Making an Emotional Impact on Readers

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When I think back to the best books I’ve ever read, the ones that stand out most have made an emotional impact on me. They have made me feel something that I didn’t feel before. It doesn’t happen often, but when it does, it’s magic. And isn’t that what we want to create with our writing? Magic. Wouldn’t it be nice to make readers feel something when they read your work?

That something can be anything—joy, anger, surprise. Some books I’ve read have put a huge smile on my face, like The Messy Lives of Book People by Phaedra Patrick. Others have left me feeling sad but hopeful, like The Book of Ruth by Jane Hamilton and The Nightingale by Kristin Hannah. Yet others leave me feeling introspective, like The Truth about Forever by Sarah Dessen. 

While each of these books represent different genres, the one thing they have in common is the presence of empathy. Some would call that heart. Without heart, without empathy, what kind of story do you have? A story that isn’t memorable.

How do these authors create this literary magic? Why do their books touch my heart and soul when so many others don’t? There are five things that these stories have in common.

They craft an engaging plot. Not only do these best stories begin with a compelling premise, they take me on a journey with more twists and turns than a roller coaster ride.  Note how many twists occurred toward the end of The Nightingale that, at times, shocked and saddened me (and many other readers, I’m sure). Those plot twists were even more dramatic to me because I bought into the story from the very beginning. I had connected with the characters, and I saw what was at stake for them. With rising stakes, the story built momentum toward a dramatic conclusion.

They create relatable main characters. If I can’t connect with the main character, I’m not likely to follow along on their journey. Creating meaningful and relatable characters takes skill. Authors need to understand everything about them—what they look like, what they think, their habits and hobbies. Even if they aren’t the most likeable people, there is something about them that makes me want to root for them, like Ruth in The Book of Ruth, who was smarter and more observant than people in her life gave her credit for. There is usually something they desire, something they feel is lacking in their lives, like love, success, respect, or wealth. Put them into difficult situations with rising stakes, and I can’t help but follow them on their journey. When I can see the complexity of a character’s personality, complete with their strengths, flaws and desires, I can relate to them more easily

They bring us inside the character’s world view. There are moments when the lead character pauses to reflect on the world around them and what they have experienced. Through their thoughts, I’m able to see how the character was changing and growing. Dessen is especially adept at this, often bringing me inside her character’s head so I could see the world through her eyes, often written with an emotional depth and empathy far beyond her character’s teen years.  

They provide vivid sensory details and imagery.  Through vivid sensory details and imagery, these authors created a world for me to experience along with their characters. I saw what they saw, whether that’s the deep blue of the ocean or the various shades of green in the forest. I could taste the crispness of the apple, smell the sweetness of freshly baked cookies just out of the oven, or hear the roar and whistle of the wind during a storm. These details, gave me a sense of place as if I was there with the characters. It’s another way I connected with the characters.

They provide a satisfactory ending. There is nothing more disheartening than to spend hours reading a book that doesn’t resolve all the conflicts to the readers’ satisfaction. When I’ve spent so much time with a story, I want to see the pay off at the end. When it doesn’t come, I feel cheated. In the best books I’ve read, the author tied up loose ends in a way that made sense to the story. It may not have been the happiest of endings, but at least, it provided some hope for the characters’ future. And that makes reading the story worthwhile.

The best books are ones you want to keep reading, even after the story ends. The best ones touch you in some emotional way, and that’s what makes them memorable and shareable.

What about you? What books have left an emotional mark on you? How did the author accomplish that?

10 Signs Readers Connect with a Story

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Over the weekend, I stayed up past my regular bed time to finish a book I’d been reading. That doesn’t happen often. Usually, after reading a chapter or two, I’m ready to hit the sack.

But this book, The Truth about Forever by Sarah Dessen, made me want to keep reading until the end. With about 40 pages left to read and the climax fast approaching, I didn’t want to wait until the morning to find out how the story ended. So I kept reading.

That experience made me wonder about reader engagement. Are there certain signs or behaviors that show readers are engaged with your story? I thought about my own reactions when I read. I started to notice the differences between how I feel about a story that truly engages my heart and mind and ones that fail to connect with me.

There’s a lesson to be learned here for aspiring writers. When writing your own stories, think about how you want your readers to react to them. What do you want them to remember about your story? How do you want them to feel when they finish reading it?  

So how do you know your story is connecting with readers? Here are the signs I’ve noticed in my reading experience. Which of these reactions resonate with you?

