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Jun 2021

I've been rereading my story a lot to tweak some things that need tweaking. Recently, I've decided that my current starting paragraph is a bit too exposition-heavy and doesn't do a lot to hook people into the current story. I don't want to be overly expository, but I do enjoy a bit of background information every now and then. I'm looking for some advice on how I should approach this or whether I should keep what I already have.

My current draft posted here actually has two different opening paragraphs: one from an introduction, and one from chapter 1. Here they are respectively:

Current (Introduction)

I blame the Romansā€”generally speaking. How unfortunate that the word for ā€œleft sideā€ has evolved into the word for ā€œevil.ā€ Language evolves in sinister ways.

Twenty-two years ago, I began writing a series of journals that I called Aberdeenā€™s Anthology. It vividly recounted the horrid histories behind some of the most sinister people. Marion Marley lived off the thrill of terrorizing people. Mark Twain succumbed his readers to a tragic natural death of excruciating boredom. Howard Heim managed to eat an entire batch of poisonous cookies he himself had baked and claimed to feel fine afterwards. Chuck Nietzsche, Friedrichā€™s lesser-known brother, had killed Ra, just as his brother had killed God, in an effort to one-up him.

Current (Chapter 1)

The town of Plainwood weaved like a figure-eight around a range of frosty, pine-covered mountains called the Monnellians. It was about the size of Monaco and had a population of no more than 2,000. Everybody knew each other, which was good, since no one would ever get a chance to meet anyone else otherwise. While technically within the borders of Washington state, it was so far to the northwest and covered by so many veils and thick borders that it practically separated itself from everything else. A sovereign city-state, one would say, unrecognized and unknown by many other governments. There was no need to leave nor was there any to enter. For this reason, everyone spent their whole life in Plainwood, and they were content with it. Everybody grew up together. Every generation was its own inseparable posseā€”whether they could stand someone or not. Luckily, everybody had their own intertangled Venn diagram of relations, where they could easily move from group to group, even if some pieces of one group rubbed off into another.



But now I'm considering whether I should keep or get rid of the introduction, as well as whether to change chapter 1's opening paragraph.

I drafted four different candidates for chapter 1:

Idea 1

As one of the only four people to live in the notorious Riverside Road, Eileen Pritchett found it disappointing that only now did she receive her first hideous encounter. Still, she was as worried as anyone else who received their first hideous encounter.

Idea 2

Eileen Pritchett spent most of her night tossing and turning on her couch. Her sleeping on the couch had nothing to do with her hideous encounter from last night, though it was convenient that the couch was right there. She had always heard her friends and family talk about hideous encounters and had always felt a combination of smugness and disappointment for never having one herself. After all, not only did she live on Riverside Road, but she also lived in the house with the statue of the hand on it.

Idea 3 (This is already a paragraph in my current draft, but is not at the exact start)

Eileen Pritchett was a young woman of thirty-one years, a hundred thirty pounds, and five feet nine inches. She had been crashing on her couch not because it was the closest place to sleep after her encounter last night but because she found it much more comfortable than her king-sized bed in the master bedroom. She had spent the night tossing and turning, as shown by her long auburn hair strewn everywhere and from her t-shirt and leggings rolled up as far as they could go.

Idea 4 (Less Eileen-centric and more about the person behind her "hideous encounter"--who is equally important) (This is also an existant paragraph in my current draft)

A young woman trudging through the woods found herself by a lightly flowing stream. Seeing her reflection was the perfect jarring wakeup call she needed to enter a pensive state of reflection as well. Natalie looked into her aqua blue eyes, lost in thought and memories, but mostly lost in herself. She could never get used to the sight of her own face. She looked at the person on the other side of the water: the pretty, innocent-looking, dark-haired, dark-complexioned girl. She smirked at her in disbelief, doubtful that this was the same person who had lived such a roller-coaster of a life that she only barely had enough tickets to ride. She looked up at the sky and shivered. There were birds in the sky cackling, and she couldnā€™t help but think it was directed towards her. She looked down at the valley and almost lost her balance at the thought of how high up she had gotten. She cupped her hands to get a drink from the stream. Then she jumped across, almost falling in, but only getting up to her shins wet. The wind was strong, the air was cold, and the trees were rustling. She quickly sidestepped in fear when a gnarled old trunk fell over.

