Your first pages – 5 more book openings critiqued by a literary agent, YA author @AJ_Dickenson (and me!) at @Litopia

I’ve just guested again at Litopia, the online writers’ colony and community. Each week they have a YouTube show, Pop-Up Submissions, where five manuscripts are read and critiqued live on air by literary agent Peter Cox @agentpete and a guest, or sometimes two (this time we had longtime Litopia member and YA author Andy Dickenson @AJ_Dickenson).

The format is simple. Five manuscripts, each with a short blurb. We hear the opening pages, then discuss how they’re working – exactly as agents and publishers would consider a manuscript that arrived in their inbox.

As always, the submissions had many strengths. Issues we discussed included the importance of voice in contemporary fiction, the age of the protagonist in a YA novel, whether we’ll want to read novels that feature the Covid-19 pandemic, a lyrically written fantasy that seemed too nebulous, how to begin an action thriller with a sci-fi element, and whether a title was too long, too hard to remember or assertively intriguing. You can see it in the picture above and I’d love to know what you think: too long, just right, too weird, exactly weird enough? It’s a military term, in case that helps you decode it. Drop me a line in the comments because, on the show, we genuinely couldn’t agree on it.

Also, Peter asked me to tell everyone about Ever Rest, which I hadn’t prepared a pitch for, so I had to invent one on the spot. Avalanches of panic until I got myself together.

Enjoy! And if you’ve got a manuscript you’d like critiqued, apply here.

If you’d like more concentrated writing advice, my Nail Your Novel books are full of tips. If you’re curious about my own creative writing, find novels here and my travel memoir here. If you’d like to support bricks-and-mortar bookstores use Bookshop.org. And if you’re curious about what’s going on at my own writing desk, look here (to see a less fumbling pitch of Ever Rest). You can subscribe to future updates here.

 

Stuck at the beginning of your novel? How to get going

‘Please help,’ wrote the author to me. ‘I’ve been writing a novel, I have a mass of text but no idea how to pull a plot out of it.’

We’re now doing well with the plot. But one big thing is holding her back.

‘Should this be the opening? Or this?’

We don’t know yet, I say. Don’t worry. Write a placeholder scene, and make the decision later.

We talk. We make much progress about themes, events and character arcs. Then my author returns to the question. Should this be part of the beginning? Or this? We haven’t even got to the first plot point. (What’s that? Here are posts about story structure.)

My author is finding it extraordinarily hard, very counter-intuitive, to postpone the decision about the beginning.

Why now is not the time to decide the beginning

Although you have to start somewhere, you cannot decide the proper opening until you know the rest of the book very well. Here’s what an ideal opening has to do.

1 It holds a lot of information back.

(You didn’t expect me to say that.)

2 It tells the reader just enough.

(Just enough for what?)

It tells the reader enough to make promises. About the tone, style, themes. About how the narrative will scrutinise the characters and events. About the issues and experiences the story will explore. Those are deep promises, and you must live up to them. (How do you know which promises to make?)

There’s also a 3:

3 The beginning should intrigue, beguile, ignite the reader’s curiosity. And in a way that’s faithful to 2.

Some beginnings are simpler than others

Beginnings are simpler for genre writers, as the reader’s expectations are relatively well established. But if you’re writing a novel that’s more complex or unconventional, you have to direct the reader to your unique flavour – your themes and angles and interests. You might not yet be aware of them all.

Certainly you won’t know them as you’re assembling the book for the first time, from all your swirling ideas. Perhaps not until you’ve made several revisions. (That’s one of the meanings of revision. Not just rewriting. Re-vision. )

The beginning is somewhere in the end

Here’s a nice cryptic idea. The story’s resolution, the what-it’s-all-about moment, will also be, in some way, signalled in the beginning. Probably obscured, of course.

Why is your ending your ending? Usually because a question is solved or a situation concluded. In some novels, particularly non-genre, you may not be sure at first what you’re solving or concluding. The biggest questions will stir up as you live with your themes, plot and characters, the angles that most attract you as you write and revise. Go with that, let the book become what it becomes. If it’s taking you a surprisingly long time, you might be cheered by this: the slow-burn writer.

Your ending will probably work best if it’s somehow signalled in the beginning, so once you know where the bulk of the book is taking you, you can shade the beginning appropriately. But if you fix the beginning from the start, you may limit your explorations. (There’s more about this in my plot book.)

Start here… for now

Write a placeholder opening, something that gets you going. Don’t worry at all about whether it works for the reader. Make sure it works for you, gets you in the flow. This draft, and probably others that will follow, is for you, your playground, your lab, your quarry, your rehearsal.

The beginning, the official proper beginning, is for the final performance, when you’ve done all the other work and are ready to invite readers in.

(Thanks for the bike picture Paul Harrop.)

PS If you’d like more concentrated writing advice, try my Nail Your Novel books. If you’re curious about my own creative writing, find novels here and my travel memoir here. If you’d like to support bricks-and-mortar bookstores use Bookshop.org. And if you’re curious about what’s going on at my own writing desk, find my latest newsletter here (where you could win many beautiful books) and subscribe to future updates here.

Your first pages – 5 more book openings critiqued by a literary agent (and me!) at @Litopia

I’ve just guested again at Litopia, the online writers’ colony and community. Each week they have a YouTube show, Pop-Up Submissions, where five manuscripts are read and critiqued live on air by literary agent Peter Cox @agentpete and a guest, or sometimes two (this time we had longtime Litopia member Jon Duffy.

Here’s a glimpse of the green room before we went on air, with thoughtful shuffling of notes.

The format is simple. Five manuscripts, each with a short blurb. We hear the opening pages, then discuss how they’re working – exactly as agents would consider a manuscript that arrived in their inbox.

As always, the submissions had many strengths. Issues we discussed included atmospheric writing that doesn’t go anywhere, a character who seemed in the wrong age group, a voice that might be confusing the reader, a curious choice of second person for the narrator, obvious and unnecessary dumping of information, what voice is, what resonance is, and how to navigate the huge range of writing advice that’s now available.

Enjoy! And if you’ve got a manuscript you’d like critiqued, apply here.

PS If you’d like more concentrated writing advice, try my Nail Your Novel books. If you’re curious about my own creative writing, find novels here and my travel memoir here. If you’d like to support bricks-and-mortar bookstores use Bookshop.org. And if you’re curious about what’s going on at my own writing desk, find my latest newsletter here and subscribe to future updates here.

Revision and self-editing: masterclass snapshots

Yesterday I was teaching a course for Guardian newspapers on advanced self-editing for fiction writers. My students kept me on my toes and I thought I’d explore their most interesting questions here. There are quite a few of them, and the weather is too darn hot, so instead of giving you a giant reading task I’ll be posting them in short bites over the next 7 days.

Three/four-act story structure – how strictly must you stick to it?

Briefly, most stories have a beginning, middle and end, and seem to work best when the major turning points are at 25%, 50% and 75%.

It’s a formula followed by Hollywood screenplays, and it’s certainly useful for novelists – but as a guideline, not a hard rule. In novels it probably won’t matter if you begin your climax at 80% instead of 75%. If you begin at 90% the ending might feel abrupt because you might not have time to come down the other side. You might also have too much of a lull beforehand. On the other hand, it might be perfect.

Where the structure rules become really useful is if you spot a problem. If the end seems too sudden, or too drawn out, would repositioning it help?

Tomorrow: ends and epilogues

Thanks for the pic TMAB2003 on Flickr

Let’s discuss! Do you find the three/four-act structure is useful to you, too formulaic? Has it helped you iron out a problem in your manuscript?