How to begin?

ckatt

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Hi folks,

Here are the first few pages of my WIP. The primary question I have is whether you find it engaging enough to keep reading.

I'm trying to decide between two starting points. One that is quiet and one that is more action-oriented.

I think this quitter opening server the whole novel better, but I worry it won't draw a reader in like something higher paced. This is not the whole first scene even, but by the first 1000 words, I think you'll know whether you want to read on or not. My main concern is that it is a bit too domestic. The rest of the book isn't.

Another concern I have is achieving the right balance between action and description. I want to avoid info dumps but also want to sketch the world well enough so the reader won't come to any false conclusions.

Thanks so much to all of you for taking the time to read.



-1-


Thin mist clung to the valley like a raged sheet of polywrap.

It swirled around her boots and away to nothing as Penn crunched along the gravel that led back to her lodge, a long polymer structure that was older than Grandfather. She shuddered away the morning's chill, sloshing well water from her heavy pail, and in her satchel waited the day's ration. A little more than half of what she and her sister had turned in at the storehouse yesterday, mushrooms, green beetles, a few small camas roots still crusted in sandy earth. Her stomach churned, and she willed herself not to shove a beetle past her teeth until breakfast was ready for the whole family.

Behind the lodge, she stopped to fill the trough in the quail coop, pouring the water in through the wire mesh. The sight of a bird on its back, toes curled up, halted her. She sucked in a fraught breath. Another dead. The second this week. There were only four left now, all of them hens -- they would never lay another hatching egg. The elders had cast signs of the Quadra, but the answers held no solutions. Her sister had named this one Paradise, though their father had said not to give them names. She scratched at the collar of her polyester sweater that always made her sweat, even in the cold. Giving the news to Father would not be pleasant. The casualty was not her fault but still, it would be.

She untwisted the wire that held shut the coop and removed the dead bird amidst the coos of the remaining, their crest feathers bobbing down and up. She set it away, far away. If it was going to infect the others, it likely had already, but she wasn't taking chances. Later, she would bury it in a garden box. At least it could serve as compost.

As she passed under the taut powerlines that connected her clan lodge to the wind turbines, her skin prickled. She couldn't say why, but she always felt a crackle in her gut when something was amiss with current. But she'd have to let that wait for now.

Shouldering through the backdoor of the lodge, she almost flicked on the LED lights but instead waited for her eyes to adjust. Best save the power for the kettle, and the sun will be coming through the windows soon.

She poured half of the water into a pot then dangled a spiralled heating element from the lip before plugging it into the socket on the countertop. A whiff of sulphur tinted the air. The rest she poured into the kettle. She was about to head out for another pailful when she heard Grandfather coughing in the frontroom. Early for him to be out of bed. She set the tatty pail aside and started down the hall, dodging the spot where the floor panels squeaked so as to not disturb her father.

"Penelope, you're up early," Grandfather said in his thick voice. Morning light streamed through the window behind, burnishing his thin hair that had long turned from black to white.

"I'm up same time every day," she answered crossing the room to his wheelchair. "Why are you out of bed already?"

"It's the last day of summer," he said as though that answered her question.

Penn hummed, patting his shoulder. "And tomorrow fall." It had been one hundred days since any traders had visited their mountain village. Even in the spring, the visits had become less frequent. The last to arrive had spoken of a long-term agreement with their city across the bay but still had not returned to negotiate the pact. A month ago, when the quails began falling ill, her father had sent her cousin, Lee, on a journey to find a new trading partner. He had not returned either.

"Would you reach that book for me? My leg's gone to sleep again." Grandfather nodded to the near-empty bookcase against the wall.

"Of course." She tucked a stray lock of her copper-red hair behind an ear and reached past the brush sketch of her mother to the Rea clans two books. One was a collection of stories about the Quadra, the other, a compendium of birds from the last epoch, a few of which could still be seen in the mountains. As a little girl, she had spent hours sitting with him, turning the crinkly pages and marvelling at the colourful pictures. "No not that one. The other one," he said as her fingers touched its spine.

The Analects of the Quadra then, every clan had a copy. Penn slid the hardcover off the shelf and handed it to Grandfather. Little bits of the red-brown cover clung to her fingers. Grandfather carefully spread the book open on his lap "And my reading glass. Should be there too."

