It was one of my wild mornings last week. Sick child at home and I needed some groceries. It was right after 9:00 in the morning when I arrived at the store, hair completely out of control, no makeup, and wearing an outfit I pulled together in the closet without even turning on the light.
At first I didn’t really notice her, this blonde woman. I was having a conversation with some elderly ladies about the best types of trick or treat candy when I first caught a glimpse of her. She was peering intently at me, but not meeting my eyes.
I was deep inside a freezer, reaching for some frozen pasta when I turned around and saw her again. Again she was studying me closely. Hmm.
The third time was at the cash register. I was really ready to get out of there by this time. I was at the grocery store very early, my child had coughed up a lung all night, I looked like hell, and I had this woman staring at me as though I’ve just escaped from a coven.
I ran a hand through my crazy hair. “Oh!” she said. “You’re not wearing earrings at all. I was looking for someone that might have just one earring in….I found one on the floor. Your hair is so long that I couldn’t tell what you were wearing.”
Well, for heaven’s sake. I wish she’d just told me that back at the trick or treating candy. And here I was feeling all self-conscious and icky. It would have been nice to know what her intention was.
When I’m reading the book, I feel the same way. What is the writer’s intent? For me, as a reader, I’d better be able to tell the direction they’re trying to go in pretty early.
I’ve probably already read the back cover copy and likely a blogger review, too. I know what should be happening, plot-wise, in the book.
But if the author seems to be dillydallying around, they’re going to lose me.
It’s a mystery. It’s been billed as a mystery. It’s been promoted as a mystery. Where is the body? Who is going to be the victim? I’m at chapter six and there’s no body? How much set up is really necessary—I’m ready to start figuring out the puzzle.
Or—it’s a fantasy. It’s meant to be a fantasy and I was told it was a fantasy. Why are we still in a modern day, ordinary, urban setting in chapter four? Where’s my fantastical escape? I want to be transported!
Yes, I’m a demanding reader. :)
Editors like authors to start right in the middle of the action, or for us to have action soon afterwards. If I don’t have a body at the very beginning, I’m going to allude to the fact through some foreshadowing that there is a body to come! If the reader just holds on, then I’m going to completely satisfy their expectations.
How about you? If you don’t put your action or introduce your main plot at the beginning of your book, how do you keep the reader’s interest—Humor? Tension? Foreshadowing?
We had a big discussion about that in my critique group Monday evening, trying to decide if longer narrative and less action is okay at the beginning of women’s fiction or historical fiction versus mystery and suspense. Perceived intent definitely makes a difference in the reader’s expectations.
This is why I throw a body at my readers right away. Or, if not an actual body I let them know who’s not going to be around for long. That way, while the reader is learning about the other characters they’re already thinking “Oh, this might be your reason”….
Elspeth
That’s a good point, Elizabeth! In mysteries, it’s so important to make it clear pretty quickly who the victim’s going to be, or at least that there will be one. I don’t have a body right away, but I do make it clear who the victim will be. I build interest (I hope) by foreshadowing and by showing the reader what everyone’s motive will be. The reader gets to meet all of the suspects before “the big event.”
I really like books that start with a bit of character development and description. Action tends to bore me as it seems predictable and and we’ll get to the story eventually. I like to see the characters develop and grow and for that I need to see them before they are running for their lives or knee deep in muck. Though I kind of realise that most readers have less tolerence for this sort of thing and prefer it if we just ‘jump’ in.
I think it also depends on the writer. Some writers make description seem a chore and wading through the pages of it is tiring, while others bring their words to life with warmth and humour and excitement. As long as it flows and grabs me, I don’t really mind.
There’s a lot to be said for establishing your protag firmly in the first chapter, than launching into action towards the end of Ch.1 or the beginning of Ch.2.
I think some mystery writers treat their characters as peripheral to the plot when they begin, which I’m not keen on.
As always, I love the lead in as much as I do the actual intent!
If it is mystery, you better get to the action fast. But if it is a historical novel, I am willing to wade through a couple of pages of setting. Of course, some very rare writers write so well, you actually love the huge introductions before they get to root of the issue.
Incidentally, if we meet in real life, I am not sure you are going to like me too much. Yesterday, for instance, I stared and stared at a lady on the train, and just as she was able to get off (and I hope I had not made her so self conscious that she decided to leave), I told her that the dress she was wearing was the prettiest one I had seen in a very long time!
Helpful reminder to start in the middle of the action. I highly recommend the book HOOKED, by Les Edgerton. It’s purportedly about how to open your story, but it is actually helpful in thinking about your entire novel.
I try to be ruthless about the opening of a book, slashing slacker words and phrases for the sake of distilling the true intent.
Unlike when I was younger and seemed to have unlimited reading time, I like my books to let me in on their intent pretty early. Main characters and plot have to develop pretty quickly to keep me interested :)
As a reader, don’t give me too much character development at first. I get bored easily if there is too much description. Show me (I’m from the Show-Me state). As a writer I like to make readers suspicious from the first and then jerk them around with some thrown in humor (you know me). I wouldn’t want the reader to get to comfortable for too long. I want no snoring.
