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Viewing: Blog Posts Tagged with: first chapters, Most Recent at Top [Help]
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1. 15 THINGS THAT WILL KEEP ME FROM BUYING YOUR BOOK



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Now I’m not saying that doing these things are automatically wrong, but why hurt your chances of getting a book sale or scaring off potential readers? 

These are all first chapter blunders that will probably turn-off readers right away. 

1) The opener has long blocks of straight narration and it is all in italics.

Reading italics is hard on the eyes. Short sections are fine, but pages and pages are difficult to read in my opinion. If I open the “Look Inside” feature of your book on Amazon and see text in thick blocks without much white space in italics, then I’m most likely not going to buy your book. I’m going to buy someone else’s novel.

Maybe you figured since it was a flashback that the scene needs to be in italics. It doesn’t. Maybe it is a prologue, so you wanted to make that clear to the reader. Don’t put it in italics. Maybe you thought it would look cool if the font was all in italics. It doesn’t.

I’ve worked with some amazing professional editors, like the talented Rochelle French, over the years and it helped me learn and grow as a writer. Rochelle gave me this same advice once. Now I’m sharing it with you.

2) Your opener reads like a prologue.

While a first chapter should have some suspense, foreshadowing, and tension, the problem is that why should the reader care about these characters if they already know the bad thing that’s going to happen to them? Readers are just meeting your characters for the first time and they haven’t yet formed a connection with them. So they might not care if your hero will be abducted by aliens , or he is going to lose his job, or he is about to be hit by a car.

It is true that the opener should start with some tension and action, but first I would offer the reader a glimpse of the characters “normal world” before you have them run into a burning building. That way, the reader cares if they make it out alive.

Don’t cheat your readers out of solving the mystery or telling them all the bad stuff that’s going to happen to the character(s) in the opener. To me, that’s like a huge SPOILER ALERT. Why should I spend my time and money on your book if I already know that the character will die or something else terrible is going to happen?

My advice is to “hint” at all the bad coming your character’s way. BUT please don’t tell me about it. Don’t dump it out in the opener. Leave a trail of mysterious breadcrumbs for me to follow. 

3) There are no excerpts on your blog, or, website, or wattpad, or on Amazon.

If I discover a new writer, I want to read a sample of their work. Writers, please, do yourself a favor and post them EVERYWHERE. Give readers a glimpse of your awesome story and reel them in. Then make sure the purchase links are in plain sight, because if your excerpt is awesome, I don’t want to waste my time trying to figure out where to buy it. I want to start reading. Now.

Make certain your excerpt is either the opener (you don’t need to post the entire first chapter) or some super intriguing scene that will immediately grab the reader’s interest. And make it a cliffhanger. Yes, a huge, exciting, I-gotta-know-what-happens-next cliffhanger. Get them to buy the book.

4) All backstory. Nothing happens, but a long info-dump of setup aka backstory.

 The main rule of first chapter writing, is do not include backstory!

Why it is not needed…

Because I don’t know your characters. I haven’t meet them yet, so I don’t care that he/she lived on a farm and had a broken arm at age seven. I could care less if they’re an ex-cop who’s been divorced three times with five kids to support. 
All I care about is what is happening NOW. Not what happened two years ago.

In order to get readers to care about the character and his/her backstory is to get them interested in what’s actually happening in the story now. Our job as writers is to convince readers that this story is worthy of their time and money. 

One way to do that is to pretend that the reader already knows as much about these characters as you do, then indicate some important event and fascinating occurrence happened previously. 

You’ll make readers naturally curious to know how your characters ended up in this particular situation with whatever specific burden of emotional baggage they’re lugging around. 

You have an entire novel to include snippets of backstory into your character’s past. There is a time and place for backstory. The first chapter is not the time, nor the place. 

5) No “Voice” in the opener.

 Even if nothing much is really happening in your opener, if the “voice” is well-written, then I’ll keep reading. 

Just as everyone has their own characteristic way of speaking or expressing themselves, a writer’s characters should also have a distinctive “voice” that clearly comes across in the narrative.

Interesting characters with interesting “voices” can draw a reader into a story without any big event taking place. Their unique view of the world can set them apart from other books in your genre.

Besides all the other key ingredients a writer needs to have in their opener, “voice” is among the most vital. Spend some time getting to know your characters. Fill out character interviews and/or profiles to gain insight into their personalities, then let that shine through in your narrative.

6) No hint of conflict or “hook” moment within the opening scene.

 In the first chapter, I like a hint at the dilemma. I want some foreshadowing on the problems that the main character is going to have to face throughout the storyline. I want to know that there are going to be obstacles in his/her way from the get-go.

That is a major mistake that a lot of new writers make. They fall in love with their characters and coddle them. Please don’t. You can love ’em to pieces, but make their lives VERY difficult. Everybody has ups and downs. Good days and bad ones. 

Add some conflict and tension in your first chapter. Then hint at more bad things to come for this character. 

This leads into the next thing your opener needs…

7) A huge turn-off for me is a character without a goal. 

The “passive character” to me is one without any motivation of goals. These types just drift through scenes without any real connection to events or happenings. 

The “passive character” is one that does nothing to solve the mystery or stop the killer. They observe the story rather than experience it, which creates narrative distance. And a writer NEVER wants that to happen.

The easiest fix is to give your main character(s) goals throughout the narrative to try to obtain. In the first chapter, have your character either mention a goal or actually show he/she trying to achieve one. The main characters need a clear goal. But again, don't make it too easy.

For example, your character is thirsty (motivation). She/he needs a glass of water (goal), so they go into the kitchen to get a drink. But when they turn on the facet, no water comes out (conflict). Now they have a dilemma and a problem to solve. It turns out that when she/he turns on the TV that the Earth’s water supply has mysteriously vanished overnight (foreshadowing). End chapter.

The reader is intrigued now. They’ll keep reading to find out the “whys” and “hows” of this weirdness, and most importantly, how this will affect the character’s own life. 

8) First impressions really do matter. 

Ever been on a blind date, or met someone in person for the first time? Your immediate reaction to someone has to do with a lot of different factors. Your instant like or dislike of them can be judgy, but we all do it unconsciously. 

The first time I meet your characters, I need to either like them or empathize with them right away. (This also ties in closely with number 5: “voice.”)

If your character is uninteresting or blandly written, I might not keep reading. If he’s a major jerk who kicks puppies and pushes old ladies into the street, I might not keep reading. (Although, I may wonder why they’re such a douchebag.)

And avoid making him/her too perfect (Mary-Sue types) or without any real flaws. Real people have character flaws, and bad or annoying habits. Everyone has some emotional baggage. 

