Last month I talked about the parts of a perfect chapter. Everything to consider, top to bottom, when you're trying to determine if your chapter is as strong as it could be. If you haven't read that email, you can go back and read it by clicking HERE. I recommend reading that first, if you missed it, seeing as all the parts of a “perfect chapter” will fall into the “perfect” first chapter.

 

Except, there's even more to consider when writing an excellent first chapter…

 

Last month, I also used a very click-bait type title. So I'll admit to doing it again, and will also reiterate this:

 

Just like there is no single way to write a “perfect” chapter. There is no single formula for a “perfect first chapter.”

 

I have had first chapters that take all shapes and sizes. Some of them are short and some of them are long. Some of them cover a lot of narrative ground and others take a morsel approach, offering just a little sampling of what the reader can expect for the rest of the book. What makes the a first chapter successful is always unique to the book it's attached to. And, for that reason, there's not one set format, but more a series of considerations for you to think about when writing and editing your first chapter regardless of your personal narrative style, or fictional subject matter. 

Okay, one more thing I want to get out of the way upfront: When should you be working on and thinking about all this?

 

Arguably, like any good storytelling, you think about the fundamentals at all stages – from planning, to drafting, to editing.

 

That being said… I personally think writing a first chapter, for the first time, is daunting enough as it is. If you find yourself getting wrapped up in trying to make your first chapter perfect, out the gate, you're going to have a tough time starting your book.

 

All of my first chapters have been edited more than any other chapter in the book. It usually isn't until after I finish my first draft (or get very far into it) that I feel like I have a firm enough grasp on who my character is, what their story is about, and what their narrative voice sounds like to make my first chapter good. For that reason, I literally cannot write a “good” first chapter in my first draft.

 

For me, writing my first chapter for the first time is just about getting started. These are things I keep in mind, certainly, while drafting for the first time… but I don't concern myself too much with them until editorial. 

 

If you're a heavy plotter, or someone who likes to know exactly what you're going to write before getting started, you might find you have a different experience.

 

But I want to stress that, it is okay if you don't make your first chapter perfect out the gate when drafting. Don't let it hold you back from your story. The most important part of drafting is getting the words down. You can fix those words later.

 

The infamous first line.

 

It's so important to setting the tone of the story and can convey so much information with just a few words. Your first chapter is what prompts a reader to continue reading your story, but it's your first line that will likely make them give the first chapter as chance.

 

The first line is so important that my that one of my editors actually hosts a live talk every week on first line critiques on Instagram: https://www.instagram.com/explore/tags/firstlinefrenzy/

 

I also think that the first line is made worse by the fact that it is… Well, the first line of your whole story.

 

When you write a first line you're staring at a blank space and (probably) a digital cursor blinking, waiting… silently judging you. At least that's how it feels to me.

 

So my first tip for writing a great first line is to stop worrying about it so much. As mentioned above, the very first line that you actually write probably won't be your final first line. And that's okay.

 

I have changed and adjusted the first lines of my book all the way up to the final formatting. You don't have to get it perfect out the gate. Much like the rest of your manuscript, you are going to edit and edit.

 

All this brings me naturally to my second point: write your first line several times over. Then write it again. I'm a firm believer in the notion that your first idea is probably just okay. So is your second. Your third is when you're starting to think outside the box. Anything after that has a much higher chance of being fresh and interesting.

 

So even if you think you've written the most perfect first line ever out the gate, do me a favor and write it again… and again. And again.

 

Even if you still like your original first line the best, you might find some ideas in those subsequent drafts that are worth editing in – if not to your first line, than to your first paragraph, or somewhere else in the story.

 

My next tip for first lines is to avoid clichés whenever possible. Whether it is a tired turn of phrase or an overused place to begin a story. (I'm looking at you, Air Awakens, beginning on a dark and stormy night. *SIGHS HEAVILY at past me*) Try and see if there is an original or uncommon beginning that is unique to your world and will immediately begin grounding and intriguing the reader.

 

But in all this brainstorming, be wary of overcomplicating your idea.

 

A major pitfall I see many authors filling into with their first lines is trying to cram a ton of information about the character, the world, or the story. It could make a shorter first line feel awkward or convoluted. Or, it could result in your first line becoming unruly and far too long.

 

Focus on your first line being unique to your character. The first line should come from the character, not the world, and, in turn, should be something that no other character in no other book would think, experience, or observe.