“Mystery” doesn’t mean dead body to me. What about a robbery? Or any other myriad crimes?
Since I write romantic suspense, you have to write three books in one: his story, her story and the mystery. Maybe four if you include a villain’s POV, but I never do that because I don’t like it when I read it.
So, yes, you need action, you need a reason for the reader to turn pages. I happen to like it when things start out “normal” (not boring, but a less-than-world-shattering problem to solve) and then escalate throughout the book. That initial inciting incident doesn’t have to be the crux of the book, but it has to lead there.
I’m always more interested in the character. I want to know what Harry Bosch is doing, both on and off the job. Likewise Kinsey Milhone, or Lucas Davenport, or Peter Decker, to name just a few.
I’m trying to go back through and introduce it better right now. That was one of the weaknesses of my novel. So far it’s working.
This is a great lesson, Elizabeth, both in writing and in life. Intention is key. If we don’t make our intentions known, we can be misunderstood or someone will make incorrect assumptions about what we mean. Thanks.
karen
This is a great post and made me think about my work. For me it’s a combination of intent and tension. I write romantic suspense for the most part so I try to front load a lot of questions in the reader’s mind.
Hahah! What a creepy lady. Seriously, why didn’t she just ask if you had lost an earring? That was a great segue into your topic – I am also a demanding reader! I give a new book three chapters to hook me. If by the end of three chapters, I haven’t seen the main point yet and it’s all just wishy-washy stuff, I stop reading. I figure the author owes it to the readers to give them the story that is promised. After all, the reader chose to pick that author’s book out of the billions and billions out there. Great post!
I like some character establishment & growth in the beginning as well – but then, I neither read nor write mysteries!
hmmm…well you know it so depends on the writer. Or the person – some folks I like to hear a little about but not quite enough to have them figured. I relish the long time getting to know their story. Maybe they lead me down several circuitous paths but hey I like the trip as much as the destination. I also like some folks that get right to it. And in both cases, inexplicably, I don’t like some folks that shillyshally around and I don’t like some folks that get to the nub too quick. It’s more Poe (atmosphere) than Dickens (character) some days – more Willa Cather (description and mood) and less Elizabeth George (plotting and structure)other days. There isn’t just a writer and a reader – there’s plenty of both and if there was one right way to do it well that would be boring wouldn’t it? Who can tell why we put up with some friends with various quirks and some with the same quirks drive us nuts? Soon as I figure that out I’ll head off to be a hobo. Sure, I know we have a contract with the reader but contracts aren’t as binding as we might believe – even the legal ones. We might need to stretch the boundaries. I remember this fabulous musician – Sneezy Waters was his stage name – he’d pull you and drag you and have you have crazed with wanting to hear him sing with all his stories and carrying on – then kapow! I think Dylan used to be like that before he went too Woody Allan on us. I hope that the one intention of all writers is to tell their truth – other than that – I can go on reading or close the book can’t I?
Well put analogy. And I agree a reader needs to have some idea of the real intent of the book to keep reading. I use humor a lot to keep them entertained while I get to the point, but I also build some conflict in early that demands resolution.
Marvin D Wilson
I prefer some character development before the action descends, though I get that isn’t the standard for mysteries.
I also think I am part of a dwindling minority and it is getting harder and harder to publish books that DO that. I’ve had a heck up a time with CONFLUENCE, and I am SURE it is because I spend a chapter introducing the characters and setting up the story. There is something important that happens, but the reader doesn’t know it or WHY until the end. I ended up pulling a kidnapping to the front just to pull people in because I wasn’t getting much response. I don’t personally like it as well, but i think it has a better shot.
Patricia–And with some authors, you know that’s what you’re going to get. There’s a lot of women’s fic that is heavy on personal growth of the character. There are several authors out there who definitely focus on the protag for a few chapters and let us get to know her. But then I think about the amazingly successful Jodi Picoult and how she starts us off with a bang. So I wonder which is better…
Rayna–Historical novel–yes, I can see that. I still want to know, though. Will there be a romance? A murder? A coup of the kingdom? I want to know what to expect. Gosh, I sound like a pill! :) I really am demanding. But that may be because I’m reading a historical fic book for my book club right now and it’s driving me crazy.
No, I’d think you were nice, Rayna–you’d look me in the eyes and not be staring at the hair around my ears. :)
Elspeth–That’s what I like. Sometimes we don’t even know who the darned victim is going to be. That’s okay for a little while, but then it gets old, fast. Some cover copy doesn’t even list a victim: “When a body is discovered in the middle of the house party, Joan is thrown into the middle of…” Bleh. Who’s my victim?
Margot–That’s something else I expect. Who are my suspects? Who is this housekeeper milling around in chapter three? Is she a suspect? No? Then why am I, the reader, spending time with her? :) I’ve got to buy your book, Margot. It sounds right up my alley.