  • I keep turning the pages to find out what’s next. Sometimes that means staying up late past my bed time to finish reading a book. Especially if I’m getting close to the end of the book and I want to finish it. It’s that feeling of unfinished business that prevents me from turning off the light. So I keep turning the pages until I get to The End.
  • I mark the pages with memorable passages. Some of the books that are the most engaging tend to have moments of profound insight. When I find a passage that’s especially poetic and insightful, I use a post-it note to tab those sections, just in case I want to go back and read them. That way, I can find them more easily.
  • I want to find out more about the author. Where are they located? Did they obtain an MFA? How many other books did they write? After reading Dessen’s book, I did a Google search about her and read summaries of her other books, making note of which ones I want to read.
  • I refuse to give the book away—at least not right away. After I’ve read my favorite books, they tend to sit on my shelf for several years sometimes. A part of me wants to stay connected with the story for as long as possible. By giving the book away, I feel like I might forget the story. So I hold onto it until I’m ready to part with it, usually when I need to make space for other books.
  • I share my experience with other readers. I gladly refer the book to someone else who’s looking for an engaging read. I might even take a photo of the cover and share it with my friends on Facebook. Or I might write about it here on my blog. If the book is that good, it’s a shame to keep it to yourself. I have to let other people know about it.
  • I tell myself that this is the type of story I want to write. I observe how the writer has weaved the plot points, developed the characters and created suspense. There’s a lot I can learn from observing how they developed their story. Add to it some emotional insight or message that resonates with me, and I’ve found the formula for success. I know then that that’s the type of story I want to write.
  • I constantly think about the story and the characters when I’m not actively reading it. I could be doing some house cleaning or going for a walk, but I may still think about certain scenes that somehow stay with me.
  • I occasionally think about the book long after I’ve read it. It could be six months later or several years later, and I’m still thinking about the story. Perhaps that is the greatest level of engagement—longevity. I will always remember how I felt reading the ending of The Nightingale, even though I read it about five years ago. Some books simply have staying power.
  • The book touches my emotions in some way. When I get to the end of a story, I check in with myself. How do I feel about how the story ended? Satisfied? Surprised? Disbelieving? When I finished reading The Messy Lives of Book People by Phaedra Patrick (which is still sitting on my book shelf), I recall having a big smile on my face. The book gave me such joy, and the journey the author took me on was satisfying in so many ways. Patrick resolved all the plots in a way that not only made sense, but made me feel good. That’s a mark of a smart story teller.
  • I develop a relationship with the main character. When I can connect with the main character, I have more at stake in the story—the protagonist’s story. I’m a bit partial to first person POV, and Dessen used it effectively to bring emotional depth to her main character. I felt her pain and her joy. I saw what she saw and experienced what she did. When I connect with the main character, I want to keep reading to make sure they find their happily ever after.

    What about you? What signs do you see in your own reading experience that show you are truly engaged with the story?

Tips for Creating a Compelling Opening Chapter

I had planned to write a post about what makes a great opening chapter or first 10 pages, then I realized I had already written a post about it several years ago.. I couldn’t think of any way to improve it, so I am repeating it here. The information is especially helpful for those participating in National Novel Writing Month (NaNoWriMo).

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If you’ve ever read The Nightingale by Kristin Hannah, you probably remember this opening line:

“If I have learned anything in this long life of mine, it is this: In love, we find out who we want to be; in war, we find out who we are.”

I’d be hard pressed to find any opening more poignant than this one. From the very start, readers are taken on an emotional journey that doesn’t end until the final sentence.

Writers are tasked with the challenge to create a similar experience with their readers. The start of any  novel should accomplish several things: create the tone of the story, provide the point of view, reveal character, and show tension and conflict, among other things. Certainly, the opening line from The Nightingale accomplishes most of these objectives. Does your story do the same?

Why is the opening so critical? Because if it doesn’t grab the reader’s interest and keep it for the first few pages, the reader will likely close the book and set it aside, never getting to the end of it. Ask any published author, editor or agent what makes a strong opening, and you’ll hear a number of answers, which are summarized below. And these suggestions don’t just pertain to fiction, but to short stories, memoir and non-fiction works too. Without a compelling start, readers will dismiss your effort.

If you are participating in NaNoWriMo (National Novel Writing Month), keep the following suggestions in mind as you write the opening of your novel.