It wasn't. Penn glanced around the room, spied the large magnifying lens on the tea table and set it into Grandfather's cool, wrinkled hand. He must have read the book a thousand times, must have it memorized by now. He was a village elder and the elders were the keepers of the Quadra in Aeramen. But still, he needed to inspect every stroke of each letter on the page. Penn could read many of the words herself but had little use for reading and writing. Their neighbours, the Sun clan, had over ten books on their shelf but never let anyone touch them.

She took a seat in one of the antique wooden chairs and lifted Grandfather's leg onto her lap. "Which leg is asleep?"
"Both," he said, squinting at the text and moving the glass closer then farther from his face.

"I'll start with this one then." Penn began to knead the thin flesh on the bottom of his foot. Dark blue veins showed through. In time, his skin began to warm.

From the kitchen, she heard the kettle click, ignored it for the time being. A minute later Father came into the frontroom, tea kettle dangling from one hand.

...
 
First line, did you mean ragged? raged would be about anger (rage). Polywrap? I got what it was from context, but it was an unrecognisable name to me, googling and wikipedia lists Plastic wrap, cling film, Saran wrap, cling wrap or food wrap as the most common names for it.

But yea, keeping to the rest of the request, I suppose it is quite slow but I did get a relative grasp on the world without it feeling info dumpy. I'm assuming it's post apocalyptic, set a minimum of 50 years in the future. There's danger outside their community, weird things happening, people disappearing or something, travel unsafe. Birds have largely died off and chickens are getting sick with some form of plague. There are clan elders and maybe the clans are one family? People don't read unless they are the preacher equivalent and books are rare and valuable.

It could maybe use a little action and it isn't dragging me kicking into the next scene, but the scene setting was interesting enough that I'd probably keep reading.
 
I think this quitter opening server the whole novel better, but I worry it won't draw a reader in like something higher paced. This is not the whole first scene even, but by the first 1000 words, I think you'll know whether you want to read on or not. My main concern is that it is a bit too domestic. The rest of the book isn't.
I'm a bit confused by this. You said this quieter opening serves the novel better, but that you worry it's too domestic as the rest of the novel isn't. Are you saying that you like this opening because it provides a contrast to the rest of the novel? Could you expand on this some?

As for my thoughts on the opening as a reader: it did feel slow but that wasn't a bad thing. It settled me into the story, and as a reader I expected the slower, more thoughtful pace to continue for a while. You do introduce a few conflicts, but Penn's reaction to them feels a bit distant like she's resigned to them as soon as they happen. To me it felt like we weren't seeing enough of her emotional response to things.

Description and action felt balanced, I never felt while reading that there was too much or not enough of one.
 
Thanks for taking a look a look guys

@.matthew. oops yes, there's a g missing. Should be ragged. Polywrap is not the same as cling wrap. Polywarp is thicker, often used in construction. This isn't the complete first scene but the forum has a restriction on word count so I cut it at 1000. The next thing that happens is her father comes in and Penn fights with him about her younger sister.

@sule Sorry I guess I made no mention of what's in the faster-paced opening (it's not that much faster), but I don't think it's really relevant. It's not a faster version of this scene but a different scene altogether. I like this opening because of the relationships it introduces. The higher paced opening is the next scene which introduces a potential solution to the village's food problems but is double-edged. Starting there, some of the conflict between Penn and her father becomes less pressing so I didn't have a natural way to circle back and I thought it better to show it here rather than tell about it after. My intention behind this scene was to introduce life as usual before the disruption in the next scene. As well as show the problem they have with a lack of food and that it's getting worse with the dying birds.
I guess why I'm asking is that a lot of advice-givers out there say you should start with action but most of my favourite books published in the last five years don't have that kind of opening. So I wanted to know if I'm pulling it off or if I need to rethink where I begin.
To me it felt like we weren't seeing enough of her emotional response to things.
This is something I always seem to be struggling with. Can you elaborate on what you would have liked to see or how that would be integrated?
 
This is something I always seem to be struggling with. Can you elaborate on what you would have liked to see or how that would be integrated?
I definitely also struggle with this; part of why I brought it up is because I see it come up a lot in my stuff. What I try to do to fix it is ask myself, "What does the character want in this scene and how does this effect those goals?" Finding a short-term goal, even if its something like "They want to be left alone so they can finish the latest Harry Potter novel" or "They want to eat all the sandwiches" allows me to recontextualize the things that happen from their point of view and find an emotional response to it (anger, impatience, despair, etc). Then when I go back to the draft I find somewhere earlier in the scene to establish that desire so the reader understands how much more the setback hurts the character.

