New Shoots

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Snowdrops in London’s Regent’s Park, St. Brigid’s Day, Feb. 1st, 2020. 

In Ireland, February 1st, St. Brigid’s Day, is the first of spring. Admittedly, we’re a bit ahead of ourselves weather-wise, but these snowdrops in London’s Regent’s Park get it. With an opening as elegant and simple as a snowdrop – spring must be a good thing.

Just as nature opens with a simple attention grabber – so should your work.

Your first line is probably the most important in your work. It should surprise and intrigue your reader and somehow give a taste of what is to come. Ideally, it should be unusual or uncanny and most importantly, it should encourage your reader to read on…

‘”Damn,” said the Duchess.” is a first line  attributed to Agatha Christie, though I am unable to identify which of her novels is thus launched. Regardless of its provenance, this line is arresting, or was in its day. “Damn” was a pretty raw word in 1920 or so, rarely uttered in front of ladies, not to mind say by one, and then one of high social standing. So, an opening line such as this was written to shock, to intrigue, to grab the readers’ attention and it is a good idea to find one with a similar punch in the modern age.

Thereafter, is often a good idea to follow your first line with a pacy set of three chapters. These are also the showpiece you’ll be sending off to agents and publishers, so make sure they’re written to hook.

Some writers write their last chapter first, so they can figure out their plot, and then leave writing those all-important first few pages until last. In fact, the very last piece of writing they might do is the first line. Therefore, don’t fret over your opening, get the rest of your work down and come back to it later if necessary.

And, take note that just as your first line should reach out and grab your reader – your final line should linger with your reader for sometime afterwards…

 Can you guess which works gave us the following opening lines? Answers below

 

1) ‘It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.’

 

2) ‘I’m writing this sitting in the kitchen sink.’

 

3) ‘It was the best of times, it was the worst of times.’

 

4)It was a bright cold day in April, and the clocks were striking thirteen.’

 

5) ‘If you really want to hear about it, the first thing you’ll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into it, if you want to know the truth.’

6) ‘Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed.’

 

7) ‘Mother died today.’

 

8 ) ‘It was the day my grandmother exploded.’

 

9) ‘The past is a foreign country; they do things differently there.’


10) ‘
He – for there could be no doubt of his sex, though the fashion of the time did something to disguise it – was in the act of slicing at the head of a Moor which swung from the rafters.’

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About suehealy

From Ireland, Sue Healy is Literary Manager at the Finborough Theatre, London, a full-time Lecturer in Creative Writing at the University of Lincoln. Her book on theatre literary management is published by Routledge, December 2022. Sue is an award-winning writer for stage, TV, and prose writer. TV Her current project, a 6x60minute TV series, is under option. She is under commission with Lone Wolf Media, producers behind PBS’ “Mercy Street”, to co-write the pilot and treatment for a six-part TV series. Stage Her most recent stage-play, Imaginationship (2018), enjoyed a sold out, extended run at the Finborough and later showed at the Stephen Joseph Theatre in Scarborough. Her previous stage productions include Cow (Etcetera Theatre, 2017) and Brazen (King’s Head Theatre, 2016), funded by Arts Council England. Sue’s short plays have been performed at the Criterion (Criterion New Writing Showcase), Arcola (The Miniaturists) and Hackney Attic (Fizzy Sherbet Shorts). Radio Her radio work includes nine plays broadcast on BBC Radio 4 (Opening Lines winner), WLRfm and KCLR96fm. Prose Sue has won The Molly Keane Award, HISSAC Prize, Escalator Award, Meridian Prize and has been published in nine literary journals and anthologies including: The Moth, Flight, Tainted Innocence, New Writer, Duality, HISSAC, New European Writers. She has been writer-in-residence on Inis Oírr, Aran Islands, and at the Heinrich Boll Cottage on Achill Island. She has also benefitted from annual artist residencies at the Tyrone Guthrie Centre, and at Ginestrelle, Assisi in Italy. An academic with a PhD in modern theatre history, specifically the Royal Court Theatre, Sue has presented her research internationally. She spent eleven years in Budapest, editing Hungary A.M. She has a PhD in modern theatre history (Royal Court Theatre) and is a UEA Creative Writing MA alumnus. View all posts by suehealy

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