In the beginning of the story, you devoir inculcate your main constitution and the basic plot of the story. The beginning of your story should grasp your tutor ' s attention. It has been oral that considering of the attention spans of people today, you have unequaled 3 - 5 seconds to capture their attention. That ' s not much time. For this reason, your first sentence essential be a powerful one - a hook, seeing we writers call it. It demand capture the tutor ' s attention so that they will want to hold back reading. A stupid first sentence or first matter will ok the orator tossing the book on the fast food or placing it back on the bookshelf. Obviously, that is not what we want. No matter how good your story is, if you fail to hook your preacher with your beginning, your story will probably go unread. Here are a few examples of good beginnings that hook the reader and immediately draw him into the story: Nothing ever starts where we think it does. So of course this doesn ' t begin with the vicious and cowardly murder of an FBI agent and good friend named Betsey Cavalierre. I only thought that it did. My mistake, and a really big and painful one. - Violets Are Blue, James Patterson Notice in this example, the author tells you that the story doesn ' t start where you think it does or even where the main character thought it did. This leaves you wondering where the story actually begins, as well as intrigued by the knowledge that you ' ll be helping to solve a crime. The New England woodcarver Jacob Adams was having a lean year - as lean and unprofitable, he thought, as if the Devil himself had a hand in it. If Jacob Adams had been born two hundred and thirty years later, he would simply have thought, Business is lousy. - Ghost Ship, Dietlof Reiche In this example, you, as the reader, are intrigued by the last sentence. Why would Jacob have thought differently at present than he would have 230 years later? What led him to believe that the Devil himself had a hand in his lean and unprofitable year? In just one short paragraph, you are left with questions that beg to be answered. Winter ' s chill hung in the air like thousands of polished silver shards, poised to fall soundlessly to the ground. A young woman stood in the midst of the chill, heedless of its potential to harm her, and motionless, as if simply breathing in and out was all she could manage. She remained there for quite some time, fighting visibly to keep herself upright. In time, she took a careful step forward, only to rest again, still breathing raggedly, still adding to the frost. - The Mage ' s Daughter, Lynn Kurland Again, the author begins in the middle of the story, leaving you feeling like you must read on to figure out what ' s happening. Who is this young woman? Why is she so weak? What happened to her? Will she be alright? Many new writers are under the impression that at the beginning of the story they have to spill out, in great detail, everything that they know about the main character and the plot of the story. Big mistake! This will cause your readers to feel as if you ' re simply throwing bits of information at them and expecting them to make sense of it. Character development and plot development can take place later in the story. It can be worked in as you go along. Don ' t give in to the temptation to deliver all your facts on the first few pages of your book or first few paragraphs of your story. If you do, you leave your reader with nothing to look forward to, and therefore, no reason to finish reading.
