? What if for the so called "hook" to make sense, you have to go 40 pages explaining the history of the old planetary system of Grobyr...?

"Hook" is not the same as shooting alien zombies. In short, the hook doesn't have to be action. Characters, descriptions, or even a good ol' "infodump" might be interesting enough for the reader to go on.

You just have to pick and choose depending on your novel and on your style. Personally, my style is "shooting alien zombies in the first paragraph" but I saw many books which weren't like this and were enjoyable nevertheless.
 

ManOfTongues

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I don't think it really matters where your hook is, so long as there is one that's good enough to captivate an audience. Besides, when you're submitting to publishers, your hook will be evident in your query letter. For example, the hook I display in my current query letter does not actually happen until about the 6th chapter of its corresponding novel.

Best of luck,

- Michael
 

Carlene

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You need to write a great inciting incident to draw the reader in. I write mainly mysteries and try to kill someone right away! I'd recommend reading, "The First Five Pages" by Noah Lukeman. He states that your manuscript might be bought on the first five pages, possibly the first page and probably on the first paragraph. Yes, it's that important.

Carlene
 

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There's a misapprehension that you need to have a gun fight, car chase, and explosion on the first page. This isn't true.

All you really need on page one is some reason for the reader to turn to page two. (Other than 'idle curiosity,' that is.)
 

jmare

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From your question, you seem to be using "hook" and "point" interchangeably; they aren't. A hook is something that draws your reader into the story. The point is what the story is about. The hook must come quickly, but does not have to be an action scene. The point of the story does not have to become known until much later.
 

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I love the explanation that you start with "A person in a place, with a problem." (If someone knows who that's attributed to, do share.)

Here's my interpretation of this:

"A person" means start with a character rather than a description of something or somewhere or the boring political history of the world in which the story is set.

"In a place" means set that character in a scene. Not inside his head, ruminating about his backstory.

"With a problem" means there is some kind of conflict.

Of course these are merely suggestions on where to start. A good enough writer can make anything work.
 

IrisFlower81

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I've heard it said that you try and begin the novel as late in the action as you possibly can. Have an exciting incident, character interaction, or new place that doesn't crop up until chapters three or four? See if you can cut the first few chapters and start with that.

This is a rule I've been following since I got serious about querying, and while I haven't landed an agent yet, it's been very helpful for improving my writing.
 

Anninyn

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Every word counts with novels too - it's just you have more of them.

This is where thinking of books you've loved really helps. How did they start? Most of them start with an incident that:
1: gives you an idea of setting/character
2: gives you an idea of genre
3: sparks the whole story.
Not all beginnings do all of those, but most do more than one if you really look at it. And obviously, genre plays a large part in this. Fantasy novels tend to start a little further back to give room for scene-setting, but even so, most new fantasy novels still scene-set in a way that sets up plot and character. After all, the first five-thousand words of the novel being a potted history of the Kings and Queens of New Gerdigris is kind of dull. Mysteries tend to start with the first signs of the mystery - the murder, or the theft, or at the least, the lead up to the murder or theft.

My current WIP starts a little way back from the inciting incident, which means those first couple of thousand words will probably be cut in the re-write and the set-up explained later - either that, or I'lls tart even earlier with a scene I feel shows the reader Korrol as a character more effectively then just telling people about her.
 

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Hooks are useless. The reader won't remember and most likely be turned away after reading them and being disappointed because you used one and continued on into bad writing.


Start a story by drawing the reader in. By some action/drama/suspense and the best of all: Intrigue. This way, the reader is following you because of the scene, not that single line that dragged them in. You don't need a lot of action, or drama or suspense, but enough that the reader can feel the situation and grow interested in it.


Some writers do this: Write the story. Even if it goes on longer than you expected. Then find a place where the highest intrigue is, and cut the story there. You start the story from the latter half. This way, the reader is thrown in and it doesn't have a hook.


In all, if you're having problems getting off the starting line: Screw it. Just write and leave it as it is. I'll bet you, you will be revising the story and those words for your beginning will change over and over. So don't fret about starting out, just get to writing.
 

ccarver30

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As others have said- there has to be a vision. Even if there isn't a concrete hook, there can be a question that the reader wants to know the answer to and continues reading. For example, the opening scene to one of my novels (unpublished) in my FMC packing her things and when he father asks if she is done yet, she explains that she can pack quickly since she has done it so many times.
Why has she packed so many times in the past?
Where is she going now?
Apparently her father knows of the plan- was he involved?