1. Skip the prologue. There is ongoing debate about the merits of a prologue. Many editors and agents feel they aren’t necessary. I tend to agree with them. I’ve rarely read a prologue that made a difference in my understanding of the plot. The one exception is Caught by Harlan Coben, which provided sufficient background on one of the main characters to make you second guess the outcome. But if you plan your story well and write the opening pages right, there shouldn’t be a need for a prologue.

2. Create a protagonist that readers will care about. The opening is your opportunity to reveal your protagonist’s character. Is he/she rebellious, angry, ambitious or curious? In the above opening from The Nightingale, the character speaking is introspective and perhaps has gained wisdom from life experience. It makes me care about who she is and what else she (and it is a she, btw) might have to say.

3. Ground your reader in the story’s setting. According to the Write Practice blog, let readers see where the story takes place. Establish early on what the setting is for the story – the time period, the location, the season of the year, etc. When the reader feels grounded in the setting, they feel mentally prepared to experience the events as the characters do.

4. Create conflict and tension. Identify what the inciting incident is – that starting point to your story that changes the status quo. Where is the conflict? Is that conflict with another character, with a situation or within themselves? That conflict is needed to create tension, which helps draw readers in and keep them reading to see how the conflict is resolved.  

5. Don’t frontload with dialogue or action. According to Fuse Literary, too much action or dialogue can confuse readers. Sure, you want to start with some sort of action, but an opening chapter heavy on action and dialogue and not enough narrative or backstory can be confusing to readers who may need a point of reference to understand what is happening on the page. You need some action, of course, but balance it with some narrative so you don’t lose readers’ interest.

6. Don’t overload the opening with backstory either. According to recent Reedsy webinar, Crafting a Novel Opening, writers should focus on what the reader needs to know at that moment. There’s plenty of time to reveal backstory and world building as the story progresses, says Shaelin Bishop who led the discussion. Weave in backstory throughout the length of the manuscript, and allow details to breathe between scenes. This approach will help with the pacing too. If readers are overloaded with details up front, they may feel overwhelmed.

7. Hook the reader with an interesting twist. Start where the story gets interesting, which is usually at the point where there’s a change in the status quo. For example, the protagonist gets a letter with good news or bad news, a new person enters the protagonist’s life, or they get into an accident that alters the course of their life.  “Show what is interesting rather than focusing on the mundane. It’s okay to show less of the status quo than you think you need to,” says Shaelin Bishop with Reedsy. This approach avoids overloading your opening chapter with too many details that can bore your reader.

8. Every scene should serve several purposes. For example, one scene can establish the tone of the story, reveal something about the character and hint at future conflict. This sounds complex, but it’s necessary to keep the story moving forward and keep readers interested. Don’t waste your first sentence, or any sentence for that matter. Write every scene with a purpose in mind. If it doesn’t serve  purpose, and if a character doesn’t serve a purpose, cut them out.

To get into the habit of writing stronger openings, try these two exercises.

Exercise 1: Take 10 minutes and create as many opening sentences as you can think of. It could be for a current work in progress or any other story. Experiment with different perspectives. Here are a couple of examples of intriguing openings that made me keep reading:

“You would think it would be impossible to find anything new in the world, creatures no man has ever seen before, one-of-a-kind oddities in which nature has taken a backseat to the coursing pulse of the fantastical and the marvelous. I can tell you with certainty that such things exists ….”
The Museum of Extraordinary Things, Alice Hoffman

“My name is Serena Frome (rhymes with plume) and almost forty years ago I was sent on a secret mission for the British Security Service. I didn’t return safely. Within eighteen months of joining, I was sacked, having disgraced myself and ruined my lover, though he certainly had a hand in his own undoing.”
Sweet Tooth, Ian McEwan

Exercise 2: Select five novels from your collection that you enjoyed reading. Go back and read the first page from each one. What made you turn the page? Why did it grab your interest? Did it reveal anything about the setting, tone or character? Did it create tension and conflict? What can you learn from these first pages that you can adapt to your own work?

Follow these tips to make your opening chapter compelling enough to keep readers engaged to the very end.

The Seven Scariest Excuses People Make to Avoid Writing

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This is a repost from several years ago. The information is just as helpful and pertinent today as it was then. As always, thanks for reading, and keep writing.

If you’re like most people, you’ve probably made a myriad of excuses for not getting any writing done – lack of time, fear of failure, too busy, no privacy, nothing to write about, etc.

