As a writer you know you have to hook your reader.
And you know you do that by writing a compelling opening line/paragraph.
But where do you go from there? How do you keep that reader interested and turning the page, instead of slamming the covers shut?
The secret lies with your main character.
In part 1 I discussed what goes into creating that opening hook. Now let’s take a look at an element that helps keep readers hooked.
Stop and think about your favorite book, movie, or TV show. What is it about those favorites that you like so well? What keeps you watching that TV show or rereading that book or watching that movie again for the 100th time?
It isn’t just that you enjoy that genre, whatever it is. It’s because you identify with a character within the story.
So to keep our readers reading we must establish a bond between the reader and the main character of our story.
James Scott Bell in his book Plot & Structure explains you “accomplish this by mastering four dynamics — identification, sympathy, likability, and inner conflict.”
Identification: Can you get excited over a character who has no faults, no fears? Our characters need to appear real, to be like our readers in some way.
Sympathy: You want the reader to sympathize with your character in some way. Bell suggests putting your character in jeopardy, in a position of hardship or vulnerability or as the underdog.
Likability: Your character needs likable traits.
Inner conflict: Your character may be confident on the outside, but we need to see his or her doubts on the inside.
Let’s look at the same four books I used as opening line examples in part one of this series.
“On Tuesday afternoon at five thirty, an elderly lady strode into Corin’s antiques store as if she owned it and said, ‘The next two months of your life will be either heaven or hell.’ . . . Corin Roscoe stared at her over the mound of bills in front of him and stifled a laugh.” ~ from The Chair, by James L. Rubart.
Because we’re all individuals, each of us will see these examples differently.
Here’s what I discover. Corin is a store owner, but like most people, he has bills he struggles to pay. I can certainly identify with that. I like the fact that he didn’t laugh at this woman; at first glance he doesn’t appear to be cocky or arrogant. For me, Rubart has begun to establish reader identification and likability.
“Reece Roth spun at the sound — a dull scrape like log on log. . . . You killed them. The thought slammed into Reece’s mind like a fist to his temple.” ~ from Soul’s Gate, by James L. Rubart
While there isn’t anything in particular in the opening paragraphs that help me identity with Reece, Rubart captures me with sympathy and inner conflict in those three powerful words “You killed them.”
“When I agreed to attend Roger Harden’s dinner party, how could I have known the terrible events that would take place on Palm Island and especially what would happen to Roger himself? I also had no idea that anyone would find out about my past. Roger knew, of course, but imagine — me voluntarily telling everyone my long-held secret.” ~ from Everybody Loved Roger Harden, by Cecil Murphey
In this opening paragraph, Murphey has hooked me with all four. We all have things from our past we would prefer people not know. I can sympathize because someone did know and now “I” am in the position of revealing that secret to others. Likable because “I” do it voluntarily, and the very nature of secrets speaks of inner conflict.
“Elmer Grigsby woke with a catch in his get-along.” ~ from Thirty Days to Glory, by Kathy Nickerson (debut novel)
For me that first line helps me identify and sympathize with, and like the character. Nickerson could have said “Elmer woke with pain searing his joints.” That would have worked. But her specific verbiage reminded me of my grandmother, and that in itself created an instant bond and like for Elmer. Here’s the rest of the opening paragraph:
“Cold air had crept under his covers and shaken hands with his rheumatism. When he pushed back the army blanket covering his face, light glared through the grimy window and exploded in his head. He groaned and retreated under the blanket again.”
Sounds like Elmer lives in rugged conditions — no heat in his room, windows are grimy. The light explodes in his head — he’s probably hungover. In this opening paragraph I have identified with Elmer, can sympathize with his condition in life, find him likable, and I’m cognizant of an inner conflict — something has caused him to drown himself in booze.
In the first two examples I left out some of the intervening text. The last two I supplied the complete opening paragraph. Within the first page of the book, all four authors kept me reading by supplying pieces of identification, sympathy, likability, or inner conflict that helped me begin to bond with the character.
Did any of these examples capture you? Why or why not? Leave your comment below.
Related Articles:
Six Tasks to Accomplish in Act 1 of Your Novel – Part 1
Where in the World Is Your Story? Act 1 – Part 3
Six Tasks to Accomplish in Act 1 of Your Novel – Part 4
Who’s the Big Bad Wolf in Your Story? Act 1 – Part 5
What Do Football and Fiction Have in Common? Act 1 – Part 6