Where do you start a story
Filed under Tips & Tools on April 7, 2009
Tagged: fantasy fiction, novels, short stories
One result of the expanded role for Lady Temmere in “Relvan’s Rescue” was my decision to begin the story a few scenes “later” than where I originally started it. Where to start your fantasy fiction story is both an important and difficult decision to make. You only get one chance to hook the reader, to make the great first impression. If the opening scene takes place too early, you risk boring the reader. If it takes place too late, the reader may get confused. The question is, what is “too early” or “too late?”
The short answer is “as close to the action as possible.” Don’t spend the first chapters of your fantasy fiction novel cataloging the 1000-year history of your world. Or the prologue, either. That should really be woven into the story, revealed to the reader at relevant points in the plot, drawing them deeper into the rich tapestry you’ve crafted.
Novel writers get away with bending this rule now and again, but the good ones jump right into the thick of things starting at page one, even if that point is way back in history. It’s still directly related to the plot.
Short stories don’t enjoy the same luxury. Arbitrary word limits require fantasy fiction writers to keep a tight focus. Pages of “stage setting” aren’t necessary to establish a character’s motivations or their stakes in conflict. They bloat the manuscript and result in a rushed pace that leaves the reader unsatisfied.
This is an area where I think fantasy fiction novelists could learn from short story writers. It is excessive to spend multiple chapters pounding into the minds of readers the immaturity of the scullery boy who spends his time shirking his duties to fantasize about being a knight, or how much the dying king was beloved by his people in order to contrast the ineptitude/corruption of his heir. A concise scene or two is all it takes in the beginning. There will be plenty of room to develop the characters as the story progresses.
How do you decide where to start your story? Do you mind if the author takes her time getting the ball rolling, or do you prefer having a clear sense of conflict right from the start?
April 7th, 2009 at 6:37 am
I’ve agreed with many “how to” books in that the best place to start a book is with a moment of great change. How close to that moment varies, of course. If life has been peaceful for the protagonist, you start the story just before it suddenly is no longer.
But this is similar, anyway, to your decision to begin as close to the action as possible. Action usually is change.
Jeff LaSala´s last blog post was Savant
April 7th, 2009 at 7:02 am
Yeah, “change” is probably a better descriptor than “action.” The Savant project sounds pretty cool, btw.
April 9th, 2009 at 11:33 am
I’ve taken to tightening up my beginnings, probably almost too much. In the past I’ve had to chop a few pages off the front end because I could feel that the story was taking too long, and now I do that naturally in the story formation process. One of my recent stories started with the main character falling off a cliff. My writing group said that was a wee bit too late so I added a couple of sentences but essentially kept it.
Some of the best advice on this I’ve heard is: Start right before the point at which the hero cannot simply climb back in bed and say ‘screw it.’
You’re right about fantasy novels. More of them should start with a body hitting the floor instead of the long, self-reflective ride into the village looking for a tavern.
Jeff Draper´s last blog post was Generation E
April 9th, 2009 at 10:55 pm
It’s a good question. You’d think the answer would be simple but you’re right that a lot of people don’t get it. These people need to look at successful stories, in any medium, to see how it should work.
In the Matrix, for example, we had a girl trying to escape a group of guys. We didn’t know who the girl was. We didn’t know who the guys were. We didn’t know who was good or bad. And we didn’t know anything about the world’s back story or lore. We only knew that the girl was trying to escape from the guys. It was high tension. It was stylistic. It was fast-paced. It sucked you in.
You’re question about confusing an audience is important, but if the choice is boring an audience or confusing them you opt for confusing them. Audiences are more likely to hang around to see if they can eventually make sense of things than stick around if they’re bored.
bobisimo´s last blog post was Web Browsers
April 9th, 2009 at 10:59 pm
Jeff Draper’s comment about a story starting with a character falling off a cliff is a good point! I think I would amend my comment to say that the “hook” needs to be not only exciting, but also a complete, self-contained story. A girl steals data and escapes from guys is a complete, simple story. A guy jumping off a cliff isn’t. It’s exciting and dramatic and feels like a solid hook but you need the cause/effect to round it out. I like your other comment too, by the way, about climbing back in bed. Good advice.
bobisimo´s last blog post was Web Browsers
April 13th, 2009 at 3:20 pm
Interesting, because that’s what naturally came about when I added a few lines. The added material was the other character telling him to do it. (In a sort of spooky and chilling way.)
Jeff Draper´s last blog post was Othren Four-Scars and the Search for the MacGuffin