As writers, we hear all the time that we’ve got to hook readers in just the first few pages or else. We’ve got to hook agents in the first few pages or else.

Whether you’re looking to get published or just hoping to hook your reader, first impressions are vital. Compelling opening scenes are the key to catching an agent or editor’s attention, and are crucial for keeping your reader engaged.

JEFF GERKE, THE FIRST FIFTY PAGES

Today I snagged from the New Release shelf:

Her Last Breath by Dan Padavona

I just noticed that on Amazon, the book is called “a gripping suspense thriller,” but my printed copy says “a chilling psychological thriller.” I suppose that’s one of the benefits of being an indie writer–you can tweak lots of things as you go!

The first chapter of Her Last Breath is a mixed bag. On the one hand, the build up of the prostitute Erika being propositioned and then murdered by an unknown man in an SUV is paced fairly well with strong sensory details. We can see and feel the tension of the moment between the man calling to Erika and promising a big payout and Erika choosing to ride home with this man. Plus there is a logistical reason for Erika to accept a ride from this wealthy stranger–she’s miles away from the city and needs a ride back. That isolation, even with a decaying resort motel in the background, helps readers feel the character’s helplessness. How else can she get home?

There are some struggles here as well, though, and these are struggles many of us writers face. We know we’ve got to establish the setting of our story, and establish it fast. However, we’ve got to think about what details the readers need here and now vs. what can wait. While the first paragraph introduces us to the prostitute cleaning up after a job at a motel, the second paragraph takes us through the history of that motel…and then we get back to the prostitute cleaning up again. It’s an odd moment to hear a lot of information about the place, especially when she’s going to leave it. Rundown motels outside of cities is not uncommon, so it would not have hurt to keep this initial context a bit more general so the plot’s momentum can pick up speed instead. After all, a detective investigating a murder has all sorts of opportunities to learn the histories of locations–why not wait until then? These are the kinds of world-building choices we writers have to watch for. As tempting as it is to dive into the setting’s history right away, do readers need it right away? Probably not. It never hurts to break that information up, and drop little bits when the needs arise for characters to learn it.

No matter what the season brings, keep reading!

Read on, share on, and write on, my friends!