Try to make your character seem as “real” as possible. Give the reader a peek at their interests or hobbies or personality tics. Give them phobias or quirks from the start. Create interesting characters that will attract your potential readership.

For example, your character suffers from obsessive-compulsive disorder that alienates nearly everyone with whom he interacts with on a daily basis. He even has such strange quirks that he avoids stepping on sidewalk cracks while walking through town due to a superstition of bad luck. Yet his OCD gets overlooked once he befriends a small dog. (Yeah, this was borrowed from a movie.)

Unique or "real-to-life" characters and “voice” will always grab a reader and yank them into your story-world from page one.

9) First line is weak and boring.

The first sentence matters. I don’t care what other editors or writers say. Deny it all you want, but an amazing first line is like a promise of good things to come.

For me personally, if the first sentence (and paragraph) has a great "hook," I will buy the book 9 out of 10 times. 

I always read Amazon's "Look Inside" feature to inspect the first sentence and page of any novel before I buy it. I purchase 99% of my books from Amazon, but if it doesn’t engage me within first page, then I won't buy it. 

Rewrite that first sentence like a “pitch” that will make your book the next NY Times bestseller. Make it clever. Make it emotionally-driven. Make it powerful enough that reader has no choice but to keep reading.

10) Nothing happens in the first five pages. No action.

Engaging the reader’s curiosity is the number one thing that the first chapter MUST do above all else. 

An interesting event must grasp the reader’s attention from page one. This can be an extraordinary location, a distinctive “voice,” a shocking incident, lots of interesting dialogue, or a hint of conflict. The point is to seize the reader’s attention quickly. You only have one or two pages before the reader tosses your book aside and buys the next one.

There's no need for heart-pounding action. But do make certain that the characters don’t give anything away yet. Have them doing SOMETHING. Add some action and conflict from page one.

For example, the character is about to take their driving test (interesting event). He/she is nervous because without a license (motivation), they can’t get a job delivering pizzas. They desperately need this second job to help pay for medication (goal) that their sickly child needs to live.

In the example, the character is doing something—taking a driver’s test. So it gives the reader action, along with the other necessary ingredients, like a goal and motivation, and even potential conflict if they fail this test.

11) No dialogue. Only introspection.

Huge sections of introspection or description are boring. Sure, internal-monologues give insight into characterization and your character’s thought-process, but without action and dialogue thrown into the mix, it’s a total snooze-fest. 

When I open a book and see nothing but long chunks of text without much “white space,” I already know that nothing is happening. It’s either all backstory or introspection. 

Your first chapter doesn’t have to be exciting, or even have a thrilling car chase, but have you’re characters doing something, and get them talking. Fast. 

Personally, I love dialogue. The more you have in your book, the more insight I’ll gain about your lovely characters. The more engaged I’ll become. Dialogue moves a plot forward immediately and creates lots of white space. 

While the characters are yakking, have them doing something so they’re not just “talking heads” floating around in space. Even if they’re just walking their dog while chatting with their BFF over what a slut Amy Waltburg is for stealing her boyfriend, you have an interesting opener.
Make the dialogue short and snappy. Don’t let characters ramble on or give long speeches. Have them talk about things significant to the plot, or have it reveal characterization. Leave out the small talk and “As you know…” snippets. Have the characters discuss a problem or hint at one in the coming chapters.

This will also help with any pacing issues.

12) There is no inciting incident that rocks the main character's world.

 Give the reader an enigma to unravel. The plot, the events unfolding within the first chapter, should give the reader an immediate mystery to solve, something to feel anxious about, something to flip the page. 

The “incident” doesn’t need to be earth-shattering. But include something that either hints at a disastrous event to come, or have something actually happen that upsets the character’s world.

It could be as simple as a phone ringing in the middle of the night, the character gets mugged, or he/she stubbles across a lost child and offers to help them find their mommy.

Now, you could save the “life-changing event” until chapter two or three; however, you still need something that happens to indicate that this character’s nice and quiet life is about to get turned upside down and flipped inside out.

Which brings me to my next point…



13) No unanswered questions.

 Each chapter (scene) should either create unanswered questions within the reader’s mind or have a whole new set of questions. It’s an integral human psychological need to want to find out the why in a story. Unanswered questions do that for you.

For example, your character is in the Witness Protection Program, but the writer doesn’t include “why” this character is in it within the first chapter. That automatically creates questions in the reader. (That’s a good reason to leave out the backstory, too.)

Did they witness a crime? Testify against a drug lord? Rat out their bank robbing buddies as a plea bargain? 

Or maybe drop some titillating hints at some dark and sordid past. For example, your character doesn’t want anyone to know whythey moved to this small town, or why he/she only leave the house after sundown.

Make those questions juicy. Mesmerizing. Attention-grabbing. In other words, make the reader feel like they just HAVE to know what happens next, or why the character acts a certain way, or what circumstances lead them to having all this crazy emotional baggage, or what secret they're trying so desperately to keep hidden. 

14) The first chapter is 30 pages or longer. Or way too short.

 Chapter length is a debatable among most writers. I think genre has a big impact on chapter length. Personally, I like them shorter because it feels as though the story moves at a faster pace. 

A good rule is to keep each chapter under 10 to 15 double-spaced pages. Keep your first chapter short. Keep it engaging. Make it a teaser. Don’t give any key plot points away just yet. Create those must-know unanswered questions.

You need a find a balance. Too short and the reader doesn’t have time to care about your characters enough to keep reading. Too long and it obviously needs trimming.

Start with your character doing something. Add in some spicy dialogue. Hint at some foreshadowing. Include some characterization. Make sure the scene has some conflict or tension. Have lots of answered questions. Then leave it on a page-turning cliffhanger. 

15) No mention of where or when this story takes place.

If I read your opener and it doesn’t give me any idea what year it is or the location, I won’t connect with the setting or circumstances. All scenes need time-makers.

Just a short sentence or two is all you need. 

Some genres, like science fiction and high-fantasy, needs lots of world-building to set the scene. Just try not to go overboard with the description. The best way to include the setting and location is to have your characters interact with it and incorporate a few of the five senses.

For example:
Holly pushed open the solid oak door and stepped into her childhood bedroom. It had been years since she’d been back to her hometown of Livermore. She’d missed this warm California weather since she had moved to Seattle in 2010. 

Light blue striped wallpaper with posters of rock bands covered the walls. A plush azure rug and two overstuffed armchairs flanked a dank fireplace. A queen-sized bed, draped with a sheer curtain dominated the room. The scent of lilacs drifted in the air. She moved further into the space and heaved a sigh. 