Below are the seven most common excuses I’ve heard people use to explain why they aren’t writing. I call them the Seven Deadly Excuses because I believe they can kill a person’s writing practice before it has a chance to flourish. Many of these excuses are influenced by negative messages and assumptions you might have heard since childhood. By reframing these messages and taking positive action, those fears can diminish over time.

Excuse 1: “I don’t have time to write.”
A lack of time is the most common excuse people make about not writing. If this is your biggest fear, chances are your writing practice has never gotten off the ground, or you write in fits and starts. You always talk about wanting to write, but you never do anything about it.

The problem isn’t that you don’t have time to write, but the expectation of how much time is needed for writing. If you expect a writing practice to take up two, three or four hours every day, that is unrealistic. No one has that kind of time. With full-time jobs, clients to take care of, families to raise and other important responsibilities, there’s little time left over for writing.

The truth is, you don’t need hours at a time to begin writing. When you’re just starting out, only 10 or 15 minutes a day will suffice. For example, while working as an attorney, A Time to Kill author John Grisham set a goal of writing one page per day, roughly 200 words, and he got up a half hour early each day to achieve that. Grisham shows it is possible to fit writing into your schedule.

Excuse #2: “I’m too busy.” 
When you say that you’re too busy to write, what you may actually be saying is that writing is a low priority compared to other responsibilities, such as a work, school, taking care of kids or aging parents, etc. Who has time to begin a writing practice when all these other priorities compete for your attention?

Perhaps you learned in childhood that school work and household chores came first before you could do anything else, whether that was watching TV or playing with your friends. Writing became a low priority.

But maybe it’s time to rethink those priorities. Maybe it’s time to make writing a higher priority than before. When you make writing a priority, you’ll find it’s easier to begin a regular writing practice. If all you need is 15 minutes a day, that’s time well spent, no matter how busy you are.

Excuse 3: “My writing isn’t good enough.”
From the moment you put pen to paper, your writing probably won’t be very good. First drafts never are good. That’s true for most writers, including successfully published ones. Kristin Hannah, author of The Nightingale, writes as many as 10 drafts of each novel, according to her website. Experienced writers understand that the first draft is simply the starting point that you can build on.

If you continually tell yourself that your writing isn’t good enough, ask yourself why you feel that way. Is it not good enough for publication? For other people to see? Once you understand why you feel you’re writing isn’t good enough, you can take steps to rethink your approach to writing.

Instead of berating yourself for not writing well, make a plan to keep improving. Read authors whose work you admire, so you can learn from them. When you write something, ask for feedback. Avoid squirming when you receive their feedback. Constructive criticism can help you spot recurring errors. Most important, write, write, write.

Excuse 4: “I don’t know what to write about!”
Do you suffer from blank page syndrome – the act of staring at a blank page or computer screen with no idea what to write about?  Or when you do come up with a story ideas, do you dismiss it as uninteresting?

When faced with a blank page, you may be overlooking the best source of story ideas: personal experience. You have plenty of life experience to draw from, so explore those events from your past to adapt to your stories. One way to access this reservoir of life experience is with writing prompts. You can find hundreds of prompts on sites such as  Writer’s Digest and DIYMFA.com.

Excuse 5: “I don’t have a private space to write.”
If you share a home with a spouse, three children, a dog and two cats, it may be difficult to find a quiet, private space to write. Others believe that without ideal circumstances, such as a desk and comfortable chair, their favorite coffee mug and favorite pen, they’re just not able to write.

You need to ask yourself if the problem is an actual lack of space, or the expectation that you need a lot of space to write. I’ve drafted blog posts on breaks at work, on buses and trains or while waiting for appointments. If you wish you had ideal surroundings and your current environment is far from ideal, you may be waiting forever to start writing. The truth is, your environment does not need to be perfect to begin writing.

Excuse 6:  “I’m afraid to fail.”
Another common excuse writers make is “What if I fail?“  The answer depends on how you define failure. What does failure look like to you? Not getting published? Not finishing your current work-in-progress? Not having anyone read your work? Not having anyone take your writing as seriously as you do? Everybody has their own definition of failure, but in reality, there is only one true failure: not writing at all.

To remove that fear of failure, it might be helpful to start small and work your way toward bigger projects. Start with stories of 100 words, then increase it to 200 words, and so on. Every week or so, add to your daily word count. When you reach these smaller goals, you gain confidence in yourself and you achieve small successes that you can build on.

Excuse 7: “What if I’m successful?”
While fear of failure is common among writers, others suffer from a different malaise:  fear of success. “How can anyone be afraid to succeed?” you ask. You’d be surprised at how many people fear success, myself included.

