Great Opening Lines – and Why! (Jan 2019’s Great Opening Lines)

Salinger and Atwood make the list

I wrote in Great Opening Lines – and Why! (Part 3 – Some Great Opening Lines) that I’d share more great opening lines as I found them.

“If you really want to hear about it,…” – J.D. Salinger’s The Catcher in the Rye
First, the full opening line is “If you really want to hear about it, the first thing you’ll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into it, if you want to know the truth.”

You have the entire book in that opening line. The protagonist’s – Holden Caulfield’s – entire self-concept is revealed, the narrative voice established, you know and understand the main character and what you’re in for. Caulfield is talking to you directly, is reluctant to share anything about himself, and tests the reader’s level of interest before revealing anything. Salinger is essentially setting the reader’s expectations in the opening line. Nicely done!

“Out of the gravel there are peonies growing.” – Margaret Atwood’s Alias Grace
The subtlety of that line overpowers me. It’s passive voice about a hopeful image. Talk about a killer emotional combination! Combine it with the complete first paragraph – “Out of the gravel there are peonies growing. They come up through the loose grey pebbles, there buds testing the air like snails’ eyes, then swelling and opening, huge dark-red flowers all shining and glossy like satin. Then they burst and fall to the ground.” – and you have the entire story presaged in a few short sentences, all of which echoes the passive-hopeful promise.

Nice.

Can I be honest about your writing? (Part 7 – Avoid Open Onions)

No one gets to change your work but you

Part 1 – Oh, the Vanity of it all! of this multi-post arc dealt with some folks I knew who vanity published their books back when we called vanity publishers “vanity publishers”.
Part 2 – Vanity/Self-Publishing provided an overview of Vanity and Self publishing.
Part 3 – What Camp Are You In? identified four reasons people consider self-publishing.
Part 4 – Pray thee, Joseph, 4 Y do these books suck? delved into editing that doesn’t help a book.
Part 5 – Could you provide examples of suckness? shared some examples of improving sucky writing (my own).
Part 6 – Opinions are not Facts dealt with extracting actionable information from test audiences.

An important part of improving one’s writing is knowing whose suggestions to pay attention to. Notice, not what suggestions, but whose suggestions. Some people don’t have opinions – they’re not making suggestions – they’re opening onions – their goal is to make you cry, to make you suffer.
Continue reading “Can I be honest about your writing? (Part 7 – Avoid Open Onions)”

Can I be honest about your writing? (Part 5 – Could you provide examples of suckness?)

Tell the same story better

Part 1 – Oh, the Vanity of it all! of this multi-post arc dealt with some folks I knew who vanity published their books back when we called vanity publishers “vanity publishers”.
Part 2 – Vanity/Self-Publishing provided an overview of Vanity and Self publishing.
Part 3 – What Camp Are You In? identified four reasons people consider self-publishing.
Part 4 – Pray thee, Joseph, 4 Y do these books suck? delved into editing that doesn’t help a book.

Can I provide specific examples from other authors, no. I may think a given author’s writing sucks or an individual piece of writing sucks and I still respect the fact that they’re putting something out, that they got off the couch.

General examples, sure:
Continue reading “Can I be honest about your writing? (Part 5 – Could you provide examples of suckness?)”

Great Opening Lines – and Why! (Part 3 – Some Great Opening Lines)

Opening lines that propel the reader into the mythic

This post is the third in a series on what makes any story’s – flash through novel – opening line great. Part 1 provided some background and why opinions only matter if you know enough about a subject to make an informed decision.
Part 2 covered what makes an opening line great.
Let me know what you think are great opening lines and I’ll include them in the series provided you explain what makes them great.

Fish mentions some websites that list beautiful sentences. You can find websites that list great opening lines and Fish has a “First Sentences” chapter in his book.

I had a problem with the websites: they offered a line, its source, but didn’t explain why the line is great.

How frustrating!

Perhaps they feared being subjective, hence being called in error. Kind of like everybody pointing at the sun and saying “That’s the sun.” Not much argument. Ask “Why is that the sun?” and people wonder at your intelligence if not sanity; isn’t it perfectly obvious that the sun is “the sun”?
Continue reading “Great Opening Lines – and Why! (Part 3 – Some Great Opening Lines)”

Great Opening Lines – and Why! (Part 2 -What Makes a Great Opening Line?)

Well crafted prose doesn’t necessarily create great opening lines

This post is the second in a series on what makes any story’s – flash through novel – opening line great. Part 1 provided some background and why opinions only matter if you know enough about a subject to make an informed decision.
Let me know what you think are great opening lines and I’ll include them in the series provided you explain what makes them great.

Where an elegantly crafted sentence doesn’t matter (as much) is with the first, opening line of a story (any length, any genre, fiction). Nancy Ann Dibble (writing as Ansen Dibell) wrote in Plot “…every effective beginning needs to do three things”:

  1. Get the story going and show what kind of story it’s going to be.
  2. Introduce and characterize the protagonist.
  3. Engage the reader’s interest in reading on.

Get past the technical and a great opening line must take the reader into the mythic, specifically the story’s mythic; its setting, plot, characters and so on. At best it’ll propel the reader into the story’s mythic, at the least it’ll invite the reader into the story’s mythic and anything combining those two is over the top good.

A great opening line offers the reader no room for escape, no chance for egress, no opportunity to back away. I state it simply as “You’re either in or you’re out.” A good opening line should either put the reader firmly in the story or leave them at the door, wishing them well, hoping they catch the next train and leaving them to other, more enjoyable journeys.

For them.

Again, subjectivity wins.
Continue reading “Great Opening Lines – and Why! (Part 2 -What Makes a Great Opening Line?)”