As an example from your selection I think bringing the dead quail around to her relationship with her father was good, but that part was so late in that paragraph that for a few sentences her reaction felt a bit matter-of-fact with less of an emotional response. I'm not trying to rewrite your piece (you're far more qualified to do that) but I wonder if you moved the mention of her father blaming her before the part about the elders and her sister that it might register more of an emotional response.
So I wanted to know if I'm pulling it off or if I need to rethink where I begin.
To me, it felt like you pulled it off.
 
Hi Ckatt,

overall I think it has the right balance. I prefer a story that settles me in, gives me a sense for the people and the place and hints at the big challenge to come (Robert Jordan's Wheel of Time comes to mind.) before dropping the hammer.

The only thing that impeded my willingness to read on was some areas where I felt I needed to read over a sentence a few times to understand. I believe I have a much lower tolerance than most do in respect to making the reader 'work' so others may not have found this. One area was the introduction of the Quadra without providing any context whatsoever. It caused a fair bit of confusion especially with the bit that followed -> but the answers held no solutions. It seemed important but without any understanding of the Quadra, it was meaningless and more a distraction, and then was further disjointed when she refers to her sister naming one of the hens in the next line. For me that's strike one, if I see another one, I put the book back on the shelf and find another. Good news is I didn't see any major after this.

The interaction with the grandpa could be trimmed I think but I didn't mind it. It starts to get a little obvious that there is info being dispensed here. I don't think its inappropriate in volume but rather that it seems obvious. Two examples :

Penn could read many of the words herself but had little use for reading and writing. Their neighbours, the Sun clan, had over ten books on their shelf but never let anyone touch them. --> The second sentence doesn't seem to be linked to the first. So it appears to be info dumped. Perhaps, using something like... 'But Grandpa warned her about taking things for granted. After all, Their neighbours, the Sun clan...'

Another element that seemed amiss was the fact that she spent hours reading the book with grandpa, and if so, he likely would've asked for it by name vs. get me that one. I believe you likely wrote it the other way to introduce the book of birds from the last epoch but it appeared to me to be written for the sake of information and not from a realistic standpoint.

That said, it appears there is a post apocalyptic world where humanity has found its feet but is struggling to move forward, clustered in regional settlements that are in nascent stages of cooperation. There's a good set of mystery building - missing people, dead birds, no traders venturing their way, a wise old grandpa, and you've done a good job building it all up. It truly piqued my curiosity.

I would keep reading. :giggle:

Well done!

BG
 
To answer your primary question, yes, it kept me engaged. You also know how to "show, don't tell."
 
This does what it does pretty well, but it lacks an inciting incident or any hint of one, and that made me fidgety. Originally I thought it would be the dead quail (in which case I might advise starting with "The sight of the bird on its back") and the mystery of what's killing them, but that then seems to disappear.

You should always ask "Why start the story here?" Is there anything particularly important about this moment? The fact that you're undecided about it suggests not. I don't think sketching in relationships and the world, well-drawn though they are, is in itself a compelling reason to start here. But that depends on what kind of story it is, and my reaction might have been different if I'd read a back-cover blurb. Similarly, if I'd known in advance that this piece was a gentle exploration of these two characters' relationships in a post-apoc world, my expectations on an inciting incident would have been lower. If the rest of the story does contain quite a lot of action, as you suggest, then maybe have another think about where it starts.
 
It is an interesting piece; however I think you are missing out on an opportunity to make the conflict and the stakes work for you.
One reason for this is that you are almost too distant from the character.
You need more visceral responses to her hunger(which seems to be the most telling conflict here).

The intro line serves no purpose and as such begins to look purple.

Thin mist clung to the valley like a raged sheet of polywrap.

There is nothing in this piece that explains why we need to know this and it looks like something that sounded good, but it falls short because it doesn't help draw the reader into the story.

Start with the hunger.
Start with the dead quail.
What does the dead bird mean to her--to her family--to her village.
In some places perhaps the only good quail is a dead quail; however I suspect here a dead quail is a matter of life and death.

She's out foraging for mushrooms and beetles and camas root for her breakfast. Why is she alone was her sister sick or lazy? How does she feel about that. She only has half as much as they both had gotten before and that should be very important to her; because it sounds like they are starving.

You are telling us these things; but I'm not feeling it and I think that is what makes this piece weak. Yet you have questions that should be coming to mind that could be used to help enrich the story.

