Fabulous First Lines for Aspiring Writers, Partie Trois
I suppose that I need to clarify that these encouragements are only for the first line of a novel. I am not giving advice for short stories, novellas, non-fiction, movie scripts, or anything else. Just Novels. Okay?
Let me expand on that just a smidge. Basically, I think you can do about anything with the first line of a short story. For instance, a recent story by Steven King which appeared in my beloved New Yorker magazine had this first line, “They’ve been married for ten years and for a long time everything was O.K.—swell—but now they argue.” And the story went on to explain that the wife died rather shortly thereafter and at a rather young age and that the husband was essentially rather happy about that. He accidentally killed the wife’s dog, too, at about the same time his wife fell over from a heart attack. He seemed rather happy about that, as well. Now, he could smoke anywhere in the house that he wanted. And she was really fat and the dog loved her. So, I think maybe that first line was the whole thing up front. Whoopee.
See, you can get away with anything on the first line of a short story. The reader has nothing to lose by reading a couple of pages. But for a novel you must have more. You must engage them for the long haul: for the big book, for the tome, for whatever it is you have in that three inch thick stack of paper on your desk. (Okay, in my case 0.5 mil of crap.)
I keep telling you vaunting novelists to keep things short: be concise and knifing with your first line. But if you cannot be, then you must have a first line that in and of its own essence is explanatory. More importantly, it must be a full story in a few words. Or, realistically, it must compel the reader to think of a story in only a sentence.
Hemingway was challenged to write a novel in this way. His response was: “For sale: baby shoes, never worn." And he judged this his best work. If you look at it as a full story, it is. That is about as short as it gets, too. So long as the readers’ imagination isn’t too short. Not many publishers would do much with that as a book, even with Hemingway’s name attached.
Thus, I am here to confide to you a great manner in which you should begin your novel.
Now, I mentioned earlier during this pitiful essay that a first line should be terse. It should be concise. Yet, many great novels have begun with a paragraph sentence. Okay. Okay.
Let me caution you: a long opening line must be a story in itself. Here is a favorite of mine from Saul Bellow and it comes at the beginning of Mr. Sammler’s Planet: “Shortly after dawn, or what would have been dawn in a normal sky, Mr. Artur Sammler with his bushy eye took in the books and papers of his West Side bedroom and suspected strongly that they were the wrong books, the wrong papers.” And I suspect that I think that is a great, great line because it is the first thing that I think upon waking every day. But, even so, it tells a complete story rather quickly. How often can you get away with that?
And here is a Proulx’ beginning to one of her classic Wyoming Stories: “Archie and Rose McLaverty staked out a homestead where the Little Weed comes rattling down from the Sierra Madre, water named not for miniature and obnoxious flora but for P. H. Weed, a gold seeker who had starved near its source.” It is a well told story. It might possibly have made a great novel if it had started better and weathered a few more pages. But for a short story, hey, that is a wonderful first line. It tells a rather good story standing by itself.
Charles Frazier wrote Cold Mountain, undoubtedly one of the best first novels of the last three centuries. His second try, Thirteen Moons, which I loved but was less well-received by anyone else had this first line: “There is no scatheless rapture.” Frankly, that could not be more powerful. Take a lesson from it. Five words. Take a lesson from it. Be concise.
Let me expand on that just a smidge. Basically, I think you can do about anything with the first line of a short story. For instance, a recent story by Steven King which appeared in my beloved New Yorker magazine had this first line, “They’ve been married for ten years and for a long time everything was O.K.—swell—but now they argue.” And the story went on to explain that the wife died rather shortly thereafter and at a rather young age and that the husband was essentially rather happy about that. He accidentally killed the wife’s dog, too, at about the same time his wife fell over from a heart attack. He seemed rather happy about that, as well. Now, he could smoke anywhere in the house that he wanted. And she was really fat and the dog loved her. So, I think maybe that first line was the whole thing up front. Whoopee.
See, you can get away with anything on the first line of a short story. The reader has nothing to lose by reading a couple of pages. But for a novel you must have more. You must engage them for the long haul: for the big book, for the tome, for whatever it is you have in that three inch thick stack of paper on your desk. (Okay, in my case 0.5 mil of crap.)
I keep telling you vaunting novelists to keep things short: be concise and knifing with your first line. But if you cannot be, then you must have a first line that in and of its own essence is explanatory. More importantly, it must be a full story in a few words. Or, realistically, it must compel the reader to think of a story in only a sentence.
Hemingway was challenged to write a novel in this way. His response was: “For sale: baby shoes, never worn." And he judged this his best work. If you look at it as a full story, it is. That is about as short as it gets, too. So long as the readers’ imagination isn’t too short. Not many publishers would do much with that as a book, even with Hemingway’s name attached.
Thus, I am here to confide to you a great manner in which you should begin your novel.
Now, I mentioned earlier during this pitiful essay that a first line should be terse. It should be concise. Yet, many great novels have begun with a paragraph sentence. Okay. Okay.
Let me caution you: a long opening line must be a story in itself. Here is a favorite of mine from Saul Bellow and it comes at the beginning of Mr. Sammler’s Planet: “Shortly after dawn, or what would have been dawn in a normal sky, Mr. Artur Sammler with his bushy eye took in the books and papers of his West Side bedroom and suspected strongly that they were the wrong books, the wrong papers.” And I suspect that I think that is a great, great line because it is the first thing that I think upon waking every day. But, even so, it tells a complete story rather quickly. How often can you get away with that?
And here is a Proulx’ beginning to one of her classic Wyoming Stories: “Archie and Rose McLaverty staked out a homestead where the Little Weed comes rattling down from the Sierra Madre, water named not for miniature and obnoxious flora but for P. H. Weed, a gold seeker who had starved near its source.” It is a well told story. It might possibly have made a great novel if it had started better and weathered a few more pages. But for a short story, hey, that is a wonderful first line. It tells a rather good story standing by itself.
Charles Frazier wrote Cold Mountain, undoubtedly one of the best first novels of the last three centuries. His second try, Thirteen Moons, which I loved but was less well-received by anyone else had this first line: “There is no scatheless rapture.” Frankly, that could not be more powerful. Take a lesson from it. Five words. Take a lesson from it. Be concise.