Fear of success might manifest as an unfinished project – or two, or three or ten. You have several projects in various stages of completion but never seem to finish any of them. In your mind, finishing one of them means you’ve achieved success. Then you worry about what happens when you finish that project. Perhaps you edit your piece over and over again, never fully satisfied with what you’ve written – a useful delay tactic preventing you from finishing your work.

If you fear success, then you may need to rethink what success means to you. What does it look like? It may look and feel differently to you than to your spouse or your best friend. Are you defining success on your terms or someone else’s?

When you define success on your terms, there should be no reason to fear it because you’ve defined it based on real, concrete and meaningful terms. It’s when you follow the path of success that others have defined for you that can strike fear in you. Write  according to your definition of success, not anyone else’s.

When you take steps to conquer your fears, the writing life won’t seem so scary.


Must-Read Historical Fiction with Strong Leading Female Protagonists

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March is Women’s History Month, and to commemorate the occasion, this week’s post will focus on historical fiction featuring strong female protagonists.

Throughout history, women have made huge contributions to our world – in science, politics, lifestyle, sports and, of course, literature. It makes sense to tell their stories to showcase their accomplishments. Even fictionalized accounts of real events can bring meaning to today’s readers.

Historical fiction can mean a number of things. It could be fictionalized stories that take place during  true events, such as World War II (Kristin Hannah’s The Nightingale), or it could be a fictionalized story of the lives of real people (Becoming Jane Eyre by Sheila Kohler).

While I don’t read a lot of historical fiction, I’ve read enough of them to compile my list of must-reads. Below are my top choices of historical fiction featuring strong leading female characters. They are not listed in any particular order. In some cases, I’ve included alternates choices.

Do you read historical fiction? Which of the stories you’ve read would you recommend?

* The Nightingale by Kristin Hannah

The Nightingale is the story of two sisters who find themselves facing life-changing horrors during Germany’s occupation of France during World War II. Vianne and Isabelle resist the war in ways they never thought possible. Beautifully written and at times heartbreaking, The Nightingale has one of the most poignant and memorable endings. It is currently being made into a movie starring real-life sisters, Dakota and Elle Fanning.

Alternate choice: Winter Garden, also by Kristin Hannah

Set in the year 70 C.E, 900 Jews held out for months against the Roman army on Masada, a mountain in the Judean desert. Historians say only two women and five children survived. Hoffman’s novel tells the stories of four bold and resourceful women, each of whom has come to mountain by different means. It took Hoffman five years to research and write this lengthy novel. Beautifully written but at times painful to read. Be patient; the book starts out slow and meanders in the opening section, but with each women’s story, readers get a view of the horrific pain and devastation that affected so many lives.

Alternate choice: The Museum of Extraordinary Things, also by Alice Hoffman

  • In The Time of the Butterflies by Julia Alvarez

    In November 1960, three sisters were found dead near their wrecked Jeep at the bottom of a 150-foot cliff in the Dominican Republic. A fourth sister lives however. The sisters, whose code name was Las Mariposas (the Butterflies) were leading opponents of the country’s dictatorship. The story is told through the voices of the four sisters who speak across several decades of their lives up until their deaths. I found the story intriguing and heartbreaking at times.

Set in Charleston in the early 1800s, The Invention of Wings tells the story of the two Grimke sisters, Angelina and Sarah, who became early abolitionists and advocates for women’s rights. When 11-year-old Sarah is given 10-year-old Handful to be her personal maid, Sarah balks. With alternating viewpoints, the story shows how their relationship evolves over 35 years.

Alternate: The Secret Life of Bees also by Sue Monk Kidd  

The only book on my list written by a man, The Book Thief is also set during World War II. While standing at her brother’s grave site, Liesel finds a book buried in the snow, which spurs her love of books. With the help of her step-father and a Jewish refugee that her family hides, she learns to read. Anyone who loves books and reading can empathize with young Liesel who goes to great lengths to spare books from destruction by Nazis. One of the few stories I enjoyed as both a book and a film.

  • Becoming Jane Eyre by Sheila Kohler

    Interestingly, I find this fictionalized account of the life of Charlotte Bronte far more compelling than the original Jane Eyre. The story covers the last nine years of Bronte’s life, her relationship with her father and sisters and how she came to write Jane Eyre.

How many drafts do writers need to complete their story?

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No, that is not a trick question.