What you do have of interest later: a somewhat mixed society with clans, elders, lodges, yet it has books, antique furniture, lenses, and wind turbines and and understanding of something called polywrap. Maybe this is a dystopic tale or indigenous peoples forced from their oral traditions into reliance on settlers technologies? Is it meant to be anachronistic?
 
@HareBrain Thanks for your feedback
You should always ask "Why start the story here?"

I have asked myself that many times and spent a great deal of brain my limited brain power considering where to start. Yet here I am at the critiquing forum because I don't think I have hit the mark yet.

I know there is no formula, but I agree that having an inciting incident upfront is a good practice. But my own reading and research has brought me to a blurry conclusion of where that must be.

Many of my favourite books don’t have what I see as the inciting incident in the first three pages. Do you think it's essential that I do? And if not, what sort of hook would hold the interest of a reader like you until the inciting incident came?

Someone recommended I read the beginning of The Hunger Games because my story features a female protagonist living in a small community that is close to starving. (I couldn’t stand the movie but gave the book a shot). In that story, the inciting incident doesn't come until the end of the first chapter. I didn’t love the book but can't deny that it's done well commercially. But in terms of action, it's probably got more than my story.

So, with my beginning, the goals I had were to introduce the world, lay out the problem with the lack of food and establish the family relationships that play a part in the character's attempts to solve the problem. What I see as the inciting incident comes in the second scene which I haven’t posted. Maybe I should.

I had tried starting the book there, but I felt that it lacked context and I was doing too much telling and not enough showing to get that information across.
I think finding the balance is one of my biggest struggles.
 
Many of my favourite books don’t have what I see as the inciting incident in the first three pages. Do you think it's essential that I do? And if not, what sort of hook would hold the interest of a reader like you until the inciting incident came?

I don't think it's essential, no. But you're right, you do want a hook, and that can be almost anything, and you're not going to hook every potential reader with the same one. It might be a brilliant use of imagery, or some great dialogue. But in terms of plot, intrigue or mystery usually works. For example, if the quails had only just started dying and it was a mystery why.

Maybe a question to ask is, if you know what the inciting incident is in your story, what stops you putting it on the first page? If it's simply a desire to set things up before you get going, I believe that's often a mistake. You can get the ball rolling and then show us the world and relationships as the plot unfolds.

Even if there are good reasons why you don't want to put it on the first page, I think I would like a hint that the incident, the "why is this day different?" is on its way. Without knowing what yours is, it's impossible to suggest what that hint might be, of course.
 
Well done putting this up.

A small observation but it is the very first line, so extraordinarily important.
I'd be inclined to drop the polywarp line altogether and write a new first line.
I imagine, though I may well be wrong, that you wrote the first line and thought to yourself, "That looks like a bit of a cliche." and that by adding the polywarp element it somehow wouldn't. But to me it reads like a cliche with polywarp on the end.
I realise it implies the materials that are used later and the 'lifestyle mindset' around them but we are not yet aware of that so it just feels odd, and not in a "hook" way.

It is all the reader has at that point. It is a big bookshop and they are making ridiculously rapid judgement calls. Possibly on the instant "feel" of the first line.

Another small thing that I got criticised for myself by beta readers in my first book was using names with familiar people.
"Penelope, you're up early," Grandfather said
"You're up early," Grandfather said. feels more like real conversation.

Otherwise you have got the ragged edge of their existence described in thoughtful detail. I am curious how life in the trader's city is by comparison and can't imagine she won't be going there at some point. Will she find out what became of Lee?
 
Thanks for reading Ginny. I think you have some good advice to offer but I had some trouble decoding it form your response. Perhaps I'm just thick so I beg your patience.
Start with the hunger.
Start with the dead quail.
Honestly I thought I had. The hunger comes at the end of the first paragraph and the dead quail in the next. If I pushed them up a few sentences the first paragraph could look something like:

The sight of the quail on its back, toes curled up, halted her. Penn sucked in a fraught breath and gripped the side of the coop for stability. Another dead, the second this week. There were only four left now, all of them hens -- they would never lay another hatching egg. Her sister had named this one Paradise, though their father had said not to give them names. The Quails had once been a staple in their diet but now it seemed she tended them out of habit and the inability to let go of hope that things would turn around, that going to bed with an empty belly each night was temporary. She scratched at the collar of her polyester sweater that made her sweat, even in the cold. Giving the news to Father would not be pleasant. The casualty wasn't her fault but still, it would be.

