In a novel, what kind of begining makes you want to read it?

In a novel, what kind of begining makes you want to read it? Topic: Pacing in writing a novel
July 20, 2019 / By Roddy
Question: i want to write a book, and i want to know all of the different things in the beginning of a book that makes the reader think, 'this is definitely worth reading'
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Best Answers: In a novel, what kind of begining makes you want to read it?

Michaya Michaya | 6 days ago
You should really get the Story Structure Architect book. Anyways, Traditionally, Act one consists of: Setup - gives the direction of the story. Gives all the info needed to get the story rolling, defines the genre and pacing. Mood/Tone: Sense of place, mood, theme. For instance, if the story is about a murder mystery, start with the main character at a cemetary Hook, Catalyst, Inciting Incident - dynamic event that draws the reader into the story. It can be action, dialogue or a particular situation Serious Problem and/or Goal - Why should the reader care? What's at stake? Villian - (mind you, villian doesn't have to be human) but you want to show the villian or allude to him/it in Act One. Main Characters - All of the main characters need to be introduced as soon as possible. Turning Point - Cliffhanger. Where the story takes a new direction and teh reader wonders what's next. That's Act One. Again this is the traditional structure. There different types of story structures so I suggest you get that book. Here's the link. You can probably get it used for cheap on Amazon. Story Structure Architect: A Writer's Guide to Building Dramatic Situations and Compelling Characters by Victoria Lynn Schmidt Ph.D. http://www.amazon.com/Story-Structure-Architect-Situations-Compelling/dp/1582973253
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Michaya Originally Answered: The begining of kata is the begining of a fight?
Yes and No. I do not see a Kata as being for use against multiple attackers. As far as I'm concerned every movement, stance, and position of the hands or feet is an individual application against an attack. However, each can be explained as many different possible attacks and many different possible applications to be used in response. That being said I believe there is nothing done for show or theatrics. In the version of Naihanchi Shodan I practice, after bowing the hands come together palm up and open in front of my centerline. both hands are open, fingers together and the right hand overlapping the left so that the tips of the middle fingers are lined up. The movement from there pivots as the hands move down until the arms are locked and the hands in front on my pelvis. We do not see that as being just show or being a preparatory move. (In fact we do not believe in chambering a technique or moving to a starting position.) The act of raising the hands in front of the body has many applications against realistic attacks. The movement as the hands move down also have multiple real life applications against common attacks. I'm' reviewing and practicing the bunkai for Naihanchi Shodan to teach it at a seminar I'm having here in March. The movement of the hands from high to low has many applications. I have bunkai where it is used against single or double wrist grabs. Applications against a cross hand grab. Applications where it is used against a kick attack. and applications where it is used against attacks where the attacker punches with his left or right hand. Just this one movement we have defenses against grabs, kicks, and punches. as well as applications where this move can be seen as applying a joint lock on the attacker. To be clear we do not believe that only one hand is involved in any thing done with the hands We look at bunkai as both hands being part of the technique. for instance in a Kata where an inside blocking movement is done in what is called an Augmented block, we do not see the rear hand as reinforcing or augmenting the blocking motion. Rather it does something that makes the obvious movement (the inside to outside blocking motion) work better. The fact that in most style the rear hand/fist ends up touching or near the elbow of the forward arm gives us clues as to what the rear hand would actually be doing. We believe that Kata shows the major move in such a way that the observer is not aware of the real application. That application or applications always involves the other hand doing something or great importance. Another example of the Kata starting before most people realize it is found in another Kata we do starts with the Chinese hand salute where the right fist is brought up in front of the chest and the left hand rises at the same time so that they meet in the centerline of the body. The left hand is placed with the palm covering the front of the right fist. some variations have the left hand straight as if forming a knife hand. Other versions have the left hand wrapped around the right fist. In both cases we see this as an application against a wrist grab or a punch. Bottom line here is there is nothing that is done that is done for nothing/no reason. Every position, stance, movement, technique has many different realistic applications. ...

Judah Judah
First, one common feature of great literature is a leading sentence (sometimes a couple) that set a mood and/or grab interest. They most often make the reader wonder rather than explain the story. The first paragraph or chapter then unfolds the basis for the story gradually, building interest. Whole web sites are dedicated to this phenomenum, for example: http://people.cornell.edu/pages/jad22/ http://www.litline.org/ABR/100bestfirstlines.html Present in the first chapter only a dim skeleton on which to hang the story and the details as the book progresses. Set the stage, but leave many areas only dimly lit. Often only a side area is lit, rather than the main area. Make the reader want to know what is not shown, want to discover what is unrevealed. Then live up to the expectations, page after page. It takes real skill that usually only comes with much practise and often many failures, but the final result can be worth it.
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Harmon Harmon
There definitely need to be some type of pop in the first sentence. If I were to open a book and read something like, "Once upon a time, there was a beautiful kingdom on the coast of a vast sea." I'd slam the book down immediately and never read it ever again. It's too boring and overused. However, if the beginning was something like, "No one knew how it happened. No one even knew it was going to happen.", I'd definitely read it. So yeah. You just need to catch the reader's interest with some type of pop.
👍 75 | 👎 -2

Elden Elden
A great first sentence. There are many famous ones. Sentences so compelling you have to read more. 'When he was nearly thirteen, my brother Jem got his arm badly broken at the elbow.' Harper Lee - To Kill A Mockingbird. "Sally." Stephen King - The Stand "Last night, I dreamed I went to Manderlay again." Daphne du Maurier - Rebecca 'Novalee Nation, seventeen, seven months pregnant, thirty-seven pounds overweight - and superstitious about sevens - shifted uncomfortably in the seat of the old Plymouth and ran her hands down the curve of her belly.' Billie Letts - Where The Heart Is "Call me Ishmael" Herman Melville - Moby Dick "Maman died today. Or yesterday maybe, I don't know." Albert Camus - The Stranger How can you NOT get excited about reading when you look at words like that? Pax - C
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Carran Carran
Entirely depends on what you're writing. But a good general rule is to begin writing a story, then throw out the first four or so pages, which starts the story far more in "the action," which is what grabs readers, whereas exposition tends to turn them off.
👍 65 | 👎 -10

Carran Originally Answered: Is there only one kind of gene that makes a dog's eyes blue? (spec. poms)?
Kelle's link provides a good explanation of eye color genetics, but I feel the need to make a corrective statement on one section "The Merle gene is a semi-lethal dominant - dogs with one dose of Merle show the effects of the gene - scattered patches of missing pigment - including on the iris of the eye. They will also show a structural defect of the iris called 'iris coloboma'. Dogs with two doses of the merle gene are frequently deaf and seem to have otherwise reduced vigor." This paragraph is incorrect in that heterozygous merle dogs and iris colobomas are not linked. The IC gene can be inherited seperately of the merle pattern and appear in both merle and non-merle dogs. In homozygous merles, the IC or iris hypoplasia can occur as a result of the merle gene. Homozygous merles do not show decreased vigor. They can have visual and hearing problems including micropthalmia, IC, deafness (bilateral or unilateral)

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