{"id":6024,"date":"2019-08-30T10:17:45","date_gmt":"2019-08-30T09:17:45","guid":{"rendered":"https:\/\/jerichowriters.com\/townhouse\/articles\/the-wriggle-of-life\/"},"modified":"2019-08-30T10:17:45","modified_gmt":"2019-08-30T09:17:45","slug":"the-wriggle-of-life","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/the-wriggle-of-life\/","title":{"rendered":"The wriggle of life"},"content":{"rendered":"

An editorial colleague of mine here at Jericho Writers likes to tell writers that their first job as a novelist \u2013 literally the first thing their narrative needs to accomplish \u2013 is to get readers into the story. Before your story-train even starts to chuff out of the station, you need your readers on board, hats off, gloves folded, sandwiches at the ready.<\/p>\n

And that act of engagement by the reader requires one thing above all from you. It requires you to foster belief in your world and belief in your characters. Yes, if there\u2019s a tickle of story-excitement too, that\u2019s really great, but the tickle is the second thing, not the first.<\/p>\n

Your first job is to engender that belief: to create the shimmering surface of life.<\/p>\n

Knowing that, some writers make the wrong call. Here are three classic ways it can go wrong:<\/p>\n

The Error Impatient<\/strong><\/p>\n

With this one, writers get worried that they need to reveal character emphatically and early. It\u2019s as though they\u2019re thinking, \u201cI need to establish Character X briskly and decisively, so readers know who they\u2019re dealing with.\u201d<\/p>\n

The result: they bustle off to the Emporium of Clich\u00e9, credit card in hand. The salespeople there know their customers very well. \u201cSuave super-spy, sir? Of course. Attractive to the women? A perfect shot? Excellent suits? Knows his wine? Of course, madam. May I also offer you a chiselled jaw? A piercing gaze? We\u2019re giving away two free super-cars with every spy, sir, so this would be an excellent moment to make your purchase.\u201d<\/p>\n

And the result of that ill-advised spending spree: readers aren\u2019t engaged. Yes, they \u2018get\u2019 the character you have so swiftly constructed, but they\u2019re not really interested. Their view is from a distance, all ready to walk away. (If you need help on developing character, then I recommend you go get our Amazing Character Development Tool<\/a>.)<\/p>\n

The Error Accurate<\/strong><\/p>\n

Some writers therefore choose to glue themselves close to a recognisable reality. A woman like you. A musical reference to some currently fashionable artist. Maybe a brand mention, but almost certainly something to do with clothing. A familiar setting (a bedroom usually, or a late-for-work thing, or a minor work problem.) And all this conveyed in language that\u2019s not quite conversational, exactly, but diary-type language anyway: the way you might talk to yourself about all these ordinary things.<\/p>\n

And yes, OK, I\u2019d probably prefer to encounter the Everyman\/Everywoman character than the suave superspy one, but honestly? I don\u2019t want to read about either. The Error Accurate ends up delivering someone perfectly believable, but just not intriguing. You want me to get on board your damn story train, but I think I might just linger here on the platform and see what else chuffs into view.<\/p>\n

Sorry.<\/p>\n

The Error of Baroque Emotion<\/strong><\/p>\n

\u201cAha,\u201d you say. \u201cO-ho,\u201d you mutter. \u201cWe know what readers want from their stories. They want to feel emotion. They want to be plunged into situations that shock, that stimulate, that shine brighter than the ordinary world outside.\u201d<\/p>\n

And so we have gasps of agony right there on the first page. Or crashing sobs of grief. Or some improbable level of panic over some ordinary life accident (a missed train, a forgotten report.)<\/p>\n

It\u2019s as though the writers is thinking, \u201cLook, if I send my train into that station with a brass band on board \u2013 and a pair of performing monkeys \u2013 and a troop of dancers complete with a tiny acrobat from Java, people will just have to get on board. It\u2019ll be the most amazing train in the station.\u201d<\/p>\n

Well, kinda. And look: I love tiny Javanese acrobats as much as the next man. But this is all too much, too soon. The danger \u2013 the great and serious danger \u2013 is that your emotion seems unjustified. Premature. Deterring the very engagement you were seeking.<\/p>\n