Once you have an exceptional first line that hooks the reader, then you need to make sure that the next three to five paragraphs keep them hooked.

 

At this point, the reader is still very much debating if they want to continue with your story. They're looking for information about what the story is going to be about and if its for them. That's where the first few paragraphs come in.

 

However, much like the first line, you need to do this in a way that is interesting and engaging. A way that doesn't make the reader feel like they're reading your back of book copy again. In other words…

 

 

Info dumping is when an author writes out all of the information a reader needs to know in a direct manner. It tends to be dry and reads almost like a textbook. Doing this will inevitably pull the reader out of the story by making it feels stilted or inauthentic.

 

In these first few paragraphs, your primary focus should remain on making the reader feel as attached to the character as is possible. Because it is this attachment that is going to keep them reading your story. Focus on their feelings, thoughts, hopes and fears as they pertain to the immediate world surrounding the character.

 

Now this isn't to say that you shouldn't quickly convey critical information for the reader to know at this point in the story. Critical information includes things like: the main character's name, their basic circumstances, and some kind of want that will ideally also highlight a strength or weakness of the character. But that information shouldn't come at the expense of giving your reader an emotional introduction to the character.

 

The reader should also be able to gather important information about the general setting of your story from these first few paragraphs. Once more, this doesn't need to be overly expositional. Quickly establishing that your story takes place in a castle will give your reader not only a rough idea of the setting, but confirm the genre in your story. At this point, they likely don't need to know the full strategic history of that castle.

 

The final thing that should be accomplished in your first few paragraphs is establishing your main character's voice. Whether readers consciously realize it or not, character voice (as well as your general voice as a writer) can be a major factor in determining if a story is for them. Is the narrative overly formal and flowery? Or is it more simple and direct? As much as you are able, try to ensure that the tone of these first three paragraphs matches the tone of the character for the rest of the book.

Now let's look at the rest of your first chapter. You've hooked the reader with your first line and convinced them to stick around with your first few paragraphs. The rest of the chapter is about sealing the deal and convincing them to read the whole book.

 

 

 

One question that I get asked a lot is: How long should my first chapter be?

 

Much like the question, “How long should a regular chapter be?” there is no right or wrong answer.

 

A short first chapter can make the pacing feel tight and quick. But it might not give you enough time to develop the story the way you want to at that opening stage. To present all the details, you might need a longer first chapter, which can really ground the reader in the character and story. But if it is too long a reader might grow bored and put the book down.

 

Personally, I find that my first chapters tend to be longer than my average chapter. My average is about 2,500, but my first chapters wrap up around 3,500 words. But I've had some first chapters as long as 5,500 and as short as 1,300.

 

A very good question to ask a potential beta reader during editing is: “At any point did the first chapter make you want to stop reading?" The answer can give you a pretty clear indication of how your first chapter is feeling to the reader.

 

 

 

This honestly can apply as much to the first three to five paragraphs as it can apply to the rest of the chapter. Nothing grabs a reader like immediate action does. But, as I have said many times, it is important to remember that action does not just mean running, fighting, explosions, etc...

 

Starting in the action could mean starting as your main character is opening the envelope from a dream trade program to see if they got accepted right before they have to run off to the dead end job that they're trying to escape.

 

Starting in the action can be with the bride who is about to walk down the aisle. Palms sweaty because she realizes she is about to make a terrible mistake.

 

Action is any moment in your story where a character is faced with a choice, and/or some kind of struggle, that they must overcome and in so doing there are costs, consequences, and rewards.

 

 

 

Speaking of stakes for your character… The first chapter should set up the stakes that your character will face throughout the rest of the story.

 

Once more, you do not have to explicitly spell it out to the reader. But it should be fairly easy to pick out through the narrative and a basic amount of critical reading.

 

Using my earlier example with a character opening their acceptance letter, you know immediately what at least some of the stakes are as the character laments about their dead end job and how getting into the trade program has been their dream from a very young age. It offers stakes in both a tangible way of their future prospects with money, as well as emotional stakes in the personal validation an acceptance will bring.

 

And there might well be greater stakes under the surface – maybe the character needs money for their mother's medical bills – which can come out later. But just giving your reader a little idea right away is enough for them to go off of for the first chapter.

 

 

 

Also in your first chapter you need to ensure that your main character's wound and main flaw are hinted at.