Out the single window, the melancholy song of a Blue Jay filled her ears. Holly leaned a hip against the bulky dresser. Her hand lightly trailed the dust coating its smooth surface and she wiped her fingers off on her jeans. Tears spilled from her big brown eyes. Her heart ached with guilt. This was the last place she’d seen her father, before she’d stormed out the front door twenty years ago.

***

Explanations of events are much more dramatic if your characters are directly involved and experiencing them along with the reader. Readers may skim long pages of description; however, if it is slipped in as part of the action, then it is absorbed by the reader almost without being noticed, and enhances the scene. Always try to mix description with dialogue, actions, and the reactions of your characters. Try to include the year, place, and five senses in your opener. 

***
What about an opener will turn you off as a reader?

What grabs your attention about a story right away?

What other mistakes do you feel writers make in their first chapters?

Let me know your thoughts in the comments!

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2. The Most Important Sentence in Your Fiction Novel - #WriteTip

So, which sentence is the most important in a novel? Well, I bet most writers would say that it's the first line, and I happen to agree. 

 
I was at a bookstore recently, and when I picked up a book it was because of the "eye-catching" cover, and then I skimmed the back jacket copy. Next, I flipped to the front page. The first line was awesome and so was the first paragraph, so I bought the book. While we were there, my daughter and I had fun opening up various novels and reading the first sentence out loud. 

For me personally, if the first page has a great "hook" I will buy the book 9 out of 10 times. And I alway, always read Amazon's "Look Inside" feature to inspect the first  sentence and page of any novel before I buy it. Or I'll search online for an excerpt to read. I purchase 99% of my books from Amazon, but I if I can't read the first few pages, I won't buy it. And if the first sentence and page don't "hook" me, I won't buy.

I spend more time revising the first sentence than any other line in my manuscripts. I like my opening lines to have a compelling "hook" that should naturally make the reader want to know more. They all have to "pop" in some way or create curiosity.

Writing a great beginning can be complicated and frustrating. Not to mention all the "so-called" rules a writer must follow. First, you'll need to "hook" the reader from page one and reel them into your narrative. Second, you must have an original and compelling opening sentence. And third, you must lure your reader into the storyline so quickly and cleverly that they are already on page twenty by the time before they realize it. 

What will compel a reader to put down your book after reading the first page?

Not opening with a strong enough first sentence or that much-needed “hook” to reel the reader into your world within the first two to three paragraphs. The first page is essential and each should be meticulously constructed to entice the reader into needing to find out more. Readers may forgive a less than stellar first sentence; however, the first paragraph should lure them into the narrative. Don’t bore the reader with too many tedious details, long paragraphs of inner-monologue, pages of backstory, or lengthy description.

Here are some examples of enticing first sentences that will “hook” the reader: 

Example 1
My uncle was murdered on Saturday, and I inherited his so-called haunted house.

Example 2
The shrill sound of the phone ringing in the middle of the night is never good sign.

Example 3
It figured that the first thing Marilyn won in her life was a prize she did not even want.

Example 4
As a groundskeeper of Pleasant Hills Cemetery, I often witness some very peculiar things.

Do any of these examples spark your own creative muse?

In each case, something is happening now, and the reader is compelled to keep reading to find out what’s going on and what’s going to happen next. The information with which many beginner writers tend to fill their opening pages (descriptions of place, character or, worst of all, too much backstory) can wait until the reader is firmly "hooked."

Remember, the opener needs to be fresh, original, with a great hook in the first line. Even the first paragraph. Even more than that, the first page. Each one is extremely critical and should be crafted to bait the reader into needing to find out more.

Post the first sentence of your novel or current WIP in the comments and get some feedback on it, or just show off your amazing writing skills! And/or comment with the first line from your favorite book.

I will go first. Here are the first lines to all of my novels:

BEAUTIFULLY BROKEN (book 1):
For as long as I could remember, I'd heard whispers in the shadows.

SHATTERED SILENCE (book 2):
I had always been a magnet for the strange and unusual--and socially disastrous--at my birthday parties.

MOONLIGHT MAYHEM (book 3):
My body relaxed for the first time in weeks without the fear of demon blood infecting me with Darkness.

RECKLESS REVENGE (book 4):
The worst part about being a demon hunter was the waiting.
 
IMMORTAL ECLIPSE (adult stand-alone):

At the next ominous thump, I finger the handle of the Glock 19 under my pillow.

LOST IN STARLIGHT (Volume One):
I don't usually stalk boys, but if I hadn't been spying on Hayden Lancaster, I never would've seen the mind-blowing fork-bending incident.

UNDER SUNLESS SKIES (Volume 2):
My dad just teleported into our living room.

Tag you're it!

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3. 5 Ways to Write a Kickbutt First Chapter!

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Writing a great beginning can be complicated and frustrating. Not to mention all the “so-called” rules a writer must follow. First, you’ll need to “hook” the reader from page one and reel them into your narrative. Second, you must have an original and compelling opening sentence. And third, you must lure your reader into the storyline so quickly and cleverly that they are already on page twenty by the time before they realize it.
Most writing advice will state that a writer should dump their character(s) into the midst of some horrible dilemma.
Whether you want your manuscript to stay clear of the slush pile and gain an agent’s interest or entice a reader to flip the page of your self-published novel, as the writer your job is to achieve all of this within the first page.
You’re probably wondering how to get readers to instantly connect with your characters if they don’t know more about their backstory or history.
Don’t worry about that in the first chapter and learn to trust your readers. If you’ve began your novel at a crucial point in the character(s) lives where they’re caught in some type of conflict or danger or the inciting incident, then the reader is going to connect with them right away and be eager to find out what happens next. The reader will have a natural curiosity in finding out how the characters resolve their differences, stop the antihero, tackle their fears, or overcome adversity.
Now, take an impartial look at your first scene. How many questions are left unanswered? If there are none or very few, then look at your first chapter and see where the real questions, the real excitement starts, and then put that at the opening of your manuscript.

The goal of the first chapter is to create a “tension rope” tight enough to pull the reader into the second, third, and fourth chapters, and on to the end. Your openers in each chapter are very important to keep your reader turning the pages to find out what’s going to happen next.

As a freelance editor, I consider it a privilege to edit the work of other aspiring writers. I know each one of them has spent countless hours creating their stories and I love helping them bring out their voice, enrich their prose, and take their writing to the next level. That said, the first chapter is so vital that I work closely with my clients to craft a riveting first paragraph

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For a first chapter to be successful, it should do at least one of the following:
* Appeal to the readers’ emotions
* Include unanswered questions
* Hint that something is about to change
* Reveal the main character(s) goal
* Create immediate some type of suspense or dilemma

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4. 6 Reasons Why You Lose a Reader or Why they Put a Book Down - #WriteTip #GetPublished #AmWriting




Today’s post is form the perspective of a reader, and not a writer or editor. For the first time in my life, I have not finished more books than I’ve read over the last twelve months. But I’m not the type of reader that feels compelled to finish a book after I’ve started it, and I never feel guilty for not finishing a book. 

