‘Your Novel’s First Scene: How to Start Right’ is the title of an article in the February, 2017 issue of The Florida Writer. The main point of the article is: don’t tell too much too soon. It is written by Paula Munier who is Senior Literary Agent and Content Strategist at Talcott Scott Literary Services. She has experience as a journalist, editor, acquisition specialist, digital content manager, publishing executive, author and writing teacher. (!)
She begins the article by mentioning that she moved from “sunny California” to the “Northeast, where winters can be brutal”, and she dreaded the prospect of beginning “a journey, even if it’s only to the grocery store – which means venturing out into sub-zero temperatures to a frigid vehicle that may or may not start. It was a cold prospect I dreaded, until I happened upon two spectacular tools: remote car starters and heated car seats”. These allow her to “slip into a warm seat in a warm vehicle with a warm engine and hit the road. This is a beautiful thing.
“You want to do the same thing with your story. Every reader starts a cold story, and you want to warm the reader up to your story as quickly as possible. You want the reader to slip into a warm seat in a hot story with blazing beginning and take off for parts known only to you, the writer.”
She says, “One of the main reasons so many opening scenes fail is because the writer tries to tell too much about the story too soon. ‘Tell’ is the critical word here. The writer is telling – rather than showing – us the story. Many scenes are overburdened with backstory, description, and the characters’ inner monologue, which leaves little room for the action that should be driving the story forward.”
Ms Munier then suggests an exercise to edit a beginning: mark up the text as follows:
- mark the backstory text (what happened in the past) in blue
- mark the description (of the setting, etc.) in pink
- mark the inner monologue (the characters’ thoughts and feelings) in yellow
I don’t have coloured text on WordPress, but perhaps the reader would like to mark up the beginning several of my recent novels:
Seeking Father Khaliq:
“May I ask you, honoured Professor al-Busiri, if you will go to meet Princess Basheera?”
I looked up reluctantly from the student essay I was reading, and considered the bearing of the woman who had entered my office unannounced. She was tall and slender, graceful; she was motionless, but there was a suggestion of incipient mobility. She was dressed in a black naqib and a jilbab so that I could see only her dark eyes. Her voice, however, had an optimistic lilt to it. She must be about thirty, I thought.
Deliberately, I pushed the essay to one side. “Who, may I ask, is Princess Basheera?”
“She is my employer, sir.”
“And what does this Princess Basheera want with me?”
“She has an assignment that only you can fulfil, Professor.”
This is very strange. A young woman comes into my office at (I glanced at my watch) two thirty-six in the afternoon, and asks me to meet with a Princess Basheera (glad tidings), about whom I know nothing, to undertake an assignment, about which I also know nothing, but which, it is said, only I can undertake.
I closed my fountain pen, thinking for a moment. “Can you give me a reason, madam, why I should say ‘yes’ to your request? I have a full afternoon of work ahead of me, and I cannot afford the time to discuss university business. That should be pursued through the office of administration.”
The woman nodded. “I can assure you, Professor al-Busiri, this has nothing to do with university business. Nor does Princess Basheera wish to sell you any product or service. The assignment is related to your status as a renowned professor of philosophy.”
(Probably too much description and inner monologue)
“There were two documents,” she confided, her eyes fixed on his across the table; “two documents that got him convicted.”
Robert nodded, urging her to continue.
She said, “Nobody testified against him, apparently.”
“What were the documents, Mary Jo?”
She sat back, and folded her arms across her chest. She was wearing a pale blue cardigan with pearl buttons; only the top button was undone. “Well . . .” she began and paused.
“I mean,” it was his turn to lean forward. He looked around the busy Olive Tree restaurant that she had selected: it was near her work in Alexandria, Virginia. No one seemed to be paying attention. “Can you give me an unclassified version?”
“Well,” she said quietly, “one was a diagram of a centrifuge cascade.”
“A centrifuge cascade that’s used to make weapons-grade nuclear material?”
“How could that diagram get him convicted?”
“Because it had the actual levels of . . .” She picked up her menu and seemed to be looking for the waitress. To her menu, she confided: “. . . uranium enrichment on it.”
“Oh, I see, and the levels . . .” He paused. “. . . were much higher than anything the Iranians have announced.”
(Pretty good – no backstory, no inner monologue and very little description)
The Iranian Scorpion:
“So, I remind you of your father’s girlfriend?” Kate inquired with one eyebrow arched provocatively.
Robert was clearly enjoying this conversation. He leaned towards her, his hands clasped around the Gordon’s martini which rested on the hotel’s grey granite bar. “Yes, you do.” He watched her with a not-yet-predatory interest.
She, too, smiled, indicating her willingness to play the game. “In what way do I remind you of your father’s girlfriend?”
“Well . . .” he glanced briefly at the open button on her khaki shirt, then, he studied his martini. “Mary Jo is very good looking . . . and she has a rather nice figure . . . and she is a clever, out-going girl.”
“Girl?” Kate raised that eyebrow again, but this time it expressed scepticism. “If she’s your father’s girlfriend, wouldn’t the word ‘woman’ be more appropriate?”
“No. She’s my age.”
Kate sat back on her tall chair. “And how old would that be? – give or take a few years.”
“In my case it would be thirty-two; in Mary Jo’s, about thirty-four.”
Kate chuckled and took a sip of her white wine. “So the old man likes young skirt.”
He stirred the martini with his forefinger. “Yeah.” There was a note of resentfulness in his response.
(Again, pretty good: no backstory, no inner monologue, perhaps a little too much description.)
This strikes me as a pretty worthwhile exercise.