Tag Archives: narration

Suprising First Lining

Name of a ‘yard’ in Norwich. The capital of East Anglia has the most surprising monikers for streets, including: ‘Tombland’, ‘Queen of Hungary Yard’, Rampant Horse Street’ and Unthank road. All would sit well in amazing first lines….

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. “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, 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.’

 __________________________________________________________

1)      Pride and Prejudice, Jane Austen.

2)      I Capture the Castle, Dodie Smith

3)      A Tale of Two Cities, Charles Dickens

4)      1984, George Orwell

5)      Catcher in the Rye, J.D. Salinger

6)      Ulysses, James Joyce

7)      The Stranger, Albert Camus

8 )      The Crow Road, Iain Banks

9)      The Go-Between, L.P. Hartley

10)   Orlando, Virginia Woolf

 

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Mona was a waitress and she was in trouble. Big trouble…

Telling stories in the third person…

Shift over, she was beat. Checking her phone, Mona saw Detective Daxter had called again...

The third person (he/she/it) is the most common narrative point-of-view. The third person observes the main character(s) from a distance, describing how others might see/consider your protagonist. In other words, it gives the narrator greater scope and view privileges than the first person narrator.

If you are writing an extended piece of fiction, you might find it easier and more accommodating to work with a third person narrator. The following are some varieties of this narrative point-of-view

* Nowadays, it is common to have a third person narrator that observes your main character whilst simultaneously looking over his/her shoulder and seeing the story almost from his/her point of view. This ‘over-the-shoulder’ third person narrator can provide some of the advantages of the first person without the drawbacks – however, it is somewhat limited as you are largely viewing events from your character’s POV. For emerging writers, this third person narrative may be a safer bet if wanting to attract an agent.

* You may want your narrator to be quite separate from your character, however. In which case, you could have your narrator follow him/her from a distance, observing actions as if a camera and not directly informing the reader of the character’s inner thoughts.

* Or you could have an omniscient third person narrator – a ‘God-like’ storyteller who sees all and knows all.

The “It” narrative

This is an unusual form of third person narration that tells a tale from the point of view of an object or an animal. An “it” narrative might conceivably be the story of a ring, told by the ring, as it recounts its many owners etc…

Multi narrators

Some books/plays/films are narratives told from various POVs. More common in Victorian prose than in contemporary writing, multi narrators allow for a vigorous description of a community and is useful if the author wants to concentrate on the interconnectivity of a place.

Whichever variety you choose, it is important to be style consistent throughout your work (or if you aren’t, have a reason for that).