In The Beginning - Page 2
© Kim Kay
Character Portrait: You can begin with a brief description of a character immediately before he or she experiences a life-changing event. The description can either serve as a contrast with after the event, or it can give clues about the event. For example, "Marianne fingered the lump in her breast for the hundredth time. Only one hour remained until she met with her doctor to learn the results of the biopsy." The benefit of beginning this is way is the reader will meet the main character immediately and hopefully, begin to care about him or her. The drawback is that it will take time before the action can begin. If handled well, however, the advantages outweigh the disadvantages.
Character's Thoughts: This puts the reader into the character's mind, creating an immediate identification with that character. That can be a real advantage, particularly in a character driven story or a psychological novel. If the thoughts are too abstract or benign, they may not provide a strong enough hook. If they are unusual or interesting, however, it can work well.
Need or Motive: This sets out the main character's goal from the very beginning. The reader knows what he or she needs and if the goal seems desirable or important, may begin rooting for the character from the start. Similarly, you can begin with what the character does not want, setting the stage for the main character's primary conflict or obstacle.
Prediction: A prediction, either expressed in narrative or dialogue, is a good way to foreshadow what is to come. It can be somewhat difficult as you have to be explicit enough to entice the reader but not so much as to give away the ending and ruin the suspense. For example, "Ryan hung up the phone and looked at the clock. Two a.m. The Central Park Slayer had struck again. It was going to be a long night."
Question: With a question, the reader is drawn into the novel in order to seek out the answer. This can be asked also either in narrative or dialogue. One of the best examples of this method is Erich Segal's Love Story: "What can you say about a twenty five year old girl who died?"
Scene: A scene is a combination of action and description. According to Novakovich, "...unlike in an opening with a common hook, [when you begin with a scene] nothing extreme has happened, so the action can escalate, not decelerate."