Why waste my time on something that I’m not enjoying?

I could be developing ADD. I don’t usually have this issue. Normally, I read two to three books a month if not more. 

Recently, I’ve been feeling somewhat burned out on the Urban Fantasy and Paranormal Romance genres, so I began reading more contemporary novels in both Young Adult and New Adult. I loved “Beautiful Disaster” by Jaimie McGuire and “Easy” by Tammara Webber. The only paranormal type books that I’m still loving are the Arcane Chronicles by Kresley Cole (this series is insanely good!) and C.C. Hunter’s Shadow Falls series.

Why did I DNF so many novels? Well, I personally felt like some of these wonderful stories were lacking in few areas. By lacking, I mean, not holding my interest. To be fair, most of these books were well-written by talented writers, but by page fifty or one hundred, I no longer cared how the story ended or about the characters. (BTW, the vast majority of the books I did DNF were NA novels.) 

So I thought I’d share my views on what might turn some readers off. Maybe you’ve been querying literary agents and you've been repeatedly rejected, or you’re an indie or self-published author who is getting numerous bad reviews, or sales just aren’t taking off like you’d hoped on your newest release. Or perhaps you’re working on your current WIP and your CPs are telling you that the story is dragging in some places or the pacing is too slow. Whatever the reason, I hope these six reasons help to improve your awesome narrative.

First let me say this…

I get it. I really do. Your book is like your baby, and you love it and you’ve poured your sweat and blood and tears into it. But sometimes you need a take a step back and look at the writing from a reader’s perspective…

Reasons why a reader doesn't finish a book.
Reason 1:

The first half of the novel is mostly filled with introspection or backstory. Which means: pages upon pages of internal yakking without any action or dialogue. 

Inner-monologue or internal exposition is one of the essential ingredients used to create a comprehensive story. Unfortunately, it’s all too often one of the most misused elements in storytelling. Since internal-monologue is slower and can be boring for the reader, find ways to bring it to life through Deep POV, action, and/or dialogue. Don’t let your character’s mental babble (long blocks of introspection) go on for pages at a time without a break by either dialogue or action. 

Dialogue illustrates characterization quicker than any amount of exposition. If you disrupt the action and dialogue to include colossal chunks of detailed description or introspection, it will remove the reader from the story. These are some of the drawbacks of too much introspection, otherwise known as info-dumps, inner-monologue, internal dialogue, exposition, or author intrusion. 

Yet, if I’m being honest, I have to admit that I’ve written a couple of bad novels. And had them published under a pen name many years ago. But that was long before I sharpened my writing skills and studied the art of fiction writing with a crazed intensity. I read articles on editing and revision, books on the craft, and studied style guides. I love learning new ways to improve my writing, so hopefully you gleam some insight from this post.

Reason 2:

The novel has some intriguing dialogue and action, but between it (or even worse, right in the middle!) the characters have long, bloated paragraphs or pages of internal-monologue. One book that I recently read by a bestselling author had her characters talking, and then suddenly in the middle of the conversation, the main character stopped yakking and had three pages of introspection. Three. Pages. Now picture this in real life, you’re having a conversation with someone and they abruptly stop talking and stare off into space for five to ten minutes. 

Wouldn't you think that was odd?  

When a writer does this, I always wonder what the other character is dong while these wordy internal-monologues are going on, and I find myself skimming over the wordy text to get back to the dialogue.

Too much introspection can hinder the flow of a scene and smack of author intrusion by yanking the reader out of the story. Especially, smack dab in the middle of dialogue. If you feel it is important, then please try to keep the exposition to no more than a few sentences or a very short paragraph. 

Reason 3:

The story starts with a great “hook” and a compelling opener, and then the author pushes pause on the story to insert a flashback of backstory that goes on for pages. These scenes stop the action, can be puzzling to the reader, and prevent them from getting on with the plot, which is generally more attention-grabbing for them. I suggest that writers try to stay in the present moment.

And I recommend never including an info-dump of backstory in your first chapter. And never attempt to dump it in long speeches of dialogue, either. This is also a form of telling rather than showing the reader. And this applies to any flashbacks and memories and thoughts (thoughts = characters pondering stuff). Or having the character ask him/herself a lot of rhetorical questions within the first few pages. This is considered weak writing when a writer uses too many rhetorical questions to drive the narrative forward when that same forward motion could be achieved by just showing the conflict or doubt or confusion through deep POV. 

An info-dump of backstory is one of the worst offenses you can make as a writer in your first two or three chapters. (Hence, the phrase info-dump, because you’re dumping information on the page in long blocks of text.) Introspection and backstory should be elegantly woven into the storyline much later. Don’t ramble on for long paragraphs at a time, or try to force it into becoming dialogue. It’s considered weak writing because it’s jarring for the reader. Often times, info-dumps yank the reader out of the story because it reminds the reader that they’re reading and the author has intruded. A concise paragraph placed throughout the narrative is fine. 

Reason 4:

“Slow writing with a lot of description puts me off very quickly. I like a first chapter that moves quickly and draws me in so I’m immediately hooked.” —Andrea Hurst, Andrea Hurst Literary Management

A few polls taken on goodreads state that the number one reason that readers will put a book down is because it is too slow or they found the plot boring. There is a great post on this here to read after you finish my rant, er, post.

Now, I don’t need heart-pounding action in every scene, but some books have no forward movement. 

A major issue might be as simple as nothing much happens within the first four or five chapters. I’m not saying you have to include car chases or a bloody murder scene, but something DIFFERENT must occur. By this, I mean some event, big or small, must happen that changes the protagonist’s normal world. It could be the loss of a job, they meet a werewolf walking through the park, they accidentally lose the church fund raiser money, their car is stolen, someone dies, they witness "something" they shouldn't hear or see, they find an ominous note left on their doorstep, or anything that upsets the main character's normal world.

Or you have major events unfolding, but your characters are just drifting through scenes without any real involvement or connection to what’s going on. They become omnipresent narrators by telling the reader what is happening to other characters or themselves, but this old-fashioned method only reminds readers that they're reading a story.

Most writing advice will state that a writer should dump their character(s) into the midst of some horrible dilemma. 

Whether you want your manuscript to stay clear of the slush pile and gain an agent’s interest or entice a reader to flip the page of your self-published novel, as the writer your job is to keep the reader interested and turning pages. Period.

You’re probably wondering how to get readers to instantly connect with your characters if they don’t know more about their backstory or history.

