Hooking readers with a great first sentence

I’ll say it up front: I’m a real sucker for a good first sentence in a novel. I may read on if the sentence is ho-hum, but I’ll read more eagerly if the first sentence pulls me into the story.

Like many readers I’ll peruse the books on a shelf and pick up novels by authors I’ve previously enjoyed or select a book whose title or cover catches my eye. I’ll flip it over and read the back cover copy and then turn to the first page. Reading the first lines of a novel is like going out on a blind date, I don’t know what to expect, but I’m hoping to be pleasantly surprised, swept off my feet, and fall madly in love.

Some people contend that the most difficult sentences to write in a novel are the first ones. After all, they are the hook that draws people in. My favorite first sentences are the ones that make me ask, “what??” —the lines that peak my curiosity and leave me panting for more. Please don’t give me a weather report or tell me what the character looks like. I want to read a provocative statement or a question that has me hungering for an answer.

Here are a few of my favorite first lines:

In the moments before, she laid a hand on his arm. “No matter what,” she said, giving him a look, “you cannot stop.”
Mercy by Jodi Picoult

A grieving woman, I’ve decided, is like a crème brulee: she begins in a liquid state, endures a period of searing heat, and eventually develops a scablike crust.
Doesn’t She Look Natural by Angela Hunt

I watched her for three days, sitting by myself in the park underneath an elm tree, beside an empty fountain with a series of uneaten sandwiches in my lap and my purse at my side.
Little Earthquakes by Jennifer Weiner

I sneaked down to the boat that night to say this couldn’t happen anymore.
Healing Stones by Nancy Rue

I Twittered a request for favorite first lines, and novelist Lena Nelson Dooley sent me a few:
The click of a rifle being cocked stopped J. L. in his tracks.
Golden Dreams by Kathleen Yapp

On the night of the first murder, a full moon sailed over middle Georgia.
But why Shoot the Magistrate by Patricia Sprinkle

Literary Agent Rachelle Gardner also responded to my Twitter plea for favorite first lines. She teaches a workshop on writing the first page, and here are some sample first pages that she shares with students:

I told you last night that I might be gone sometime, and you said, Where, and I said, To be with the Good Lord, and you said, Why, and I said, Because I’m old, and you said, I don’t think you’re old.
Gilead by Marilynne Robinson

From my first breath in this world, all I wanted was a good set of lungs and the air to fill them with—given circumstances, you might presume, for an American baby of the twentieth century. Think about your own first gasp: a shocking wind roweling so easily down your throat, and you still slipping around in the doctor’s hands. How you yowled! Not a thing on your mind but breakfast, and that was on the way.
Peace Like a River by Leif Enger

I was six years old the first time I disappeared.
Vanishing Acts by Jodi Picoult

In our family, there was no clear line between religion and fly-fishing.
A River Runs Through It by Norman Maclean

Happy families are all alike; every unhappy family is unhappy in its own way. Anna Karenina by Leo Tolstoy

There once was a boy named Eustace Clarence Scrubb and he almost deserved it.
Voyage of the Dawn Treader by C S Lewis.

I have been afraid of putting air in a tire ever since I saw a tractor tire blow up and throw Newt Harbine's father over the top of the Standard Oil sign.
The Bean Trees by Barbara Kingsolver?

Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta.
Lolita by Vladimir Nabokov?

It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife.
Pride and Prejudice by Jane Austen?

What are you thoughts on first lines? Which are your favorites.

For more on first lines, here's the American Book Review’s list of the 100 best first lines from novels.

Author Voice, part four

*This is part four in a series. View parts one, two, and three. 

If you've been following this series, are you understanding author voice a bit more? Author voice is the distinct manner in which a novelist creates sentences and story.

I'd like to share a final author voice, one I've recently discovered.

Dandelion Summer by Lisa Wingate:

A single drop of water changes the ocean. A noted colleague of mine once asserted this as we dawdled over lunch at a restaurant near Cape Canaveral. “How can it not?” he demanded. “Some amount of matter is displaced. There’s transference of energy. Nothing is as it was before.” We were young then, certain of our own importance. Convinced that our presence in the world, that our work, was destined to change it. 

From the above sample, is there little doubt that this book is about relationships?

Here are some more tips to developing your author voice:

1. Allow yourself to be lousy—while you’re finding your voice, some of what you write may very well stink. That’s Okay. It’s all part of the process.

2. Write honestly and allow your passion to shine through. When you write from your personal feelings, your voice will be natural. Write as if you were talking to a friend.

3. Care about your subject matter. If you don’t care what you’re writing about, you’ll never discover your true voice.

4. Play games—Select a picture from a magazine, billboard, or advertisement, and write a one-line sentence about what is going on. Or go through old photo albums and write a short story about one of your favorite pictures.

In Self-Editing for Fiction Writers, Brown and King say, “In order to write with a mature voice, you have to mature first.”

Be passionate with your ideas and put your feelings into your writing. Get emotional, but don’t tell your reader how you feel, show him/her.