That very question was posed recently by author Samantha Hoffman at the Chicago Writers Association blog. It got me thinking about my own writing journey and the multiple manuscripts that lie in my desk drawer. The ones I’ve begun but never quite finished. It should make you think about your own writing process too.

I’m impressed by people who can knock out a 90,000-word novel in three drafts. I figure they’re either doing something right, or their stuff is still needs significant editing and they don’t realize it yet.

As the calendar flips over to November and National Novel Writing Month begins, it’s a question that may run in the back of your mind too. How many drafts do I need before my story is truly polished and ready for publication?

That all depends on who you ask, of course. Hoffman has her own response: “Finish draft one, then keep going until it’s the best it can be, keeping in mind you’re not looking for perfection because perfection is a myth. Make it the best it can be at the time. Or keep going until you’re simply sick of it.”

Tegan Atkins at Writers’ Edit blog writes that the answer depends on the type of writer you are as well as several other factors:

* Genre – Fantasy authors may go through more drafts of their story than someone penning a memoir because they’re creating an entire new world from their imaginations. That creative process can take more time to iron out all the details.

* Writing experience – Newer writers are likely to go through more drafts of their story than someone who has published previously, although that’s not always the case. Kristin Hannah, who has published 24 books in her career, has been known to go through 10 drafts of her novels before they’re published, according to her website. Newbies are still conquering the nuances of fiction writing, such as plot development and character arcs. Because they’re working their way through the creative process, it will likely take them longer for them to be truly finished with their manuscript. In many situations, Sabre says, new writers never finish.

* Hobby vs. career – Career writers are more used to the writing process and have developed their systems for getting the manuscript done. Hobbyists may approach the effort more leisurely and may not be as nit-picky in their self-editing process. For their work to be taken seriously, career writers may hire a professional editor to critique their manuscript while hobbyists may bypass the services of a professional editor. Hobbyists’ goal may be to write a collection of stories for their family while career writers are more serious about getting their writing published to the masses.

In the end, the number of drafts you need depends on you – your goal for the story, how complex the story line is and how much of a planner and perfectionist you are with regards to your writing. I’ve heard that the industry standard is five to seven drafts to get a story in shape. As I finish the second draft of my work-in-progress, I can take comfort in knowing I’m on track.

So as we enter the month of November and National Novel Writing Month, remember that you can’t begin to think about multiple drafts until you get the first one down on paper. The real answer to the question “How many drafts are needed to complete my manuscript?” is this:

However many it takes to make you feel satisfied that you’ve done everything you can to make it the best it can be.

Or at least until you’re sick of looking at it.

Novel Beginnings: Eight Tips for Writing a More Compelling Opening Chapter

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If you have ever read The Nightingale by Kristin Hannah, you probably remember this opening line:

“If I have learned anything in this long life of mine, it is this: In love, we find out who we want to be; in war, we find out who we are.”

I’d be hard pressed to find any opening more poignant than this one. From the very start, readers are taken on an emotional journey that doesn’t end until the final sentence.

Writers are tasked with the challenge to create a similar experience with their readers. The start of any  novel should accomplish several things: create the tone of the story, provide the point of view, reveal character, and show tension and conflict, among other things. Certainly, the opening line from The Nightingale accomplishes most of these objectives. Does your story do the same?

Why is the opening so critical? Because if it doesn’t grab the reader’s interest and keep it for the first few pages, the reader will likely close the book and set it aside, never getting to the end of it. Ask any published author, editor or agent what makes a strong opening, and you’ll hear a number of answers, which are summarized below. And these suggestions don’t just pertain to fiction, but to short stories, memoir and non-fiction works too. Without a compelling start, readers will dismiss your effort.

If you are participating in NaNoWriMo (National Novel Writing Month), it might be helpful to keep the following suggestions in mind as you write the opening of your novel.

1. Skip the prologue. There is ongoing debate about the merits of a prologue. Many editors and agents feel they aren’t necessary. I tend to agree with them. I’ve rarely read a prologue that made a difference in my understanding of the plot. The one exception is Caught by Harlan Coben, which provided sufficient background on one of the main characters to make you second guess the outcome. But if you plan your story well and write the opening pages right, there shouldn’t be a need for a prologue.

2. Create a protagonist that readers will care about. The opening is your opportunity to reveal your protagonist’s character. Is he/she rebellious, angry, ambitious or curious? In the above opening from The Nightingale, the character speaking is introspective and perhaps has gained wisdom from life experience. It makes me care about who she is and what else she (and it is a she, btw) might have to say.