Don’t worry about that in the first few chapters, and learn to trust your readers. If you’ve began your novel at a crucial point in the character(s) lives where they’re caught in some type of conflict or danger or the inciting incident, then the reader is going to connect with them right away and be eager to find out what happens next. The reader will have a natural curiosity in finding out how the characters resolve their differences, stop the antihero, tackle their fears, or overcome adversity.

Reason 5:

Readers cannot relate to your character(s) or don't sympathize with them. Most readers need someone to root for in a story. If your main characters come across as too unlikable, you've got a major problem. They can be grumpy people, but give them at least one nice character trait. For example: your main character is a bitter, angry old man who hates everyone and is rude to every person he meets, but he adores his cat. See? He has one nice quality.

Or another reason could be that readers find your characters hard-to-believe or just don’t care about them. Obviously not every character is going to have an outstanding starring role in your manuscript, but the central character (s) and antagonist must be the type of people we’d care about.

Give readers at least one reason to hope the character might get a happy ending or please give them some redeeming qualities.

A short time ago, I read a book about a verbally abusive and physically violent heroine who attacked the love interest with cruel insults, name-calling, and brutal assaults. She was not very likable, and the other main character just put up with her vicious attacks because he claimed he was a gentlemen. I felt so sorry for him! But wondered why he put up with the heroine who was such a douchecanoe. So in a way, he seemed weak to me and unlikeable, too. The only reason I read over half of the book was because the protagonist had a big secret she was hiding, which helped keep my interest but once it was revealed, I stopped reading. It tried to explain her motives for the violent behavior, but to me it felt too shallow.

Reason 6:
Another reason might be that your main character is lacking any goals, wants, or needs. These I feel are essential to any storyline. The character must “want” something. For example a better job, a way out of an abusive marriage, a mystery to solve, a villain to overcome, a fresh start on life, a murder to plot, a curse to break, a way to survive in a war or zombie apocalypse, or even have them crave a late-night snack. 

Give them a “want,” and then pile on a ton of obstacles in their way of achieving this “need.” You don’t have to go big with the problems; even simple ones can be interesting and/or funny. But give your characters some type of internal want that seems unachievable. 

I like reading about characters that have real motives that propel the plot forward. So please give your character's a "goal."

In my current WIP, the heroine's goal (want) is to join a sorority, but there are not enough major obstacles in her way, even while she is trying to survive rush week. It was hard to hear, but three of my CPs said they liked the main character, but felt like nothing much was happening to push the plot forward and the storyline was kind of boring. And they were right. 

The first half of my manuscript needs a major rewrite. I need to redefine my heroine's core "needs" and cut back on the introspection. I guess that is why so many writers say that first and second drafts suck. But with more revision, all writers can change their ugly babies into beauty-pageant cuties!

Anyhoo, I sincerely hope this post inspires you to polish your WIP, or helps to make your revisions less painful. 

I’m sure there are lots of valid reasons for not finishing a book, so please add yours in the comments. 

Why do you put a book down?


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5. 6 Reasons Why You Lose a Reader or Why they Put a Book Down - #WriteTip #GetPublished #AmWriting


Today’s post is form the perspective of a reader, and not a writer or editor. For the first time in my life, I have not finished more books than I’ve read over the last twelve months. But I’m not the type of reader that feels compelled to finish a book after I’ve started it, and I never feel guilty for not finishing a book. 

Why waste my time on something that I’m not enjoying?

I could be developing ADD. I don’t usually have this issue. Normally, I read two to three books a month if not more. 

Recently, I’ve been feeling somewhat burned out on the Urban Fantasy and Paranormal Romance genres, so I began reading more contemporary novels in both Young Adult and New Adult. I loved “Beautiful Disaster” by Jaimie McGuire and “Easy” by Tammara Webber. The only paranormal type books that I’m still loving are the Arcane Chronicles by Kresley Cole (this series is insanely good!) and C.C. Hunter’s Shadow Falls series.

Why did I DNF so many novels? Well, I personally felt like some of these wonderful stories were lacking in few areas. By lacking, I mean, not holding my interest. To be fair, most of these books were well-written by talented writers, but by page fifty or one hundred, I no longer cared how the story ended or about the characters. (BTW, the vast majority of the books I did DNF were NA novels.) 

So I thought I’d share my views on what might turn some readers off. Maybe you’ve been querying literary agents and you've been repeatedly rejected, or you’re an indie or self-published author who is getting numerous bad reviews, or sales just aren’t taking off like you’d hoped on your newest release. Or perhaps you’re working on your current WIP and your CPs are telling you that the story is dragging in some places or the pacing is too slow. Whatever the reason, I hope these six reasons help to improve your awesome narrative.

First let me say this…

I get it. I really do. Your book is like your baby, and you love it and you’ve poured your sweat and blood and tears into it. But sometimes you need a take a step back and look at the writing from a reader’s perspective…

Reasons why a reader doesn't finish a book.
Reason 1:

The first half of the novel is mostly filled with introspection or backstory. Which means: pages upon pages of internal yakking without any action or dialogue. 

Inner-monologue or internal exposition is one of the essential ingredients used to create a comprehensive story. Unfortunately, it’s all too often one of the most misused elements in storytelling. Since internal-monologue is slower and can be boring for the reader, find ways to bring it to life through Deep POV, action, and/or dialogue. Don’t let your character’s mental babble (long blocks of introspection) go on for pages at a time without a break by either dialogue or action. 

Dialogue illustrates characterization quicker than any amount of exposition. If you disrupt the action and dialogue to include colossal chunks of detailed description or introspection, it will remove the reader from the story. These are some of the drawbacks of too much introspection, otherwise known as info-dumps, inner-monologue, internal dialogue, exposition, or author intrusion. 

Yet, if I’m being honest, I have to admit that I’ve written a couple of bad novels. And had them published under a pen name many years ago. But that was long before I sharpened my writing skills and studied the art of fiction writing with a crazed intensity. I read articles on editing and revision, books on the craft, and studied style guides. I love learning new ways to improve my writing, so hopefully you gleam some insight from this post.

Reason 2:

The novel has some intriguing dialogue and action, but between it (or even worse, right in the middle!) the characters have long, bloated paragraphs or pages of internal-monologue. One book that I recently read by a bestselling author had her characters talking, and then suddenly in the middle of the conversation, the main character stopped yakking and had three pages of introspection. Three. Pages. Now picture this in real life, you’re having a conversation with someone and they abruptly stop talking and stare off into space for five to ten minutes. 

Wouldn't you think that was odd?  

When a writer does this, I always wonder what the other character is dong while these wordy internal-monologues are going on, and I find myself skimming over the wordy text to get back to the dialogue.

