{"id":31125,"date":"2023-07-21T14:00:00","date_gmt":"2023-07-21T13:00:00","guid":{"rendered":"https:\/\/jerichowriters.com\/townhouse\/?p=31125"},"modified":"2023-07-21T14:00:00","modified_gmt":"2023-07-21T13:00:00","slug":"the-first-500","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/the-first-500\/","title":{"rendered":"The First 500"},"content":{"rendered":"\n

The opening chunk of your book can do a LOT.<\/p>\n\n\n\n

I once sold a non-fiction book off the back of no more than 10,000 words. The NY editor who picked up Talking to the Dead<\/em> told me she knew she was going to buy the book after she\u2019d read the first couple of pages.<\/p>\n\n\n\n

You can lose an agent (or an editor or a reader) in that opening chunk. You can also pretty much convince them to take a ride with you.<\/p>\n\n\n\n

I\u2019m thinking about this, partly because it matters in its own right, but partly, because we have a First 500 Novel Competition<\/strong> (details here<\/a>) which offers a range of goodies, including a manuscript assessment, JW membership, and an agent one-to-one. Entry\u2019s free if you\u2019re a member (so, duh, enter). If you\u2019re not a member, we\u2019re charging the rip-off price of \u00a310 per entry.<\/p>\n\n\n\n

Oh yes, and the 8 shortlisted entries will read their work out in front of literary agents who will probably throw HUGE GIANT INCREDIBLE offers of representation at the winners. So this is a prize worth chasing.<\/p>\n\n\n\n

In a minute, I\u2019m going to offer some incredibly High Quality Thoughts on how to ace that competition \u2013 but first I want to tell you about:<\/p>\n\n\n\n

Feedback Fridays<\/strong><\/p>\n\n\n\n

As from next Friday, this email is going to be coming out to you at 10.00am or so, UK-time \u2013 a few hours earlier than it does now.<\/p>\n\n\n\n

Each week, I\u2019m going to set you a little \u201cFeedback Fridays\u201d writing challenge. That challenge could be \u201cwhat\u2019s your elevator pitch\u201d or \u201cshow me the bit in your manuscript where you first describe your character\u201d or \u201cI want to see your query letter\u201d. I\u2019ll invite you to share those things on Townhouse and will of course tell you exactly where to go. (If you\u2019re not yet signed up to Townhouse, it\u2019s free and easy to join. Just choose the free option here<\/a>.)<\/p>\n\n\n\n

You\u2019ll have the whole week to think about the challenge and upload your response. Then, on the Friday following, I\u2019ll jump in and take a look at your responses \u2013 giving as much feedback and advice as I can. I\u2019ll be online on Friday morning, but I\u2019ll try to check in over the weekend too \u2013 I don\u2019t want the interaction to be limited by what you\u2019re doing on Fridays or what time zone you\u2019re in.<\/p>\n\n\n\n

These challenges are open to everyone. I\u2019d love you to join in, both in terms of uploading your work and in offering constructive advice on everyone else\u2019s. I\u2019ll do what I can in terms of feedback, but do be aware that my own feedback is going to go to Premium Members first<\/em> and anyone else if I get a chance. There\u2019ll be a couple more yummy extras to announce, but I\u2019ll tell you about those next week.<\/p>\n\n\n\n

All this comes by way of an extra, not a replacement. So the main thrust of these emails will remain exactly as before \u2013 too long, discursive, under-planned, random, and occasionally useful.<\/p>\n\n\n\n

OK.<\/p>\n\n\n\n

First 500 words. Here\u2019s what I think:<\/p>\n\n\n\n

1. It\u2019s not about the opening sentence<\/strong><\/p>\n\n\n\n

Sure, fancy-pants opening sentences are fine. Some books announce themselves that way. There\u2019s nothing wrong with doing so.<\/p>\n\n\n\n