Cassandra–You bring up a good point. I can deal with reading setting at the beginning if it’s really riveting. Like a fantasy landscape that’s completely foreign, or a desolate location that’s so creepy that I KNOW something really evil is going to happen there. It’s definitely contingent on the skill of the writer.
M.J.–True. I’ve also read books where I haven’t gotten a handle on the protagonist and I’m several chapters in. I need to know the *protagonist’s* intent, too. Where are they coming from? Can I identify with them?
Glen–I haven’t read that one, but it sounds great. I’ll be sure to check it out.
Jemi–Maybe it’s a time factor for me, too. I don’t want to feel like the author is wasting my time when I have so little of it!
Diane–It’s such a tough balance. Because it’s important to care about the characters from the beginning, too.
Journaling Woman–HA! Me too. I wonder if we should be editors instead of writers? We’d be handing back manuscripts, saying, “I decided you needed to start the book at chapter 5.”
Jan–The words of a thoughtful, patient reader! You’re right, of course. The problem is, though, that the editors will decide that there are too many readers like me out there–impatient and time-crunched. No meandering around with a storyline.
But if I’m *expecting* an introspective story with lots of character development, etc, then I’m a lot more patient. But even Dickens juxtaposed action with character development–we got to see how David reacted to his horrid stepfather and to working in a sweatshop. We learned about him through a series of actions.
But most of the time I’m content with waiting when reading lit fic or classical because I’ve *chosen* to read something like that. I think my main complaint is when I think I’m reading genre fic and it’s not delivering. Very good points, Jan.
Terry–Romantic suspense is tricky. Romances are usually very heavy on the character development, and rightly so–that’s the whole point. These 2 characters and what it is about them or their lives that makes a wedge between them.
With romantic *suspense*, you’re having to bring in a completely different element. I think these books would be really hard to write…I give you kudos!
As far as mysteries…it depends. If it’s a general fiction book that has a mysterious premise, then you don’t have to have a body. I might call the genre suspense, though, instead of mystery. With genre mysteries, there’s either a body or someone who is missing…who ends up dead. At least…I can’t think of any modern mysteries that don’t feature murders. They might be out there, but I haven’t read them. Anyone? Margot?
Marvin–Humor is wonderful. I’m willing to put off conflict and action if there’s humor to make life easier!
Hart–You are so right. I got some feedback with “Pretty” early in the querying game and ended up putting in a prologue with a body. Sold right away. I hate to say it, but I think it might be the instant gratification of media coming into play that makes some of us more impatient to get on with it.
Kristen–It makes it faster-paced, doesn’t it?
Karen–You always put the nicest spin on it! I think your right…always best to be clear in everything.
Carol–That’s SUCH a tough genre, as I mentioned to Terry. But I’m a nosy reader too–if there’s something I want to find out more about, I’ll hang on through anything. Teasers. That’s what books need if they don’t start off with a bang.
I probably use tension. Perhaps a bit of foreshadowing, too. You can’t have non-stop action or it loses its impact.
Helen
Straight From Hel
Elizabeth, I think you can definitely have a ‘mystery’ without a body. Sherlock Holmes comes to mind immediately, and I would never consider his works “suspense.”
A mystery is solving a puzzle, and it doesn’t have to be who killed cock robin. It can be who robbed the bank, where is Mary’s lamb, who hacked into my computer and stole my identity … any police procedural will be shelved with mysteries. Private investigators as well as police departments solve a LOT more crimes than homicide.
I like to be caught up in what’s going on right from the beginning, or pretty darn close to it. If not, I begin to lose interest.
Excellent analogy, by the way, of your experience in the store! Great lead-in for a really important point of contention!
Helen–I think tension is a nice compromise between a slow start and an action-packed start. Or to introduce some plot questions or teasers. Something to think about.
Julie–She *was* kind of creepy! And she stood kind of close to me, too. A personal space invasion! :)
I’m with you–there are so many great books out there that I don’t have the time to waste with one that’s not grabbing me. I’m sure that’s what editors are thinking, too!
Crystal–It’s one of those areas where there are lots of different opinions. AND…I think it depends on whether you’re writing or reading a dry clean only type of book or a machine washable type book. All in the level of expectation for the reader…slow build up? No build up? Immediate action? I just wish I had more time to read. :)
How funny. The lady seems like a very sweet (if odd) person. As a reader, I like to be able to tell the intent. If the intent appears to lead one way and the story doesn’t follow, I usually don’t like the book.
Terry–I completely agree with you about the puzzle being the focus of a mystery. It could be that I gravitate toward modern day mysteries that feature body counts. Very likely, actually. :) Good outlet for my latent anger issues…
What a thriller you experienced there!
Couldn´t you use her in a story?
Tara–Exactly! Once I realized that the lady was trying to be nice, I stopped wondering what she was doing and started enjoying being around her. Same with the books….where are we going with this? Once I have that question answered, I can settle down and enjoy the book.