Blogger: Mary Keeley
We humans like variety. We have four hundred sixty real dog breeds to choose from according to the American Kennel Club. Fashion trends change every season. Some people read mostly nonfiction while others prefer fiction, and we can choose any number of genres within either one. But some things about good books are universal and never vary. They are the constants that keep readers turning the pages and going back to an author for more.
It begins with hooking readers on the first few pages. The initial feedback I received from an editor on a client’s manuscript is any author’s goal:
“Before I sent her latest manuscript to my Kindle, I thought I’d read the first few pages, but I was immediately drawn in and had to force myself to stop at page 16. LOL I’m totally caught up in the story already.”
I want to focus on a few constants that work together to pull readers into a book right from the start. Taking a break between the first draft and the next one to take a look at how well you are doing with these is good practice and can save time later on is a good practice. Do this by appropriating feedback from your critique partners, beta readers, book reviews, and editors. Or consult a good book on writing such as The First Five Pages, by Noah Lukeman, or The First 50 Pages, by Jeff Gerke.
Grade yourself between 1 (lowest) to 5 (highest) on your improvement in each item below that applies to your book. The first two items apply to fiction, and the next two apply to nonfiction. The last two relate to both fiction and nonfiction.
- Characters. Likeable protagonist; likeable heroine and hero. Even if they have caused their current mess, their motivation and goals are sincere and honorable.
- Pacing. The action and inner thought move the plot forward steadily. Unnecessary words, sentences, scenes, and chapters that slow the pace are stripped, allowing consistent forward momentum.
- State your case. You established the problem and how your unique message is going to help readers deal with it positively and find hope.
- Earn readers’ trust. In the opening pages you explain how your experience and training give you authority to speak on your topic and an understanding of the needs of readers dealing with issues on your topic.
- Use of words. Every word has a purpose, and you searched until you found the perfect words.
- Flow. The cadence of sentences strung together creates a pleasing rhythm. Readers might not be aware of the effect it has on the reading experience, but if you do it well, agents and editors surely notice it and will be impressed with your writing ability.
So now, how did you fare on the self-assessment of your work? Which of the above are most problematic for you? Is it easier to do well in the areas that are most important to you as a reader? Celebrate where you have improved, and be encouraged that you can also improve in areas that are persistent challenges. Do you have a personal preference regarding secondary characters?
Shirlee Abbott
A couple weeks ago, I happened upon a folder with some of my writing from years ago. I read a couple pages and laughed. “This is bad!”
Graded by a teacher for a creative writing class, it would earn a decent grade. But would people part with their money for the pleasure of reading it? No!
I may not have arrived yet, but it is comforting to know that I’m on the right path. Posts like this one are signposts along my writing road. Thank you for this, Mary.
Shelli Littleton
I’ve been working with my daughter, preparing for the PSAT, and she’s been reading story after story and answering questions, working on her comprehension. Boring, boring, boring. I’ll read the short pieces and can barely answer the questions because the stories are so boring. But yesterday, she said, “Mom, this was good. I’d like to read this book.” The story was about a foot race, the runner preparing, taking off, inner thoughts on the run … action. It kept me going, too. And these are things I wouldn’t have realized before, but the more you read, the more understanding you have … about the flow, etc. Read, read, read … and try to put that understanding into your own work. It’s a challenge.
Samantha
Ah, yes! You see how other authors do it. You get it, but then you try to work that knowledge in your own writing and…It. Is. Frustrating.
Still, reading is a great teacher. You can spend a whole afternoon devouring a book and call it working, too. It’s a win-win.
Shelli Littleton
Yes, Samantha. I try not to feel guilty over time spent reading because it’s like a writing class. And you discover what you love, your passions. 🙂
Andrew Budek-Schmeisser
Interesting post, Mary, and a nice checklist for both revision and future work.
* While accurate self-analysis is hard, I’d give myself this grade set
– Characters…(4). I could never abide flat characters in my reading, and I’ve put a lot of study into their development. They have to have chiaroscuro, light and shadow, from the outset.
– Pacing…(3). I do tend to start by letting characters get to know one another, and letting the audience see them in the normal before putting a large conflict in their path.
– Stating the case…(3) Again, I’ve used a different paradigm, one in which fog metaphorically clears in slow degrees to reveal the actual landscape of the conflict.
– Earning trust…(4). I try to be pretty up-front about my qualifications (both implicitly and explicitly), and I really hate trying to write about something in which my knowledge is weak.
– Use of words…(3-1/2). I have a very hard time achieving word-count; I’m always low. An excess of parsimony is the best way to put it, and I can leave things a bit flat, especially in regard to protagonist introspection.
– Flow…(4-1/2). I have been impartially praised for this, so I’ll take the outside assessment, thank you!
* Secondary characters are very important to me, both as a reader and as a writer. They set tone and nuance in both plot and character development, and they offer the writer a chance to “walk among” the people she or he has created. A secondary character can be the author’s direct narrative voice, appearing within the story; when used sparingly (very sparingly) these characters can act as jeweled bearings on which the plot can turn. Both Nevil SHute and Susan Howatch were maters of the art.
* Philosophically (for what it’s worth) I use the Starbucks paradigm for the first fifty pages. You meet someone in line, and a conversation develops, both helped and hindered by surrounding distractions, and then…do you choose to share a table and prolong the meeting? Words and body language are everything in the reality; if you watch people in this kind of situation you’ll see that there is a kind of dance. Seeing two people find a rhythm is heartwarming. The literary analog’s a dance, too, at its best leaping, soaring actions enjoyed by graceful and lovely characters.
Samantha
–I can sympathize with word count. I’m minimalistic and have issues grounding a reader in the setting. Let’s just get to the good stuff, I say, but readers apparently want to enjoy the journey and not suffer whiplash. :/
–I like what you said about secondary characters. Books would be lonely without them. They add dimension to a story’s theme, as well. Reflecting different aspects of it you normally wouldn’t be able to explore.
Andrew Budek-Schmeisser
Mary, would you say that ‘earning trust’ for a novelist would also be very accurate research, subtly highlighted within the first chapters?
Samantha
14 out of 20 points. Flow and pacing can be rather elusive sometimes, and I have to always keep it in mind after a first draft. At least I know what needs work and that’s half the battle.
–Characters seem to be my strongest area from the feedback I’ve received. And yes, the characters’ likeability is the most important factor to me as a reader. It makes sense. Ultimately, we write what we want to read.
Carol Ashby
Mary, I’m writing romantic historicals that are also stories of spiritual transformation. In my current WIP, the lead male isn’t very likable at the beginning, but he changes drastically as the story progresses. I have 4-7 POV characters in my plots, so many “secondary” characters are not truly secondary. As in real life, they range from quite noble to realistic rats.
*So, what exactly do you mean by a “likable” character? Do they have to be likable in the sense that you’d want to hang out with them or merely magnetic in the sense that there is something interesting about their unlikableness?
Kristen Joy Wilks
Argh! I just realized recently that I have to be careful not to revise these things out of a rough draft! So frustrating, but now I know. Make it better, but do not squash the magic.
Shelli Littleton
Don’t squash the magic … love that, Kristen. 🙂
Shawn D. Brink
Like polishing a rock until it gleams like a gem, I do edit after edit after edit to make sure that those first pages pop. It is amazing how many times, those first pages can be improved with additional rewrites. Thanks for sharing this info – God bless!