But readers aren\u2019t persuaded by that first sentence. The real test for a browser in a bookshop is \u201cdoes this first page or two persuade me that I\u2019ll want to read further?\u201d That\u2019s partly a matter of story-promise and largely a matter of whether you feel trust in the author.<\/p>\n\n\n\n

If your opening sentence feels glued on, if it doesn\u2019t feel natural to the book, then a fancy-pants opening sentence may actually weaken the reader\u2019s sense of trust.<\/p>\n\n\n\n

For what it\u2019s worth, my opening sentences are basically dull and I\u2019ve never been especially tempted to jazz them up. You can do differently if you like, but you certainly don\u2019t have to.<\/p>\n\n\n\n

2. No beds<\/strong><\/p>\n\n\n\n

Too many books start with the character waking from sleep. There\u2019s nothing actually wrong or bad about that, but agents see it too often. So, yeah, ditch the bed.<\/p>\n\n\n\n

3. Voice<\/strong><\/p>\n\n\n\n

Your opening chunk needs to establish voice. It needs to hypnotise and seduce. The reader needs to think \u201cI\u2019m safe\u201d and ideally, \u201cthis feels different\u201d \u2013 that is, the feel of the text needs to be unique. If you\u2019re writing a crime novel, you don\u2019t want the book-buyer to think that they could pick up the book sitting next to yours and get, effectively, the exact same thing as you\u2019re offering.<\/p>\n\n\n\n

For clarity, though, this isn\u2019t about trying too hard. It\u2019s just being completely you<\/em>. It\u2019s honouring the story and the character and doing that in a way that only you can do. If that all sounds a bit wishy-washy, here\u2019s what I mean \u2013 this is the opening paragraph of Talking to the Dead<\/em>:<\/p>\n\n\n\n

Beyond the window, I can see three kites hanging in the air over Bute Park. One blue, one yellow, one pink. Their shapes are precise, as though stencilled. From this distance, I can\u2019t see the lines that tether them, so when the kites move, it\u2019s as though they\u2019re doing so of their own accord. An all-encompassing sunlight has swallowed depth and shadow.<\/em><\/p>\n\n\n\n

Can you see how little that does? There\u2019s no suggestion of story. There\u2019s no big, memorable, quotable sentence. There\u2019s no hint really of the situation in which the character finds herself \u2013 or, in fact, anything about the character at all.<\/p>\n\n\n\n

But \u2013 there\u2019s voice. A kind of authority which says, \u201cI know what I\u2019m doing, I\u2019m not going to rush it, and I know you\u2019re going to enjoy the ride.\u201d That authority is, above all, what you\u2019re seeking to establish in your opening.<\/p>\n\n\n\n

4. The scent of character, the tickle of story<\/strong><\/p>\n\n\n\n

If authority \u2013 voice \u2013 is the most important comfort you can offer, the two things that matter next are:<\/p>\n\n\n\n

    \n
  1. A good whiff of character and (less important)<\/li>\n\n\n\n
  2. The tickle of story<\/li>\n<\/ol>\n\n\n\n

    I should probably qualify what I\u2019m about to say next. So: If you\u2019re writing for the James Patterson market, then you need to deliver big from the first paragraph: \u201cThe first bullet struck the wall six feet from me. The second one hit about six inches away. I didn\u2019t want to know where the third one was landing.\u201d \u2013 that kind of thing.<\/p>\n\n\n\n

    But in most cases, you just don\u2019t need to be as immediate. In my Talking to the Dead<\/em>, it\u2019s 2,000 words before I offer the reader what they know I\u2019m going to offer them: a corpse and a police investigation. I don\u2019t even make that offer in a dramatic way. Fiona Griffiths is in the office, doing boring office stuff, when she gets tasked with a minor chore as part of a large homicide investigation. There isn\u2019t a big fireworks display at the start of the book and there doesn\u2019t need to be one. That\u2019s true of most books.<\/p>\n\n\n\n

    So what does the first 500 words actually accomplish? In my case, I\u2019d say there are plenty of clues as to character but really nothing much in relation to story.<\/p>\n\n\n\n