The Approach Simple<\/strong><\/p>\n

And look, for some reason, I don\u2019t know why, my books tend to open in a somewhat low key way. I don\u2019t say that your book has to do the same. Plenty of terrific books do open with a splash of bright colour right there on page one. But they don\u2019t have to.<\/p>\n

Here\u2019s an example of one of my openings that almost boasts about its own drabness:<\/p>\n

Jane\u2019s driving. Jane Alexander.<\/em><\/p>\n

The traffic is snarled because of some incident ahead. A weak sun moves in and out of cloud. On our left, a garage promises \u2018Probably the Lowest Prices in the Vale\u2019.<\/em><\/p>\n

The garage has thirty cars lined up behind metal railings. A man walking among them, talking into a phone. On our side of the railings, an elderly woman in a grey skirt and dark raincoat peers in at the cars, then over at the railway station. She checks her watch, pats her hair, walks forward, stops.<\/em><\/p>\n

I stare at her. Jane stares at the road.<\/em><\/p>\n

A nothing day.<\/em><\/p>\n

Nothing has happened. Nothing seems on the brink of happening. There\u2019s no dramatic incident. No superspy, no gunshot. No burr of emotion. No desperate attempt to make the world of my story reflect the world of my reader. There\u2019s just not a lot going on.<\/p>\n

But \u2013<\/p>\n

Is that enough for you to read on? Do you feel ready to step forward into my story train? I think you do. And if so, here are the components that are keeping you engaged:<\/p>\n

    \n
  1. There is, immediately, some sense of the physical world. A road. Traffic. A weak sun. A low-rent garage. Railings.<\/li>\n
  2. There is immediately a recognisable human character \u2013 the elderly woman in a grey skirt. She\u2019s clearly a little muddled, or a little something, but nothing extravagant. She\u2019s not a superspy. She\u2019s not someone-just-like-you. She\u2019s not someone in the grip of wild emotion. She just seems \u2013 real. And that little hint of muddle or confusion in her behaviour lends a tiny dot of intrigue to the picture so far.<\/li>\n
  3. The first person protagonist, Fiona, is in relationship with something: her driving buddy, Jane. There\u2019s terribly little going on there \u2013 \u201cI stare at her. Jane stares at the road. A nothing day.\u201d \u2013 but even that tiny description opens up a question. Why is Jane not engaging with Fiona\u2019s look? Is it just because she\u2019s driving? Or is there an atmosphere inside the car? Why is Fiona actually staring at Jane? Those are, I agree, very little things, but we all know that stories can start out small.<\/li>\n<\/ol>\n

    To form those three points into a bit of a checklist, we want:<\/p>\n

      \n
    1. A physical setting<\/li>\n
    2. A credible character<\/li>\n
    3. Some sense of the viewpoint character in relationship with someone (or something \u2013 the viewpoint character might be alone, but she still needs to be bouncing off something in her physical or mental space.)<\/li>\n<\/ol>\n

      And those are small asks, please note. They demand the wriggle of life, and not much more. Remember that people have come into the station in order to board your train. To entice them to make that little further act of commitment, you just need to show that you are properly in charge of your materials: your world, your characters, the glimmer of story.<\/p>\n

      And that\u2019s enough. You can go bigger if you want to, but you really don\u2019t have to.<\/p>\n

      But tell me: what do you do to develop character – plausibly and enticingly – right there on page 1? What are your particular first page bugbears? Let’s have a Heated But Polite Debate.<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

      An editorial colleague of mine here at Jericho Writers likes to tell writers that their first job as a novelist \u2013 literally the first thing their narrative needs to accomplish \u2013 is to get readers into the story. Before your story-train even starts to chuff out of the station, you need your readers on board,<\/p>\n","protected":false},"author":32,"featured_media":6026,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[29292],"tags":[],"class_list":["post-6024","post","type-post","status-publish","format-standard","has-post-thumbnail","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-wriggle-of-life\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The wriggle of life – Jericho Writers\" \/>\n<meta property=\"og:description\" content=\"An editorial colleague of mine here at Jericho Writers likes to tell writers that their first job as a novelist \u2013 literally the first thing their narrative needs to accomplish \u2013 is to get readers into the story. 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