3. Ground your reader in the story’s setting. According to the Write Practice blog, let readers see where the story takes place. Establish early on what the setting is for the story – the time period, the location, the season of the year, etc. When the reader feels grounded in the setting, they feel mentally prepared to experience the events as the characters do.

4. Create conflict and tension. Identify what the inciting incident is – that starting point to your story that changes the status quo. Where is the conflict? Is that conflict with another character, with a situation or within themselves? That conflict is needed to create tension, which helps draw readers in and keep them reading to see how the conflict is resolved.  

5. Don’t frontload with dialogue or action. According to Fuse Literary, too much action or dialogue can confuse readers. Sure, you want to start with some sort of action, but an opening chapter heavy on action and dialogue and not enough narrative or backstory can be confusing to readers who may need a point of reference to understand what is happening on the page. You need some action, of course, but balance it with some narrative so you don’t lose readers’ interest.

6. Don’t overload the opening with backstory either. According to recent Reedsy webinar, Crafting a Novel Opening, writers should focus on what the reader needs to know at that moment. There’s plenty of time to reveal backstory and world building as the story progresses, says Shaelin Bishop who led the discussion. Weave in backstory throughout the length of the manuscript, and allow details to breathe between scenes. This approach will help with the pacing too. If readers are overloaded with details up front, they may feel overwhelmed.

7. Hook the reader with an interesting twist. Start where the story gets interesting, which is usually at the point where there’s a change in the status quo. For example, the protagonist gets a letter with good news or bad news, a new person enters the protagonist’s life, or they get into an accident that alters the course of their life.  “Show what is interesting rather than focusing on the mundane. It’s okay to show less of the status quo than you think you need to,” says Shaelin Bishop with Reedsy. This approach avoids overloading your opening chapter with too many details that can bore your reader.

8. Every scene should serve several purposes. For example, one scene can establish the tone of the story, reveal something about the character and hint at future conflict. This sounds complex, but it’s necessary to keep the story moving forward and keep readers interested. Don’t waste your first sentence, or any sentence for that matter. Write every scene with a purpose in mind. If it doesn’t serve  purpose, and if a character doesn’t serve a purpose, cut them out.

To get into the habit of writing stronger openings, try these two exercises.

Exercise 1: Take 10 minutes and create as many opening sentences as you can think of. It could be for a current work in progress or any other story. Experiment with different perspectives. Here are a couple of examples of intriguing openings that made me keep reading:

“You would think it would be impossible to find anything new in the world, creatures no man has ever seen before, one-of-a-kind oddities in which nature has taken a backseat to the coursing pulse of the fantastical and the marvelous. I can tell you with certainty that such things exists ….”
The Museum of Extraordinary Things, Alice Hoffman

“My name is Serena Frome (rhymes with plume) and almost forty years ago I was sent on a secret mission for the British Security Service. I didn’t return safely. Within eighteen months of joining, I was sacked, having disgraced myself and ruined my lover, though he certainly had a hand in his own undoing.”
Sweet Tooth, Ian McEwan

Exercise 2: Select five novels from your collection that you enjoyed reading. Go back and read the first page from each one. What made you turn the page? Why did it grab your interest? Did it reveal anything about the setting, tone or character? Did it create tension and conflict? What can you learn from these first pages that you can adapt to your own work?

Hope you find these tips and exercises helpful.  

The Seven Scariest Excuses People Make to Avoid Writing

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If you’re like most people, you’ve probably made a myriad of excuses for not getting any writing done – lack of time, fear of failure, too busy, no privacy, nothing to write about, etc.

Below are the seven most common excuses I’ve heard people use to explain why they aren’t writing. I call them the Seven Deadly Excuses because they can kill a person’s writing practice before it has a chance to flourish. Many of these excuses are influenced by negative messages and assumptions you’ve heard since childhood. By reframing these messages and taking positive action, those fears will diminish over time.

Excuse 1: “I don’t have time to write.”
A lack of time is the most common excuse people make about not writing. If this is your biggest fear, chances are your writing practice has never gotten off the ground, or you write in fits and starts. You always talk about wanting to write, but you never do anything about it.

The problem isn’t that you don’t have time to write, but the expectation of how much time is needed for writing. If you expect a writing practice to take up two, three or four hours every day, that is unrealistic. No one has that kind of time. With full-time jobs, clients to take care of, families to raise and other important responsibilities, there’s little time left over for writing.