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Just my personal opinion, but I like a story to start with some actions or events to hook the readers so naturally, Iā€™d choose idea 4. Instead of having Eileen just tossing and turning on the couch doing nothing (even if it is important) at the beginning of the story, Iā€™d rather you tell more about the ā€˜hideous encounter.ā€™ Hope this help somewhat.

Idea 2 is a very good opener, and there's opportunity to segue into the descriptions of the 'hideous encounter' in idea 4.

I liked your introduction, but it did remind me a little of satire. I guess, that's to say, I found it a little humorous--in a good way. I used to start my stories with introductions, but ended up tossing them later when they didn't really do anything for the story. So, I guess, if you feel the introduction will be relevant and properly set up the story, then you should keep it. If not, maybe you can use parts of it elsewhere?

Idea 2 and 4 seemed the most engaging to me. They both put you in the middle of a mysterious event. 2 gives it a little more of that slow build up, while 4 seems to throw you right in. Hope this is helpful. :blush: Good luck with your story!

Thank you all of you!

I liked your introduction, but it did remind me a little of satire. I guess, that's to say, I found it a little humorous--in a good way.

That's on purpose. My narrator has a very dry sense of humor

So, I guess, if you feel the introduction will be relevant and properly set up the story, then you should keep it. If not, maybe you can use parts of it elsewhere?

The info from the introduction is definitely going to unfold later throughout the story, though probably much more spaced out and gradually than the introduction. I do like the very first opening line in it though. Maybe I'll drop the intro and just keep that line as a quick blurb before the actual story starts.

I actually also just had the idea of instead using the introduction as a back-cover summary-type thing. I think it's perfect for that

Sounds like a great idea! I've seen a few different authors do that. Like it's a note from the main character/narrator, but doesn't actually appear in the story. :slight_smile:

I like idea 4 most and here's why.

The difference between all of the other introductions and this one is that idea four jumps right into some kind of action. Information that you will find in the exposition can always come later.

If you want to hook your readers, start the story in the middle of some kind of conflict. Idea four leans closest to this 'concept'. We don't have to read about the background of the story yet. it's nice and simple and sparks the idea 'what is she doing by the river, alone, in the cold?' You want your first sentence (introduction) to pull in your readers, you can tell if you've done it right if it leaves a question in the minds of your readers.

Also, especially in the exposition when information about the setting of the story is concentrated, keep it simple. There are specific details the reader's don't need to know. It's okay to let them come upon their own conclusions about the background of the story, later on you can confirm them when the story isn't barraged with information. You don't need to feel like your readers NEED to know ALL OF THIS INFORMATION to enjoy the story. For example, in idea 3, you give a brief description of your character right off the bat. As the first sentence of your WHOLE book, that's not really a strong beginning, is it? It's a detail you can let your readers figure for themselves when you write about how maybe Eileen nearly hit her head on the door frame because she was 'taller' than most. You get what I'm saying?

Here's how you can make it simple, before writing each chapter, make a list of things that the readers MUST know before starting the next chapter. Do they need to know Eileen Pritchett was a hundred thirty pounds or that she's never experienced a hideous encounter? What do the readers need to know to ENJOY the story? In this case, it sounds like the latter is much more crucial.

At the end of the day, I can tell you are a strong writer that loves their details and that's okay. I can tell you put in a lot of time world-building and that's also okay! It's even more okay that at the end of the book, your reader's won't know EVERYTHING about the world and its characters like you will. We can only write what will make our stories more enjoyable!

Hope this helps! Good luck!

Thank you so much! That really helps not only for just this, but as good advice for the rest of my writing! I appreciate you taking the time to write such a helpful and detailed response. I just modified my first chapter, and I couldn't help but think back to this thread when I was done!

Haha! I'm glad I was able to help you out! Good luck with your web-novel!