Too much introspection can hinder the flow of a scene and smack of author intrusion by yanking the reader out of the story. Especially, smack dab in the middle of dialogue. If you feel it is important, then please try to keep the exposition to no more than a few sentences or a very short paragraph. 

Reason 3:

The story starts with a great “hook” and a compelling opener, and then the author pushes pause on the story to insert a flashback of backstory that goes on for pages. These scenes stop the action, can be puzzling to the reader, and prevent them from getting on with the plot, which is generally more attention-grabbing for them. I suggest that writers try to stay in the present moment.

And I recommend never including an info-dump of backstory in your first chapter. And never attempt to dump it in long speeches of dialogue, either. This is also a form of telling rather than showing the reader. And this applies to any flashbacks and memories and thoughts (thoughts = characters pondering stuff). Or having the character ask him/herself a lot of rhetorical questions within the first few pages. This is considered weak writing when a writer uses too many rhetorical questions to drive the narrative forward when that same forward motion could be achieved by just showing the conflict or doubt or confusion through deep POV. 

An info-dump of backstory is one of the worst offenses you can make as a writer in your first two or three chapters. (Hence, the phrase info-dump, because you’re dumping information on the page in long blocks of text.) Introspection and backstory should be elegantly woven into the storyline much later. Don’t ramble on for long paragraphs at a time, or try to force it into becoming dialogue. It’s considered weak writing because it’s jarring for the reader. Often times, info-dumps yank the reader out of the story because it reminds the reader that they’re reading and the author has intruded. A concise paragraph placed throughout the narrative is fine. 

Reason 4:

“Slow writing with a lot of description puts me off very quickly. I like a first chapter that moves quickly and draws me in so I’m immediately hooked.” —Andrea Hurst, Andrea Hurst Literary Management

A few polls taken on goodreads state that the number one reason that readers will put a book down is because it is too slow or they found the plot boring. There is a great post on this here to read after you finish my rant, er, post.

Now, I don’t need heart-pounding action in every scene, but some books have no forward movement. 

A major issue might be as simple as nothing much happens within the first four or five chapters. I’m not saying you have to include car chases or a bloody murder scene, but something DIFFERENT must occur. By this, I mean some event, big or small, must happen that changes the protagonist’s normal world. It could be the loss of a job, they meet a werewolf walking through the park, they accidentally lose the church fund raiser money, their car is stolen, someone dies, they witness "something" they shouldn't hear or see, they find an ominous note left on their doorstep, or anything that upsets the main character's normal world.

Or you have major events unfolding, but your characters are just drifting through scenes without any real involvement or connection to what’s going on. They become omnipresent narrators by telling the reader what is happening to other characters or themselves, but this old-fashioned method only reminds readers that they're reading a story.

Most writing advice will state that a writer should dump their character(s) into the midst of some horrible dilemma. 

Whether you want your manuscript to stay clear of the slush pile and gain an agent’s interest or entice a reader to flip the page of your self-published novel, as the writer your job is to keep the reader interested and turning pages. Period.

You’re probably wondering how to get readers to instantly connect with your characters if they don’t know more about their backstory or history.

Don’t worry about that in the first few chapters, and learn to trust your readers. If you’ve began your novel at a crucial point in the character(s) lives where they’re caught in some type of conflict or danger or the inciting incident, then the reader is going to connect with them right away and be eager to find out what happens next. The reader will have a natural curiosity in finding out how the characters resolve their differences, stop the antihero, tackle their fears, or overcome adversity.

Reason 5:

Readers cannot relate to your character(s) or don't sympathize with them. Most readers need someone to root for in a story. If your main characters come across as too unlikable, you've got a major problem. They can be grumpy people, but give them at least one nice character trait. For example: your main character is a bitter, angry old man who hates everyone and is rude to every person he meets, but he adores his cat. See? He has one nice quality.

Or another reason could be that readers find your characters hard-to-believe or just don’t care about them. Obviously not every character is going to have an outstanding starring role in your manuscript, but the central character (s) and antagonist must be the type of people we’d care about.

Give readers at least one reason to hope the character might get a happy ending or please give them some redeeming qualities.

A short time ago, I read a book about a verbally abusive and physically violent heroine who attacked the love interest with cruel insults, name-calling, and brutal assaults. She was not very likable, and the other main character just put up with her vicious attacks because he claimed he was a gentlemen. I felt so sorry for him! But wondered why he put up with the heroine who was such a douchecanoe. So in a way, he seemed weak to me and unlikeable, too. The only reason I read over half of the book was because the protagonist had a big secret she was hiding, which helped keep my interest but once it was revealed, I stopped reading. It tried to explain her motives for the violent behavior, but to me it felt too shallow.

Reason 6:
Another reason might be that your main character is lacking any goals, wants, or needs. These I feel are essential to any storyline. The character must “want” something. For example a better job, a way out of an abusive marriage, a mystery to solve, a villain to overcome, a fresh start on life, a murder to plot, a curse to break, a way to survive in a war or zombie apocalypse, or even have them crave a late-night snack. 

Give them a “want,” and then pile on a ton of obstacles in their way of achieving this “need.” You don’t have to go big with the problems; even simple ones can be interesting and/or funny. But give your characters some type of interesting want that might seem unachievable. I like characters that have motives that propel the plot forward.

I’m sure there are lots of valid reasons for not finishing a book, so please add yours in the comments. Why do you put a book down?
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6. When It Comes in Threes: Chapter 3 “Meet My Daddy”

This is Chapter 3 of the new novel I’m working on.  This book is a piece of Young Adult Fiction.  Young readers should be particularly advised that this chapter is harsh, and if this were a movie, it would be given a PG-13 rating.  Chapters 1 and 2 are published here also at www.toniaalengould.com. I’m uncertain how many chapters I will publish here on this blog.  Your feedback is welcomed and appreciated, and please kindly note that this is only fairly edited to this point.

Meet My Daddy

Last night, when the house was quiet and nothing was keeping the room lit but for the dime store digital alarm clock Mama got me and Bartlett for Christmas last year; my sister broke the night’s calm by shifting her weight and turning over in her bed to face me in mine.  “Barley, you awake?” she whispered.  Not waiting for me to answer she continued, “It’s real late and daddy ain’t home yet. When he gets in, I don’t want you to make one single, solitary sound in here, no matter what happens.  You hear me?” Bartlett pleaded.  I shivered and pulled the covers tighter over my body and used the top of them to wipe the tears that already began to roll as big as dimes down my cheek and said, “Uh huh, I hear you,” I said, knowing she was right and that the shit was about to hit the fan.  I tried to muster a voice inside me big and loud, but what came out of my mouth squeaked like one of those kangaroo mice that we occasionally caught meekly poking their heads out of our paneled wood walls, disappearing as quickly as they came, here and gone again, just like my tears now.  My whole body began to tremble and shake and my feet were so cold, it felt like I had popsicles for toes.