 

Once more it is all right, if the reader is still speculating at this point. But they should be able to form a reasonable guess as to how this character might grow and change throughout the story.

 

Continuing with the example… It can become clear based on the character's reaction to just holding the acceptance letter that they have placed immense pressure on themselves, as well as tied up a great portion of their personal value into this trade program and what it might mean for them. Not only might this be relatable to many readers – which can keep them reading – but readers can also reasonably assume that it probably won't work out very well for that character to have their personal value tied up in that way.

 

 

 

Foreshadowing is an incredibly exciting and sometimes daunting task.

 

I would challenge you while you were planning or editing your first chapter to think about every element that is introduced. How will it come into play later on in the story? If a scene or character or item does not play some kind of important role in the story later on, ask yourself if it can be switched with something else that does play a more critical role.

 

One of the ways that we as readers engage with any story is by making educated guesses about what's going to happen next. It's a natural thing that readers want to do. As people, we enjoy the act of trying to figure out the end of a story before getting there.

 

The earlier that you can begin to lay intriguing, though not confusing, groundwork about your world and your character the more engaged your reader will be.

Doing all of that will certainly take you a little bit of time, long enough to successfully write a full chapter. But the way you end a chapter is just as important as the way you begin one.

 

Once more, I direct you back to my elements of a perfect chapter and how the end of a chapter should set up the stakes for the next chapter. As well as wrap up any short term questions introduced for that chapter. And open up a new question to keep the reader reading.

 

However, for your first chapter, you have something else to consider about this climactic moment at the end of your chapter…

 

 

I have heard some people say that you should always have your inciting incident at the end of your first chapter. If you know me, you know I don't believe in many hard narrative rules and that is definitely not one of the few hills that I will die on. However, with that being said, I understand the general theory behind what makes people say that.

 

Your story does not truly begin until the inciting incident occurs. Everything before then, is your opening image, your starting point, the way things were. Your character's growth does not begin until the inciting incident forces them to grow. The plot isn't moving until then.

 

The sooner you can move up your inciting incident, while not having it feel too rushed and giving your reader time to feel grounded in your story, the better.

 

So I would encourage every writer out there to look at where your inciting incident takes place. Look at everything that comes before it and ask yourself: If all of this absolutely necessary? Or: If I were to move up the inciting incident to the first chapter, how might that change my story? Would it make it stronger?

 

If you cannot, or do not want to put your inciting incident at the end of your first chapter then I think it is important that you, at the very least, hint throughout the explanation of stakes what the inciting incident will be. (This can also be helped by your back of book summary, more on that later.)

 

For example, in my book A Deal with the Elf King, the main character does not have her inciting incident until chapter three when she meets the titular Elf King. This is when the story really begins.

 

However, it is made clear from the first chapter – from the first lines – that the Elf King is on his way and that he is coming for a bride. And, because the reader has presumably read the back of the book copy, they know some of what this will mean for our main character.

 

All this provides a solid foundation for what the impending inciting incident might look like and can begin to build suspense that couldn't be formed if I ended my first chapter with the incident itself.

 

Though again, there's only so long the reader will wait for you to get to the story's true beginning.

 

All of this brings up one, final point: It is safe to assume that your reader has read your back of book copy before picking up your book.

 

If you pay attention to the elements of back of book summaries, you will notice that the elements of the story that happen before the inciting incident are spelled out quite clearly in the summary. The reader knows what is coming. It's everything after that's treated with an air of mystery.

 

Therefore, the most important things that your first chapter can do is to deliver on the story as promised in a way that makes your reader excited to see it unfold through your character's eyes.

The next time you go to plan, edit or write a first chapter, I invite you to take a step back and think of it as though you are a reader – as though you know nothing about the rest of your book beyond some bare minimum ideas.

 

Think of it like you have just picked up your book off the shelf. Would your first line make you want to read the first few paragraphs? Would those first few paragraphs invite you to continue reading to the end of the first chapter? And by the time you reach the end of the first chapter, would you absolutely have to start the next chapter?

 

It can be difficult as writers to remove ourselves from our own work and to look at it in an objective way. But this is a critical skill for all editing, not just your first chapter. And I think the first chapter is a really important place to practice it.

 

Now go forth and write an exceptional first chapter…

 

… and then write it again…

 

… and again ;)

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