The truth is, you don’t need hours at a time to write. When you’re just starting a writing practice, only ten or fifteen minutes a day will suffice. For example, while working as an attorney, A Time to Kill author John Grisham set a goal of writing one page per day, roughly 200 words. Grisham shows it is possible to fit writing into your schedule.

Excuse #2: “I’m too busy.” 
When you say that you’re too busy to write, what you may actually be saying is that writing is a low priority compared to other responsibilities, such as a work, school, taking care of kids or aging parents, etc. Who has time to begin a writing practice when all these other priorities compete for your attention?

Perhaps you learned in childhood that school work and household chores came first before you could watch TV, play with your friends, or write in your diary. If this was your experience, writing became a low priority.

But maybe it’s time to rethink those priorities. Maybe it’s time to make writing a higher priority than before. When you make writing a priority, you’ll find it’s easier to begin a regular writing practice. If all you need is fifteen minutes a day, that’s time well spent, no matter how busy you are.

Excuse 3: “My writing isn’t good enough.”
From the first moment you put pen to paper, your writing probably won’t be very good.
That’s normal for most beginning writers. But it’s true for experienced ones too. Kristin Hannah, author of The Nightingale, writes as many as 10 drafts of each novel because she knows the first draft isn’t her best or final work. It’s simply the starting point that she can build on.

If you continually tell yourself that your writing is not good enough, ask yourself why you feel that way. What is your writing not good enough for? Publication? For other people to see?

Instead of berating yourself for not writing well, make a plan to keep improving. Read authors whose work you admire, so you can learn from them. When you write something, ask for feedback. Constructive criticism can help you spot recurring errors. Most important, write, write, write.

Excuse 4: “I don’t know what to write about!”
Do you suffer from blank page syndrome – the act of staring at a blank page or computer screen with no idea what to write about?  Or when you do come up with a story ideas, do you dismiss it as uninteresting?

When faced with a blank page, you may be overlooking the best source of story ideas: personal experience. You have plenty of life experience to draw from, so explore those events from your past to adapt to your stories. One way to access this reservoir of life experience is with writing prompts. You can find hundreds of prompts on sites such as  Writer’s Digest and DIYMFA.com.

Excuse 5: “I don’t have a private space to write.”
If you share a home with a spouse, three children, a dog and two cats, it may be difficult to find a quiet, private space to write. Others believe that without ideal circumstances, such as a desk and comfortable chair, their favorite coffee mug and favorite pen, they’re just not able to write.

You need to ask yourself if the problem is an actual lack of space, or the expectation that you need a lot of space to write. I’ve drafted blog posts on breaks at work, on buses and trains or while waiting for appointments. If you wish you had ideal surroundings and your current environment is far from ideal, you may be waiting forever to start writing. The truth is, your environment does not need to be perfect to begin writing.

Excuse 6:  “I’m afraid to fail.”
Another common excuse writers make is “What if I fail?“  The answer depends on how you define failure. What does failure look like to you? Not getting published? Not finishing your current work-in-progress? Not having anyone read your work? Not having anyone take your writing as seriously as you do? Everybody has their own definition of failure, but in reality, there is only one true failure: not writing at all.

To remove that fear of failure, it might be helpful to start small and work your way toward bigger projects. Start with stories of 100 words, then increase it to 200 words, and so on. Every week or so, add to your daily word count. When you reach these smaller goals, you gain confidence in yourself and you achieve small successes that you can build on.

Excuse 7: “What if I’m successful?”
While fear of failure is common among writers, others suffer from a different malaise:  fear of success. “How can anyone be afraid to succeed?” you ask. You’d be surprised at how many people fear success, myself included.

Fear of success might manifest as an unfinished project – or two, or three or ten. You have several projects in various stages of completion but never seem to finish any of them. In your mind, finishing one of them means you’ve achieved success. Then you worry about what happens when you finish that project. Perhaps you edit your piece over and over again, never fully satisfied with what you’ve written – a useful delay tactic preventing you from finishing your work.

If you fear success, then you may need to rethink what success means to you. What does it look like? It may look and feel differently to you than to your spouse or your best friend. Are you defining success on your terms or someone else’s?

When you define success on your terms, there should be no reason to fear it because you’ve defined it based on real, concrete and meaningful terms. It’s when you follow the path of success that others have defined for you that can strike fear in you. Write  according to your definition of success, not anyone else’s.

When you manage your expectations to conquer your fears, the writing life won’t seem so scary.