That's what I think of- a reason to continue reader, not necessarily the novel's main hook in the first chapter. I think that would be a downer!
 

iwannabepublished

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Perhaps if I give you the first few pages (about 900 words) you can tell me what you think. I go to Central Park almost every afternoon. The idea for this story came to me while I walked home. The opening scene is real up to the introduction of the police. I wanted to convey as best I could what my minds eye saw as the main character. His strict observance of etiquette, his feelings about people and his reaction to the events all help me, and I hope the reader, build a picture of what kind of a man my MC is. His personality and reaction to events is a big part of my story. The last lines of this sample represent my hook.​
[FONT=&quot]
Chapter 1

[/FONT]​
[FONT=&quot]On the way home from his afternoon jog in Central Park, Joe stayed near the curb along 57th Street. He always walked to the right as a matter of courtesy, offering an exaggerated frown to those that ignored this unwritten rule of the city. He could not resist chuckling as he passed several tourists taking pictures of buildings that had no particular significance. Guessing they simply wanted to show friends back home what a big city looked like, he made an effort to not get between a photographer and his objective. He felt another frown spread across his face when a number of tourists blocked his way as they videoed the busy street. Am I turning into a sour old man as I grow older?[/FONT]

[FONT=&quot]The unexpected sound of multiple sirens made him involuntarily grit his teeth. God damn, he thought, these guys are all over the place. A few months after September 11, 2001, the NYPD established a rapid response team consisting of ten to fifteen patrol cars that raced around Manhattan testing their capacity to get where they were needed as fast as possible. Like most residents of the city, he had long since trained himself to identify the sound of multiple sirens and learned to live with the parade of cars and their flashing lights as just another minor annoyance. Unaccustomed to the unusual activity, many of the tourists stopped to stare, impeding Joe’s walk home. [/FONT]
[FONT=&quot]
[/FONT][FONT=&quot]The sounds of brakes screeching did startle him. Most of the time the cars whizzed by to their practice destination. He felt his nostrils twitch from the acrid smell of burnt rubber and turned to see what was going on. What he saw took him by surprise. Several police cars stopped, some having come to a halt after almost spinning out of control, making a mess of traffic. Within moments, heavily armed police officers jumped from their cars and formed a phalanx surrounding the area immediate around Joe. Most of the people stood in shocked silence, while a few of the more brazen attempted to push passed the police. Joe joined this small group, hoping to break through the line and continue home.[/FONT]

[FONT=&quot]The police, clad in ominous looking bulletproof vests and helmets, stared menacingly at the pedestrians as if they were all criminals. The officers held fearsome sub-machine guns against their chests, triggering Joe’s fear that some kind of terrorist attack was imminent. Like mannequins in a store window, most of the crowd stood frozen in place, staring in horror. Joe overheard a few murmured speculations regarding the police activity. They were interrupted by a large black SUV that swerved between the police cars and came to a stop with its front wheels well onto the sidewalk. Two black suited men, Joe guessed represented some government agency, jumped out and walked straight to where he stood.[/FONT]

[FONT=&quot]“Mister Rebman?” The first man said unceremoniously.[/FONT]

[FONT=&quot]Joe looked from one to the other. How the hell do these guys know who I am? And more important – what do they want with me? Not ready to identify himself, he returned the blank stares of the two agents. Clearly, they had his description. His lack of response did little to deter them. One of the men opened the rear door of the SUV and motioned for Joe to step forward. He could almost feel the stares of his fellow pedestrians, eager to get a glimpse of what was going on. Reluctantly, Joe walked over to the open door and peered inside.[/FONT]
[FONT=&quot]
The dome light suddenly came on revealing a lone passenger on the back seat. Leaning further in, Joe saw a balding head, horned rimmed eyeglasses and a large unlit cigar. The overweight man leaned forward to meet Joe’s gaze. His smiling face looked up at Joe as if he expected to be recognized. Joe refused to allow his lips to form a smile as he returned the man’s stare. A moment later, Joe shook his head. He knew the face and, after a moment, connected it to a name and then to the person.[/FONT]

[FONT=&quot]“Norman?”[/FONT]

[FONT=&quot]“Ah, you remember me,” Norman chuckled around his cigar.
[/FONT]
[FONT=&quot]“What’s it been, about forty years? You haven’t changed much,” Joe responded, ignoring the circumstances of the meeting.[/FONT]

