How's this as a beginning?

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littlemissattitude

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NOTE: This is a longer bit than I like to post - yeah, yeah, I know...I'm the one who wrote the guidelines. But I have a very specific question about this passage. I'm not concerned about grammar, spelling, or punctuation. I know how to fix those sorts of things. What I want to know from anyone who'd like to comment is...If you picked up a book at a bookstore and it began with this passage, would you be inclined to want to read more? If so, why, and if not why not, and what would make you more interested? Thanks in advance for your comments. Oh, just FYI, what would follow would probably be classed as urban fantasy.


This is stupid
. I say it aloud to the room. I’m sitting in a motel room somewhere between L.A. and Vegas, about thirty miles off I-15, really out in the middle of nowhere. There’s a thunderstorm raging outside. I’m just glad that the building is on high ground, because this is flash flood weather - and flash flood country - if I’ve ever seen it. I don’t think I’ve ever seen it rain so hard, and it’s been at it like this for almost an hour. The lights keep flickering like they want to go out, and the satellite TV is out of whack. There’s a picture, sort of, but it’s all snowy and I can barely hear the sound for the static. I keep it switched on anyway. I need the company.


This is crazy. I’m on the run. I don’t know from who or what. I don’t know why. All I know is that Adam went out of town and then didn’t call me when he said he was going to. I let it go a couple more days, thinking he had just gotten involved in the business he said he had to take care of. But I was worried and finally called Paul, which is what Adam had said to do if he something like this happened. Paul said he would do some checking and call me back. He did, a few hours later, in the middle of the night, and said that I should get out of town Right Now - I could hear the capital letters in his tone - and head for the address he gave me. This motel. There would be a reservation in the name of Susanne Ryan. That’s who I should say I was.

What if they ask me for ID, I asked him. Most places do these days. But Paul assured me that they wouldn’t, and they don‘t. The only question is, “That’s for seven nights, correct?” Seven? And they have a package waiting for me, the desk clerk announces as she hands me my key. Huh? She also hands me a shoebox-sized parcel wrapped in brown butcher paper. All that is missing is the twine. There is covered parking in the back, she tells me, and it looks like rain. Do I look like I’m hiding from someone? I think then.

By the time I get my bag, my laptop, and the bag of books I can’t do without in the room, the clouds are looking threatening, and it is uncomfortably sticky out besides being hot. I crank the air conditioning, hang up my clothes, and then walk over to the coffee shop that is attached to the motel’s office. It is deserted except for a couple at a table by the windows and the waitress, who is either the desk clerk or her twin sister. I sit down at the counter and order a fried chicken dinner and a soda. I have discovered that being on the run makes a person hungry.

The waitress says that it will be storming soon and that if I’d like, she will bring my meal to my room when it is ready. I tell her that I don’t want to be any trouble, but she says it’s no bother, that there is a menu in the room and I could have called down and ordered. Oh. I pay for my food and go back to the room.

Sure enough, the first clap of thunder comes at more or less the same time as the knock at the door announcing the arrival of my meal. While I’ve been waiting, I’ve opened the package. And nearly choke. It is packed with money. A lot of it. What the hell…? I don’t count it. I'm afraid to.

So. Here I sit, rain pounding down outside, the TV on the fritz, my dinner half eaten, and a shoebox full of hundred dollar bills shoved under my bed. And no earthly idea of what comes next.

 
It's well written, and it has enough energy here to make me curious, but I'm not sure if I'd buy it if I saw it in a shop.

It's possible that this is because I'm not normally into this kind of stuff, and I'm sometimes a bit suspicious of the first person, present tense style (it's very difficult to pull off well, though you're doing ok so far ;)).

But I think that money isn't enough of a hook to make me want to read on. Obviously, I don't know what happens in the story, but is there something else you could put in the package to make it a bit more of an exciting find?
 
I liked it - very engaging.

Only point I'd raise are that the hook didn't seem to begin until the second paragraph, so it may be worth considering removing the first paragraph and sprinkling the details into the later passages. That way, you hook immediately.

It did work though - to myself, the complete naivety and innocence of the character made me immediately care what happened to her, and I was looking out for a potential trap being sprung on her until she found the cash, which reassured that she wasn't being immediately set-up.

The lack of information regarding what has actually happened, and why it may have happened, worked well.

Definitely would be worth reading more. :)
 
Thank you all for your comments.:)

Brian...I think you might be right, and I can see already where I might put the information in other places throughout the scene so I can keep it without leading with it. Thanks for the suggestion.
 
It does not matter where the hook comes as long as it is relatively early in a book. I enjoyed it by the way.
 
It's true. Establishing the atmosphere straight-up without coming across as ham-fisted is a hit-and-miss affair, and you seem to have managed it. Although the close repetition of room in the first two sentences is a bit distracting. I liked it.
 
The first paragraph is very good. It hooks me.

The second paragraph unhooks me, and here's why:

"This is crazy. I’m on the run. I don’t know from who or what. I don’t know why." That's right, it is crazy. Which is good. I want an explanation. I want to keep reading.

Instead I am kind of disappointed to run into some complicated stuff about Paul and David, a couple of people who haven't even been introduced yet.

I would have liked to have been thrown into the telephone conversation instead of being told about it. The third paragraph does that in a way. But the conversation that I get thrown into is the one with the desk clerk, which I don't really care about.

The package is interesting. But its introduction is buried in the middle of a paragraph. It deserves its own topic sentence, and maybe a few more mentions later on. If I got handed a package out of the blue, I look at it, think about it while I carried it, wonder what was in it and who it was from, and so on.

The last paragraph is good, and that hooks me again. Well, 'What does come next?' it makes me think. It makes me think that a man with a gun is about to step through the door or something.
 
As Darth Vader said to Luke: Impressive, most impressive. I agree, first person, present tense is a hard sell, but you are doing a very good job of it. Here's why; Present tense is a very good way to build tension and excitement. Personally, I love it when terms and situations are spoken of, before they are explained. When you write about people and events that the reader has not yet experienced, the reader tends to read on in hopes of finding out how these items fit into the greater whole. It also gives the story an 'unfolding' feel. This helps give the story an organic, living, breathing quality.

First Person also allows you to write in a very conversational style; which helps build sympathy for the protagonist. In short, with this conversatonal writing, the reader begins to feel as if he or she knows the character. In my opinion, your usage and control of this style is very deft.

Very, very impressive. Where can we find more of the story?
 
I, too, was not truly hooked until the second paragraph. However, I didn't drop the thread and find something different to read, so you must have managed to keep my interrest. And the thread didn't seem that long...the story really moves along. If you keep it around that speed for the entire story, readers will be halfway through the book before they notice!
 
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