Every writer learns early on the importance of the first
fifty pages in a novel (or the first paragraph in a short story). Writing
teachers and professional writers drum this into the student in every class,
and add the comment to every manuscript they critique. And there's nothing
wrong with this advice. The opening of any work of fiction is crucial to
establishing the story and then the author as a worthwhile storyteller. But
there is a downside to this advice.
As an editor for The
Larcom Review and The Larcom Press, and an occasional reader for contests, I looked for a sign that the author couldn't sustain the story over three hundred
pages. And I looked for that sign in the first fifty. If a ms seemed promising
I skipped ahead to page one hundred and then two hundred, to see if the writer
could still keep my interest.
For the decades I've been reading fiction in all genres, and
especially mysteries, I've often been hooked by the opening paragraphs and then
watched the story fade. This is more likely to happen in literary fiction than
in crime fiction, but it is a problem in every genre. Sometimes this is called
the problem of the sagging middle, or the ending that is more "talky"
that anything else.
The emphasis on the opening pages or paragraphs stems from a
very practical consideration. Editors read with the hope of finding something
that will tell them the book (or story) isn't working and they can stop reading
this one and move on to the next in the pile of mss filling their offices. The
emphasis on the first fifty pages is basically a survival tool for editors.
There is an assumption that if the writer can get the reader fifty pages into
the story, he or she will want to keep reading to find out what happens. That
isn't always true, but the belief is strong. I've fallen into the trap set by
this dictum of the first fifty pages on both sides.
As an editor for The
Larcom Review and The Larcom Press, and an occasional reader for contests, I looked for a sign that the author couldn't sustain the story over three hundred
pages. And I looked for that sign in the first fifty. If a ms seemed promising
I skipped ahead to page one hundred and then two hundred, to see if the writer
could still keep my interest.
As a writer, I have found myself going over and over the
first few chapters, to make sure they set the stage, establish character, and
pose an enticing problem. But I know there is more. I have to avoid the trap of
lavishing attention on the opening and skimping on the rest of the book.
To make sure I don't fall into the trap of focusing more
attention on the beginning than the rest of the book I work on the ms in
chunks, with a list of clues/details that have to be distributed throughout the
story.
Despite my best efforts to avoid the trap of the first fifty
pages, I fall into it just like every other writer. And then I work to climb
out by giving as much attention to the rest of the book.
Good observations. I'm going to try that skipping ahead thing and see if it works for me.
ReplyDeleteLet me know how it words for you. It's one way of making sure the story doesn't live and die in the opening pages.
ReplyDeleteSo True, Susan!
ReplyDeleteThanks for the reminder.
Good luck and God's blessings.
PamT
Thanks for stopping by, Pam.
DeleteI agree regarding the importance of the "1st 50" but I don't know that it always works well for some writers, or even some readers. Personally, I like stories that build up slowly, sort of tease the reader's interest and draws them in. If the first few chapters make me curious, I'm hooked. On the other hand, I've seen stores that introduce and then murder a character within a few pages, and I'm left wondering why I should care of that character, or their death, at all. Sometimes additional background info pops up later, but by then I've lost interest. I guess I think a good balance across the entire book should be as important as the "1st 50" for most writers. It seems like the "1st 50" is primarily valued as a culling tool for editors, which can be unfortunate. Thank you for writing this blog post; very interesting topic.
ReplyDeleteSteven, you've expressed exactly what I was trying to get at. There's more to a great book than the first fifty pages. I too like a story that begins and builds, rather than trying to overwhelm the reader in the opening chapters. Thanks for adding to the discussion.
ReplyDeleteAgree, and then there's the "inciting incident," which according to many, must be introduced quickly. The trick, I think, is not to agonize over those first fifty before writing the rest of the story. And to be careful that each scene starts as strong as the first one did. Then (yes, there's more--LOL), make sure the last fifty pages are as compelling as the first fifty. Nice when we can pull it all off.
ReplyDeleteAll good advice, Jan. And not nearly as easy to do as to describe. Thanks for adding those comments on the inciting incident and the rest of the scenes. None of it is easy.
ReplyDeleteI agree with what's already been said. You need a narrative hook to catch the reader and draw him/her into the story. But it can't stop there.
ReplyDeleteI agree with what's already been said. You need a narrative hook to catch the reader and draw him/her into the story. But it can't stop there.
ReplyDeleteExactly right, jacquie. Thanks for stopping by.
ReplyDelete