    Fiona is being interviewed for the police job. Her interview notes that she did philosophy at university. She says yes, but corrects him as to what kind of topics that comprised. He says, \u201cUseful for police work\u201d. She says, \u201cNot really.\u201d<\/p>\n\n\n\n

    Is there any story there? I don\u2019t think so. There\u2019s a scent of character, definitely, and that scent (plus the voice) will, I hope, keep you reading.<\/p>\n\n\n\n

    It\u2019s probably not until the 750-word mark that you can feel story intrude. The interviewer asks about a gap on Fiona\u2019s resume when she was a teenager. Fiona basically deflects the question (\u201cI was ill. Then I got better.\u201d) No one feels that the issue has been properly addressed. So, after 750 words, there\u2019s a first hint of mystery, if not quite story action.<\/p>\n\n\n\n

    All this is really just to remind you that you can take it slow. If you have a mystery, you don\u2019t need to reveal it too fast.<\/p>\n\n\n\n

    5. The dinner party paradigm<\/strong><\/p>\n\n\n\n

    Let\u2019s say you\u2019re a guest at a dinner party. You\u2019re sitting next to some people you haven\u2019t met before, but they\u2019re basically your sort of people. (That is, to de-code the analogy, your book is with the right sort of readers \u2013 literary fiction for literati, crime fiction for crime lovers and so on.)<\/p>\n\n\n\n

    Because this is a dinner party, not a shouty disco set-up, you have all evening. You don\u2019t need to rush.<\/p>\n\n\n\n

    So you wouldn\u2019t bellow at your neighbour, before finishing your first breadstick, \u201cHi, I\u2019m Charles, I\u2019m divorced, still really messed-up after the break-up and, yeah, I\u2019m having kind of inappropriate sex with a co-worker.\u201d<\/p>\n\n\n\n

    You might, in fact, have disclosed all those facts by the end of the evening, but you\u2019d hardly rush to get them out. You\u2019d establish a pattern of communication first. You\u2019d offer some clues, gauge the responses, find out a little more, and so on.<\/p>\n\n\n\n

    Obviously, the analogy is imperfect because book\/reader communication is one-way not two-way, but it\u2019s kind of the same thing. Establish trust. Don\u2019t be boring. And that\u2019s almost it.<\/p>\n\n\n\n

    6. A word of honesty<\/strong><\/p>\n\n\n\n

    And look. I\u2019m offering these thoughts because we have a First 500 Novel Competition on. (Did I mention it? I did. The link is here<\/a>.)<\/p>\n\n\n\n

    But if I\u2019m being completely honest, the advice I\u2019ve given in this email is probably good advice if your mission is \u201cWrite a good and saleable book\u201d. It\u2019s probably not the best advice in the world if your mission is \u201cWin Jericho Writers\u2019 quite fantastic competition.\u201d<\/p>\n\n\n\n

    Unsurprisingly, judges of these competitions do tend to favour entries that have something to show off about. Quiet elegance tends to get outdone by bold colours and improbable hats.<\/p>\n\n\n\n

    So what to do? Well, I think the experience of entering these competitions is massively helpful, so it\u2019s worth doing no matter what. But don\u2019t bend your book out of shape in order to win. Write the best book you can. Polish the first 500 words. Then enter.<\/p>\n\n\n\n

    Good luck. I can\u2019t wait to see what you come up with.<\/p>\n\n\n\n

    Til soon.<\/p>\n\n\n\n

    Harry<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

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You<\/p>\n","protected":false},"author":32,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[29292],"tags":[],"class_list":["post-31125","post","type-post","status-publish","format-standard","hentry","category-harrys-friday-email"],"acf":[],"yoast_head":"\nJericho Writers<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jerichowriters.com\/the-first-500\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The First 500 – Jericho Writers\" \/>\n<meta property=\"og:description\" content=\"The opening chunk of your book can do a LOT. I once sold a non-fiction book off the back of no more than 10,000 words. 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