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This week: Sensational Opening Lines Edited by: NickiD89  
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| Like many of you, I've considered myself a writer my whole life. But in 2007, I shifted out of hobbyist mode, started writing for an audience, and embarked on the exciting journey towards publication. As I continue on that path and delve ever deeper into the craft, I feed an insatiable appetite for creative writing theory. I seek out how-to books and workshop experiences to augment and amplify whatever talent I possess. For those of you like me, here's a little theory to appease your hunger. |
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Sensational First Lines
One of my favorite things to do in Barnes and Noble is go down a shelf row, pulling one book at a time and reading its first line. Sometimes the whole first paragraph is the hook, but I give snaps to authors who can grab my attention right out of the start block. So what is it about an opening line that makes it sensational?
For me, the best first lines have shock appeal. It’s an art form, really, because it’s so easy to do it wrong. The line must astonish rather than revolt, and possess a certain subtlety that draws readers to it instead of repelling them from it. Short, smart lines often work well.
An exceptional opening line sets the tone for the whole book. The mood descends upon you, envelopes you in its possibilities, casts its spell on you. The meaning of the first line goes beyond that of its subject and predicate; it tells you something about the entire work. And it insists you read on.
I was re-reading the first lines of books I own. Five favorite first lines from them are:
 “When all is said and done, killing my mother came easily.” -- The Almost Moon, by Alice Sebold.
 “It was a queer, sultry summer, the summer they electrocuted the Rosenbergs, and I didn’t know what I was doing in New York.” -- The Bell Jar, by Sylvia Plath.
 “It was not easy to cut through a human head with a hacksaw.” -- Travels, by Michael Crichton.
 “Even Grade walked past the spot on the bridge where Canaan caught the bottle with his head and saw the blood mark was still there, but just barely.” -- Mother of Pearl, by Melinda Haynes
 “On the morning of her ninth birthday, the day after Madame François Derbanne slapped her, Suzette peed on the rosebushes.” -- Cane River, by Lalita Tademy.
Here is one writer/blogger's list of literature's ten most outrageous first lines. It's even more fun to read the comments below it, especially by those debating Orwell's meaning when he used "a clock striking thirteen o'clock" in the first line of 1984:
http://www.alternativereel.com/includes/top-ten/display_review.php?id=00117
Question For Next Time: Do you have a favorite first line? Or what about a favorite book with a terrible first line? (Think Bulwer-Lytton's "It was a dark and stormy night.") What's your criteria for a sensational opening line?
Thanks for reading!
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|  | The Room (13+)
Sometimes letting go is the only thing you can do.
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Question For Next Time: Do you have a favorite first line? Or what about a favorite book with a terrible first line? (Think Bulwer-Lytton's "It was a dark and stormy night.") What's your criteria for a sensational opening line?
Last Month's Question: As a reader, do you prefer it when the author describes how the story ends, or do you like it better when you are able to conclude the ending by the author's closing descriptions and/or character dialogue? Here's what readers said:
Jeff  -- Awesome NL this week, Nicki! As hard as it may be, finding an ending that avoids these eight pitfalls is a necessity!
Thanks, Jeff!!
Quick-Quill  -- I prefer the characters to end the story. I don't mind a narration of the wedding and all lived happy or she got in the car and didn't look in the rearview mirror. They are all ok with me as long as the flapping ribbons of plot have been gathered, tied again and left the MC holding on to them tightly.
I'm with you!
BIG BAD WOLF is Howling  -- (Submitted Item: "Redwall Interactive" ) -- Sometimes you have to tell it yourself.
So you're saying that's how you prefer the author handle the ending??
Turkey DrumStik  -- When it comes to endings, I actually have to disagree with the point about making the reader decide what happened. Across various storytelling formats (movies, fan fiction, original writing), I've encountered a number of ambiguous endings. I once read a story where a therapist found a young patient standing on the edge of an abandoned quarry, and the last sentence read, "He held onto Daria for a long time." Did he prevent her from jumping, or did he end up tumbling into the quarry with her? I love debating that ending and the fact that there is some ambiguity there. The same goes for the movie Children of Men. The very last shot is the boat approaching where Kee and her baby are bobbing in the water after fleeing Bexhill to reach the Human Project. Since our last image (before the title card) is of the boat, we can't be sure that they actually saw her and knew it was her. And then there is In the Mood for Love where the main character sees his former significant other with a child that could be his. That's never revealed. My point is I think ambiguous endings can be more satisfying. Either that or I've read too many pieces by movie critics and have subconsciously decided that these jaded men and women are my audience.
Great examples of ambiguous endings done well, endings that make audience members ponder and discuss the story long after the last page or closing credits. Debating an ambiguous ending with friends is always fun. My friends and I had a ball exploring the possible story threads beyond the final scene in Unfaithful, where we're left in the car with Diane Lane and Richard Gere, at a red light in front of the police station. When the light turned green, did they pull into the station and turn Gere's character in for killing Lane's character's lover, or did they drive straight out of town together, taking their secret with them? But I have to say, I would really, really have liked the writers and directors to tell me what actually happened! Thanks for the thoughtful comment, Elisa!
blunderbuss -- Thank you for the newsletter, Nicki. I think that's a great summary about endings to stories. Sometimes, with a really good writer, the ending is left up to the reader and, when they are exceptionally good, I can go on thinking about it for ages! But on the whole, I want the writer to come down one way or the other and tie things up.
You summed up my feelings too! Thanks, Diane!
A*Monaing*Faith  -- "Make the Reader Decide What Happened" That can be an interesting balance to play with. There have been many books, movies, stories that leave me wanting more and with which my imagination has done all sorts of things with. I think I prefer a 'definitive' ending, especially if there won't be any following book. My imagination will never stop wondering but at least the big questions can be answered.
That's it, exactly! I love pondering the various possible endings, but I want to know which one the author intended.
And in response to archived newsletter Stop Yelling at Me! :
ingenuity66 -- This poem should be sent to quite a few of my past bosses (which I never got over about due to how crude of a 'boss' they were): "Stop yelling at me!!!"
These are the types of people (those who are either physically abusive, verbally abusive) who prove that their own level of mental maturity and intelligence starts and ends with the number 0!. (LOL!)
Thanks for reading and commenting!
See you all back here on October 2, 2013. Until then, have a great month!
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Drama: September 04, 2013 Issue [#5870]
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