I agree with your ideas on how the beginning of a book or movie should be crafted because when I was younger, I used to skip on the introductions and prologues of books I read, fiction or nonfiction. Nowadays, as long as it’s not too dragging, I’m fine with any type of “hook” authors use in the beginning.
That said, I think there can be exceptions made to the ten rules mentioned above, because even if you write something out as if they’re plain on first look, there can be content that looks simple but is actually intriguing or even disturbing. For example, I like the beginning of George Orwell’s 1984: “It was a bright cold day in April, and the clocks were striking thirteen.” It looks like a typical exposition but it actually gives us an irony, making a contrast between the tranquil weather and the dystopian setting mentioned later. It also gives us a sense of unease with the clock striking thirteen, a typically considered unlucky number.
I'm reminded of *Ruthless People*. Dale Launer, who'd later become famous for writing *My Cousin Vinny*, was sick of screenplays that started strong and quickly lost momentum. Was it possible to write a movie kept the momentum up, so that the whole thing was as gripping as the intro?
*Ruthless People* opens with Danny DeVito resolving to kill his wife. Then he receives a phone call: his wife has been kidnapped, and if he doesn't pay a ransom, she'll be killed. So he hangs up.
To me, that's one of the great page-tuners in movie history, if you'll forgive the mixed metaphor.
Great post, as usual. It should be noted that the first sentence of "On Beauty" is an homage to the first sentence of EM Forster's "Howards End": "One may as well begin with Helen's letters to her sister."
And having put down Henry James, I hope you'll do penance in a future post by mentioning that James's endings were among the greatest in the history of the novel, along with those of James Joyce, Virginia Woolf, and Philip Roth. (See, for example, "The Bostonians" and "Washington Square.")
I am the opposite. i like long slow works that draw me in. My favorite play is Waiting For Godot. Characterized as a play where nothing happens - Twice. I enjoyed Tolstoy's long, meandering, repetitive novels. I loved Moby Dick. I would have to be paid to watch Mission Impossible movie even on an airplane. (although I enjoyed the original series).
The rule in narrative podcasts is that if you have them in the first two minutes, you probably have them for the first five. And if you have them in the first five, you’ll have them for 45. I follow that rule every episode I produce.
I recently learned there is a name (or phrase) for this: in medias res. I don't know Latin, but I am told it means "into the middle of things": https://en.wikipedia.org/wiki/In_medias_res It is a great technique for creating interest from the get-go.
Fantastic post (and title). Although I just couldn't read the Parfit - I probably got 40 pages in.
I would like to emphasize the often-seemingly-endless backstory of biographies / autobiographies. Not to make this all about me (OK, fine), but I wrote:
"I hate reading biographies where there are a bunch of backstories about grandparents and other relatives. I don’t care about them!"
The piece of advice to leave out the parts you’d skip as a reader is so crucial. Too often when I’m writing, I’m only viewing it through my eyes as the writer without allowing myself space to zoom out and see it through a potential reader’s eyes. It makes for much cleaner, more enjoyable writing!
Paul, I am literally sitting down to add a prologue to the novel I’ve been writing for my daughter, and the headline here made me decide a little procrastination might be wise.
I’m glad I took the time to read it. I know my daughter likes prologues (sorry Elmore) but I will to try to keep it short and gripping.
Working first sentence:
My name is Elmore J. Bloom, and I have been dead for over a hundred years.
I agree with your ideas on how the beginning of a book or movie should be crafted because when I was younger, I used to skip on the introductions and prologues of books I read, fiction or nonfiction. Nowadays, as long as it’s not too dragging, I’m fine with any type of “hook” authors use in the beginning.
That said, I think there can be exceptions made to the ten rules mentioned above, because even if you write something out as if they’re plain on first look, there can be content that looks simple but is actually intriguing or even disturbing. For example, I like the beginning of George Orwell’s 1984: “It was a bright cold day in April, and the clocks were striking thirteen.” It looks like a typical exposition but it actually gives us an irony, making a contrast between the tranquil weather and the dystopian setting mentioned later. It also gives us a sense of unease with the clock striking thirteen, a typically considered unlucky number.
Agreed -- and Orwell's beginning is one of my favorites.
Love this post.
I'm reminded of *Ruthless People*. Dale Launer, who'd later become famous for writing *My Cousin Vinny*, was sick of screenplays that started strong and quickly lost momentum. Was it possible to write a movie kept the momentum up, so that the whole thing was as gripping as the intro?
*Ruthless People* opens with Danny DeVito resolving to kill his wife. Then he receives a phone call: his wife has been kidnapped, and if he doesn't pay a ransom, she'll be killed. So he hangs up.
To me, that's one of the great page-tuners in movie history, if you'll forgive the mixed metaphor.
Great post, as usual. It should be noted that the first sentence of "On Beauty" is an homage to the first sentence of EM Forster's "Howards End": "One may as well begin with Helen's letters to her sister."
And having put down Henry James, I hope you'll do penance in a future post by mentioning that James's endings were among the greatest in the history of the novel, along with those of James Joyce, Virginia Woolf, and Philip Roth. (See, for example, "The Bostonians" and "Washington Square.")
Thanks -- I didn't know about the EM Forster connection.
I am the opposite. i like long slow works that draw me in. My favorite play is Waiting For Godot. Characterized as a play where nothing happens - Twice. I enjoyed Tolstoy's long, meandering, repetitive novels. I loved Moby Dick. I would have to be paid to watch Mission Impossible movie even on an airplane. (although I enjoyed the original series).
Sometimes I like shellfish, and sometimes I like .. Beefburgers! Sorry, I forget the exact quote!
The rule in narrative podcasts is that if you have them in the first two minutes, you probably have them for the first five. And if you have them in the first five, you’ll have them for 45. I follow that rule every episode I produce.
Best first two minutes of a series EVER. Justified.
https://www.youtube.com/watch?v=Ho2_c_LGZfk
I'm shocked, shocked, to know there's a podcast with
no Ads or sponsorship!
I recently learned there is a name (or phrase) for this: in medias res. I don't know Latin, but I am told it means "into the middle of things": https://en.wikipedia.org/wiki/In_medias_res It is a great technique for creating interest from the get-go.
In Medias Res ! Is that in Aristotle's Poetics?
Fantastic post (and title). Although I just couldn't read the Parfit - I probably got 40 pages in.
I would like to emphasize the often-seemingly-endless backstory of biographies / autobiographies. Not to make this all about me (OK, fine), but I wrote:
"I hate reading biographies where there are a bunch of backstories about grandparents and other relatives. I don’t care about them!"
p. 109 https://www.losingmyreligions.net/
Take care, Dr. Bloom
Cool! In my opinion, there's a lot to be talked about when it comes to academic writing. A post about that would be valuable.
Final paragraph FTW Paul; cheers.
The piece of advice to leave out the parts you’d skip as a reader is so crucial. Too often when I’m writing, I’m only viewing it through my eyes as the writer without allowing myself space to zoom out and see it through a potential reader’s eyes. It makes for much cleaner, more enjoyable writing!
Paul, I am literally sitting down to add a prologue to the novel I’ve been writing for my daughter, and the headline here made me decide a little procrastination might be wise.
I’m glad I took the time to read it. I know my daughter likes prologues (sorry Elmore) but I will to try to keep it short and gripping.
Working first sentence:
My name is Elmore J. Bloom, and I have been dead for over a hundred years.
All similarities to people living or dead etc….