What is your opinion? Don’t be afraid to share. Opinions give us our voice.

I encourage you to practice your craft, pursue your voice, and perfect your style. And don’t forget, have fun writing your story!

Author Voice, part three

*This is part three in a series. View parts one and two. 

I hope you’re enjoying the different samples of author voice we're including in this series. I’ve got a few more distinctive voices to share with you.

Beloved by Toni Morrison

There is a lonliness that can be rocked. Arms crossed, knees drawn up; holding on, this motion, unlike a ship’s, smooths and contains the rocker. It’s an inside kind—wrapped tight like a skin. Then there is a loneliness that roams. No rocking can hold it down. It is alive, on its own. A dry and spreading thing that make the sound of one’s own feet going seem to come from a far-off place.

I think you'll agree that Ms. Morrison definitely has her own distinctive voice. I love to get lost in her beautiful, lyrical style.

Tangerine by Marilynn Griffith

Fall came to New York like a Good Samaritan, blanketing the city with a generous wind. Clouds floated tall and wide, majestic like a grown man a good suit. Jean Guerra lent her short hair to the cold, giving the wind a place to leave some goodness. Instead, the air blew past her face a brushed her lips like a kiss from God.

One thing I love about Marilynn Griffith's novels is her use of sensory elements. Her novel Made of Honor had so many delightful references to fragrance that I had to email her one day after I was in a soap and fragrance store in Aspen to tell her that it made me think of her novel.

Here are a few tips on how you can develop your unique voice:

1. Read, read, read—fiction, non-fiction, in your genre, out of your genre.

2. Write, write, write—don’t limit yourself to one particular type or genre of writing. Experiment. Write letters, blogs, dreams, and greeting cards

3. Copy—sit down and copy the voice of an author you admire or whose work is distinctive. You will always put your own spin on the style, incorporating your worldview and your own tone of language.

4. Limit yourself—write only 140-character thoughts. Twitter challenges you to write your thoughts in only 140 characters, you must be able to distill the essence of what you’re communicating. It helps you to boil down your language to the most meaningful idea.

Visit my blog again onThursday for the rest of the list.

Author Voice

A lot of time is spent in writing circles discussing author voice. What is it? How do you perfect it?

According to bestselling author Brandilyn Collins, author voice is the distinct manner in which a novelist creates sentences and story.

Let’s look at some passages from books by two authors and “listen” to a few different voices and what they say to us.

Coming Home by Rosamund Pilcher:

The Porthkerris Council School stood half-way up the steep hill which climbed from the heart of the little town to the empty moors which lay beyond. It was a solid Victorian edifice, built of granite blocks, and had three entrances, marked Boys, Girls, and Infants, a legacy from the days when segregation of the sexes was mandatory. It was surrounded by a Tarmac playground and a tall wrought-iron fence, and presented a fairly forbidding face to the world. But on this late afternoon in December, it stood fairly ablaze with light, and from its open doors streamed a flood of excited children, laden with boot-bags, book-bags, balloons on strings, and small paper bags filled with sweets. They emerged in small groups, jostling and giggling and uttering shrieks of cheerful abuse at each other, before finally dispersing and setting off for home.

What does this author’s voice say to us? Ms. Pilcher invites us into a fictional setting with rich detail but without lingering on the minutia that might bog down the story. (Confession time, she’s one of my all-time favorite authors.) She seems affectionate in describing this scene and wanting us to see the excited children as they head on home. I imagine that I’m sitting in a toasty kitchen, sipping tea while a dear friend tells me a good story.

Here’s another sample:

In Cold Blood by Truman Capote:
The village of Holcomb stands on the high wheat plains of western Kansas, a lonesome area that other Kansans call "out there." Some seventy miles east of the Colorado border, the countryside, with its hard blue skies and desert-clear air, has an atmosphere that is rather more Far West than Middle West. The local accent is barbed with a prairie twang, a ranch-hand nasalness, and the men, many of them, wear narrow frontier trousers, Stetsons, and high-heeled boots with pointed toes. The land is flat, and the views are awesomely extensive; horses, herds of cattle, a white cluster of grain elevators rising as gracefully as Greek temples are visible long before a traveler reaches them.

Capote’s description of Holcomb is almost clinical in style. His voice colors his description of the setting, especially when talks about the local accent. He seems to show no special affection for the area, yet he’s invited us to Holcomb to journey with him as he investigates the story behind a family murdered. His is such a different voice than Pilcher’s, don’t you think?

I have good news and bad news for you today.

The good news is that no one, no other writer, speaker, or thinker can steal your voice. Your voice is what publishers will buy. Your voice is the only product readers can’t get anywhere else.

The bad news is that no one can teach you how to create your voice.

But, I have more good news—with practice, you can discover and develop your voice.
Join me again tomorrow when we look at a few more authors’ voices and continue this discussion.

But, tell me—have you found your author voice?

*This is part one of a four-part series on author voice. Check back on Thursday for part two.