[FONT=&quot]“Well, a few more pounds, and like you, a lot less hair. But yes, it’s been just about forty years. Why don’t you get in?”[/FONT]
[FONT=&quot]
Joe stared back at Norman, not prepared to get into the car no matter what was going on. [/FONT]
[FONT=&quot]
[/FONT][FONT=&quot]“What’s this all about?” Joe demanded in a low voice, aware of several tourists moving closer.[/FONT]

[FONT=&quot]“Well, we have a situation,” Norman began slowly. “Do you recognize the term ‘wild fire’?” He finished in a just audible whisper.[/FONT]

[FONT=&quot]“You must remember I’m a Science Fiction buff. It’s a term used in an old Science Fiction movie to denote some kind of alien encounter. So yes, I know what it means, but you can’t be serious. What kind of game is this and what the hell does it have to do with me?”[/FONT]

[FONT=&quot]“Oh, it’s not a game, I’m very serious. We have ah … ah craft not from earth.”[/FONT]

[FONT=&quot]Joe felt his jaw go slack. A craft not from earth – ridiculous! “Even if it’s true, what could it possibly have to do with me?” Joe repeated.[/FONT]
 

IDGS

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Probably belongs in SYW, but saving that:

I'm of the opinion that every word you spend getting to the hook is another moment a potential reader may decide your book is boring when flipping through at the bookstore, and hence a potential lost reader.

Get to the action in the first sentence, if you can.

Good luck!
 

ccarver30

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Yeah, this should go in the Share Your Work forum but I was instantly confused so I stopped reading.

[FONT="]Joe stayed near the curb along 57th Street. He always walked to the right as a matter of courtesy...[/FONT]

If he is to the right, how is he near the curb? If he is on the sidewalk, he is not near the curb if he is to the right. There is no way someone is jogging IN the street in NYC. Is there a path near the road and he is on that? I do not know the geography of CP and got instantly confused.

Ok, I went back and read the first paragraph. You need to start with him almost running in to a tourist not knowing the unwritten rule. Put all of these seemingly random thoughts in to one action. You can convey all of these things in 2 sentences instead of a paragraph.
 

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I love the explanation that you start with "A person in a place, with a problem." (If someone knows who that's attributed to, do share.)

That would be me, from 2003.

I wouldn't be at all surprised if someone else said it earlier (the alliteration, plus the facts that it's both true and obvious), but I wasn't consciously quoting anyone.
 

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"The noun verb" is usually a good way.

By looking at actual published novels, you'll find exceptions.

As far as a "hook" goes, the best of all possible "hooks" is a good story, right out of the gate. Write your story. Worry about details of the beginning later. Beginnings can be a bitch, and if you obsess over getting the beginning exactly right, as the first thing, you are guaranteed to have trouble.

caw
 

Devil Ledbetter

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That would be me, from 2003.

I wouldn't be at all surprised if someone else said it earlier (the alliteration, plus the facts that it's both true and obvious), but I wasn't consciously quoting anyone.
Well it really stuck with me. :D It's the first thing I think of when that blank white screen is staring me down.

I hope my interpretation works.
 

iwannabepublished

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Yeah, this should go in the Share Your Work forum but I was instantly confused so I stopped reading.



If he is to the right, how is he near the curb? If he is on the sidewalk, he is not near the curb if he is to the right. There is no way someone is jogging IN the street in NYC. Is there a path near the road and he is on that? I do not know the geography of CP and got instantly confused.

Ok, I went back and read the first paragraph. You need to start with him almost running in to a tourist not knowing the unwritten rule. Put all of these seemingly random thoughts in to one action. You can convey all of these things in 2 sentences instead of a paragraph.

Thanks for taking a second look. I will condense and get to the the last lines of what I posted more quickly.
 

Hamilton

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You can have pre-existing conflict. That is, conflict before the major plot event comes in and gets the 'real' story going. So don't feel pressured to put everything righ ton the firts page. Just something interesting enough for people to keep going.

blacbird's probably right that worrying over how good the beginning is isn't productive when you're just starting out. It's one of those parts that can be rewritten without throwing the entire story into confusion.
 

seun

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Start with someone interesting doing something interesting.

And make sure they're naked.
 

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"It was a dark and stormy night when, suddenly, a shot rang out."

Seriously, a novel is a story. Start at the beginning of the story. Finish at the end. It really is that easy.

Finding the beginning often takes new writers a few thousand words... :)

Jeff
 

acockey

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Definately start with action involving your MC... I find a good beheading works well.. but all kidding aside, when in doubt start with action
 
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