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The All Important Beginning (Part 2 of 2)

© Laura Elvin

In case you haven't noticed, my articles swing back and forth from practical, hands-on advise for the submission process to article on techniques of writing.

I think it's important to cover many facets of the process. We don't want to spend years trying to master the fine art of writing, yet never DO anything with our works other than let them collect dust. But we also don't want to be submitting dreck to publishers for the rest of our lives simply because we never focused on improving our writing skills.

So following along the lines of the last article, I'd like to continue discussing beginnings (just because they're so darn important in trying to sell a short story). And then with the next one, we'll get back to ideas, tips, and procedures for submitting and trying to get published

Today's article is basically food for thought with some bits of insight I've collected from others about the all important beginning: In each story, at the outset, the reader should become aware that something is amiss, that a threat is hanging over the characters, that danger, in some form, is waiting at the edge of the horizon. (William F. Nolan)

A common fault of inexperienced writers is to load the beginning of the story with boring and meaningless biographical detail about characters and turgid narrative description, believing that it is important to first "set the scene" rather than immediately draw the readers into the story. A character's background is meaningless unless it has a direct bearing on the story. If the background information is important, find a way to dramatize it. (Peter Rubie)

Because a short story is so brief, the beginning, or exposition, must accomplish four goals within the first few paragraphs: -- It must immediately catch the reader's attention. -- It must draw the reader into your character's world. -- It must establish the tone. -- It must begin the conflict. (Sharon Sorenson)

...the lead must capture the reader immediately and force him to keep reading. It must cajole him with freshness or novelty or paradox, or with humor, or with surprise, or with an unusual idea, or an interesting fact, or a question. Anything will do as long as it nudges his curiosity and tugs at his sleeve. (William Zinsser)

...what is it I, the writer, and my target, the reader, must become aware of together in the opening paragraph, the first scene? A knowledge of time, a knowledge of place, and that feeling of movement. (Jack Webb)