Bartlett rose up out of her bed looking like a ghost or something, looming over me like that in her cotton white nightgown; her face was nothing but a shadow in the darkness, and for a second, I thought I was dreaming or having a nightmare or something.  I pinched myself sharply and only when I felt the pain was I certain she was real and not a figment of my imagination.  Finally, she sat down on the edge of my bed.  “Sit up for a second,” she said, as she pulled back the covers and tugged at my arms, effortlessly bringing me up next to her.  I couldn’t make out her face in the darkness, although her white cotton nightgown seemed to illuminate the whole bedroom.   She stroked my long, dark hair and whispered in my ear.  I know she could feel me trembling beside her, and even though sometimes I hated her, I was so grateful for my sister’s warmth tonight.  “Shhh,” she said.  “Maybe it won’t be so bad this time.  Give me a hug and try to go on back to sleep now and remember that no matter what happens, you stay in this here bed and don’t get outta it for anything, until Kingdom come if you have to, or at least until I say so” she said, as she pulled me tighter in next to her body.  I hugged her limply, like something had sucked the bones out of me and I was nothing but a gob of dangling, cold skin, but it weren’t for but a second, before she got up and paced across the room to check on Graham, who was sleeping soundly in his own bed.  I knew Bartlett would be by his side stifling him, muzzling his mouth if she had to, if things got really ugly.  So I just laid there—cold and limp, a lifeless, waiting, trembling, hoping and praying mass-of-a-child.  If you’ve never had the experience, waiting for something bad to happen feels like all the oxygen has been snatched-up outta the air, your throat and lips feel awfully dry, you can’t hardly swallow your own spit for the lump in your throat won’t let it go down, and it’s as if the Earth collapsed and shattered to giants chunks of rubble around you, pinning you in and leaving you breathless.  Yes.  Waiting feels like something big and looming and enormous like that.

Another hour or so must’ve passed as we laid there in silence before the headlights from daddy’s ’59 Impala finally ricocheted off the walls and reflected from the mirror that sat on top of our dresser.  The light was so bright, it was blinding, and it felt like Lord Jesus had come to take us home.  I could hear the tires spitting-up gravel from the driveway and the pistons rumble and fade away into the darkness once Daddy turned off the ignition.  Moments pass and he finally gets out of the car, slamming the door forcibly as he exits.  Then the thud, thud, thud of his feet comin’ up the porch steps, tromping the whole way.  Suddenly, I became consumed by each and every sound my father was making, each noise was a siren, a warning call that rang loud and true and into the stillness of the night.  It was almost more than I could bear, waitin’ for my Daddy to find his keys and enter the trailer.  I wasn’t breathing, but I wasn’t holding my breath neither, it’s like I had my foot stomped on and was punched in the belly all at the same time.   Rattle, Rattle, rattle; he fumbled with the doorknob, turned it, and then finally fell into the kitchen which was right outside our bedroom.  He was struggling to find the light switch; I could hear him grasping at the walls, groping the wood paneling, and scraping the dinette chairs across the floor as he clumsily made his way to the light switch across the small kitchen.

From where I was laying, I could see the dark outline of his body through the crack in our bedroom door.  I screeched a bit when he finally turned on the light, it surprised me so much, since I had become particularly fixated on all the sounds he was making and due to the suspense of it all. Bartlett shushed me again, but fortunately Daddy hadn’t heard me. Bartlett was right, it was best to pretend I was asleep, but I couldn’t help but watch through that small opening in our bedroom door.

I wanted to roll over in my bed and face Bartlett, but it was too darn late, I had to lay still, or I might’ve caught Daddy’s attention, so I watched as he tried to navigate around the kitchen. Daddy has knocked over a chair, and I watch as he stumbled and fell forward, trying to pick it up.  When he finally brought the chair upright, he heaved his body into and lit himself up a Marlboro, and thankfully the whole trailer fell quiet again.  We can hear Mama as she slowly eased herself up out of her bed through the paper thin walls leading to the bedroom next to ours.  The rickety old box springs from the cast iron bed Mama and Daddy got from a flea market, is the only thing to break the silence.  “No Mama,” I prayed.  “Please don’t get up.  Let him be.  Don’t go in there,” I prayed.  But I  knew God wasn’t listening to Barley Sullivan tonight, because I watched as Mama drowsily entered the kitchen, wiping the sleep out of her reddened eyes.  I could see that mom had been crying, and guessed probably she had cried the whole night long.  The stench of the alcohol on Daddy’s breath, and what smells like a somewhat familiar perfume now permeates the air throughout the entire trailer.  Mama is ten shades of mad because Daddy has been out so late.  She glances around the kitchen in disbelief. “Earl, it looks like a God-damned circus ran through here,” she says as she stoops to pick up an errant chair up off the floor.  Mama’s right.  It was a circus in there and unbeknownst to her; she just stepped into the lion’s lair.  Like I’ve said before, Mama didn’t have too much common sense.

“You think ya can just saunter on in here, any old time ya God-damned want, drunker than a skunk and smellin’ like June’s cheap-ass perfume all the time?  I’m getting pretty fuckin’ sick and tired of it, Earl!” she yells.  “If my brother John gets a hold of you, he’s gonna kill you for runnin’ around with her like that.  What?  You think I don’t know?  I’m not fuckin’ stupid,” my Mama laughs. The argument ensues, both of them screaming back and forth at one another, but some of what they are talking about makes absolutely no sense to me—like what does Aunt June have to do with any of this, anyway?  It’s all over my head, and Daddy is so belligerent, I can’t make sense of what he is saying at all.  Their voices rise another octave, and the neighbor’s dog, George, begins to bark and that beckons other dogs in the trailer park to wake and come alive with their unrelenting barking.  Daddy’s voice suddenly shifts to a dangerous tone, and I can feel it in my gut.  It’s too late, there’s no undoing what’s Mama’s done.  She has incensed my father.