It's a quick revamp but is this close to what you are suggesting, or am I still out to lunch? It feels a bit like "telling" the importance of the quail to me but I'm not sure how I would show it in this scene.

Also, I found this comment to be unclear

You are telling us these things; but I'm not feeling it and I think that is what makes this piece weak. Yet you have questions that should be coming to mind that could be used to help enrich the story.
You in the first sentence is clearly me, the writer, but in the second I'm not sure. Do you mean you in the general sense? Who's mind should the questions becoming to? Are you suggesting that I'm not asking the right questions or that I'm not answering the question readers would have or something else entirely?
 
Honestly I thought I had. The hunger comes at the end of the first paragraph and the dead quail in the next. If I pushed them up a few sentences the first paragraph could look something like:

The sight of the quail on its back, toes curled up, halted her.

This is the starting point I suggested too. But for that to work, the dead quail would have to be relevant to the opening chapter as a whole, and not a grab for attention that then goes nowhere.
 
@HareBrain so you don't think it works as a hook then. I intended it as symbolic of the villagers failing food supply, which is a driving force behind subsequent events. And the story does return to the quail coop in the next chapter, but for other reasons. But no, discovering the cause of the sickness isn't a main narrative thread. Birds figure into the mythology of the world in a few ways, but maybe I should just take it out of this scene? (or perhaps this isn't the correct starting scene anyway. I'm just experimenting)
 
@HareBrain so you don't think it works as a hook then. I intended it as symbolic of the villagers failing food supply, which is a driving force behind subsequent events. And the story does return to the quail coop in the next chapter, but for other reasons. But no, discovering the cause of the sickness isn't a main narrative thread. Birds figure into the mythology of the world in a few ways, but maybe I should just take it out of this scene? (or perhaps this isn't the correct starting scene anyway. I'm just experimenting)

The dead quail does work as an immediate hook for me, but it then disappears, meaning I risk wriggling off. The problem with starting with it is that she doesn't seem particularly concerned about it. If she'd started talking to her grandfather about it, and we understand the implications of famine, then it would work better. I think you might have diverted from what's actually important to her so you can fill in details of culture and relationships.

But this is just my opinion. Your story will never work for every reader. What you need to do with the opening is to ensnare the readers who will enjoy your story. There's no point, for example, grabbing with an all-action hook if the rest of the story is a slow-paced exploration of changing social mores.
 
I think you might have diverted from what's actually important to her so you can fill in details of culture and relationships.
I wouldn't say this is wrong. I find it one of the hardest things though. How will the reader understand what's important to the people if they don't know their culture? But how will readers care about the culture if they don't care about the characters?

My excerpt cuts with her father coming into the room but she brings up the quail with him. Perhaps if he were to walk into Penn and Grandfather already talking about it, it could be a source of tension because she's nervous about telling her father.
Anyway, that's work for me to take care of. I appreciate the time you have taken to help
 
I really liked your "quieter" opening. It does some nice worldbuilding and character development without being heavy-handed about either. I'd be intrigued enough about the world and the character to keep going and see what happened next.
 
The rewrite helps a bit--however it might be helpful form her POV to see how desperately hungry she is--at the moment her main concern is that father will blame her.

As to the you and you.
Yes as an author you are telling us instead of showing us things and yes as an author there are important questions you should be asking yourself that once you start answering them it will enhance your writing.

Sorry for the delay in answering--been off for a bit.
 
Hi,
The description of the woman going out to fletch water for the kettle. Her finding the bird laying on its back. The bird was dead, she realized this. She was afraid, The birds were needed for eggs. Yet they were dead. What was killing themÉ She did not know. she did not wish to anger or worry her father or grandfather. She would have to tell them eventually.
Her grand father awoke, He went into the living room. She did not wish to awaken her father so she side stepped the boards that would creak to avoid that but her grand fathers voice was loud and it carried. The door to her father"s room was closed. Her grandfather seeking abook about the people of her community. He should have had the book memorized by now,
He had sent for a trader to come back to his house. To perform his duty, she knew he had sent his brother out there to find one, But he hadn't returned from there yet. Their lives were in peril. You have given us a reason to want to read your story, Good work. I hope this helps you with what you are asking of us to do this for you,
It was a pleasure to read your work.
Sincerely



Richard-Allen
 

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