Despite Bartlett’s admonishment, I sit up on the side of my bed, my legs dangling, holding on tightly to the stuffed monkey I got from that time I got put in the hospital when my appendix almost burst.  Doctor Cooper gave him to me.  I loved that stuffed monkey because he reminded me of a special time.   For two weeks, while I was in the hospital, I got to eat all the ice cream I ever wanted, there weren’t any televisions on blaring loudly twenty-four-hours a day, and Daddy and Mama weren’t there fighting about things I just didn’t understand, like they were doing tonight.  Hell, Mama and Daddy barely even came to see me when I was in the hospital back when I was only just nine-years-old, and oddly enough, I was okay with that. Those two weeks were the first time in my life I had ever experienced what silence was.  I could think there in the hospital.  I wasn’t all wound-up and scared all the time.  In fact, it felt like I had boarded a plane, and landed in some faraway perfect place.  For a kid like me, growing up in a trailer park, staying in a hospital feels something like staying at one of those fine resorts I read about in one of those magazines Jeannie Bell had down in her parlor shop in town.  Bartlett breaks me away from my reverie and whispered loudly again, “Lie back down and pretend that you’re asleep!  If Daddy sees you, he’ll up and come on in here and whoop us both.  Do it now!”

But I don’t listen to Bartlett.  My body feels possessed by someone bigger and braver than me.  Instead, I continue to rock myself gently back and forth, trying to will away the feuding coming from the other room.   Daddy is cursing something fierce, and then I hear him push a chair out of his way as he crosses over to Mama where I can’t see them anymore.   I knew better, and despite all of Bartlett’s warnings, I got up and tip-toed myself across the floor to the door and stepped quietly over to the other side of it to peer through the crack to see where my Mama and Daddy are standing on the other side of the kitchen.  Daddy’s already got her pressed right up against the wall, his arm pinned across her throat and he is yelling directly into her face.  He’s so mad, I can see little droplets of spittle flying into the air as he screams at her.  And then, before I can digest what I am seeing, I watch in outright horror as Daddy leans over and picks up one of those fallen chairs and busts it right across my Mama’s head.  She falters and falls hard to the ground, moaning in anguish, her body is now a lifeless heap strewn clear across the floor in a pink, cotton-candy-colored, terry-cloth robe.  With a grumble underneath his breath, my Daddy steps over her body, like she’s nothing more than the day’s trash, and stumbles into their bedroom.  I watch him hoist his fully-clothed body onto that old bed, the sheer weight of him causes those box springs to creak and whine again, and almost immediately, the sound of his snoring breaks the dead quiet silence of daybreak.  The morning light is already filtering in through the windows, casting morning sun on my poor mother, splayed out on the floor in her pink robe.

Mama was lying perfectly still on the floor, and I was almost certain she was dead.  A thin, red trickle of blood oozed from a wide, deep gash on her forehead.  I was crying, but my sobs were coming from some subterranean part of myself.  Even if I wanted to, I could not project any noise; I had learned so early on in life to stifle my emotions and to filter my own pain.  My stomach was heaving in and out while a steady train of new tears rolled down my face.  It took every ounce of my courage to walk over to Mama to see if she was breathing or dead.  Just as I crossed over the kitchen and came to her side, my mother looked up at me, surprised to see me and immediately placed her right index finger next to her lips and mouthed the word “Shhhhh!”  I leaned over her and gave her my hand, which she gratefully took, and I helped her up off the cold, hard linoleum tiles.  Without saying a word, she led me back to my room where Bartlett stood crying at the door, holding Graham in her arms; he was almost too big for her carry.  He was buried deep in her bosom and I knew Bartlett hadn’t let him see anything that went on in the kitchen.  “Go on back in there now, you three.  Ain’t nothin’ more to see out here tonight,” Mama said as she motioned us back into our bedroom. “I’m ok,” she said, “It’s just nothin’ but a little bump on the head.  Y’all go back to sleep, and stay good and quiet in here, you hear me?” she whispered.   Mama led me back into our room, where she tucked me into bed, checked on Graham who rolled over immediately and went back to sleep, and then looked thankfully towards Bartlett.  Then with some degree of dignity, she straightened her back and walked out of our room and back into the kitchen.

The door to our room was left cracked open again and I watched as she lit herself a cigarette, inhaling the smoke deeply into her lungs where she savored it a moment until she finally exhaled, and then she sat down at the dinette table, drew her feet up onto the chair and rested her head on her knees, her body trembling from head-to-toe as she silently watered her lap with her tears.  I wanted to go to her again, but I knew if I did, she would retaliate on me just to prove she was still strong and in charge, like she had done so many times before after a beating from Daddy, so I just laid there and saw her arms heave up and down as she cried, watching as the early morning light cleansed and clarified the kitchen, hoping for a new and brighter day.


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7. Keeping readers guessing


Revision update: Still slogging through the first eight chapters, this time with a fine tooth comb looking for word choices, etc.

I’m also keeping an eye on Anita Nolan’s series on beginnings on her blog. Yesterday she had tips to hook the reader, and the first was keeping them curious. This is a good tactic for every part of the book, but especially for the beginning. If a reader is curious about what’s going on, he or she will most likely read more, and that’s exactly what we want. To keep the readers reading, keep them guessing.

Knowing what to put in a first chapter and what to leave out can be difficult. I think it’s a tool a writer learns over time. It’s one I’m learning right now.

As I mentioned, I’ve been reading first chapters from the bestsellers in my genre on my shelves to see how they do it, and I’ve come up with three main goals for the first chapter:

  1. Introduce the character, setting, situation,
  2. Make the audience care about the character,
  3. Make the audience curious about the character and, thus, the story.

So, I’m looking at my first chapter with those things in mind, and anything that isn’t necessary at this point to those three goals, I’m leaving it out. Hopefully, it’s working.

How do you decide what goes in your first chapter?

Write On!

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8. If it worked for American Idol, can it work for books?

In an article, the New York Times reports on a new contest at Gather.com for unpublished books, what the chief executive of Gather.com says “is akin to an ‘American Idol’ for thinking people.”

The contest is called First Chapters . Unpublished writers can enter free by submitting a manuscript for a full-length work of fiction. Each entry’s first chapter will be posted on Gather.com and voted on by members of the site. In the next round, the second chapters of the top 20 manuscripts will be posted, followed by a vote; a subsequent round will post the third chapters of the top 10, followed by a vote. In the fourth and final round, the entire manuscripts of five finalists will go before a “Grand Prize Judging Panel,” to include Carolyn K. Reidy, the president of the adult publishing group at Simon & Schuster, and George Jones, the chief executive of Borders. The winner will receive a book contract from Touchstone and $5,000 from Gather.com.

The Times says the goal is to acquire an author who will come with some kind of built-in platform, presumably all those people who voted. Same reason they grabbed at people publishing really popular blogs, like that lady who cooked her way through Julia Childs.

Who knows if this will work? The Sobol Award, which promised its winning unpublished novelist a cash prize and book contact with Touchstone, was canceled Monday. But that cost $85 and had some other red flags. (Full disclosure: The Sobol Award seemed flaky from the start, and now the guy who started it claims he sunk $1 million into it. How could that be possilbe?)



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