Category Archives: First page critiques

First Page Critique: The Puget Sounds

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by Michelle Gagnon

Part of our continuing series of first page critiques…

The Puget Sounds


The scar across his cheek was itching; he didn’t like what was happening. The waters of Puget Sound were surprisingly calm that night, but since the moon was hidden behind a thick layer of overcast clouds you couldn’t tell unless you were actually in a boat. Not that Ramtin could enjoy the night sky; he wasn’t keen on boat travel. In spite of his misgivings, everything on the boat was going smoothly. The diesel engine in the next compartment sat quiet. It was normally only used to charge the large compliment of batteries for the electric drive. The electric motors, which were currently in operation, whirred without incident. The hydraulic lines that seemed to go everywhere were holding their valuable fluid, to be used when called upon by the captain. Along the sides and roof of the hull tucked into races neatly arranged near the hydraulic lines were a myriad of stainless steel braided electrical wires painted an odd shade of off white for various control and sensor operations.

To say it was claustrophobic inside was an understatement. But this wasn’t first class traveling. This wasn’t even third class. This was travel under dubious circumstance. Even though they were running under electric power, the smell from the diesel engine hung in the air like a sort of omni-presence. In a submarine, because of the enclosed space, that smell permeates everything. And it only serves to aid the claustrophobic feeling inside knowing you’re surrounded by the cold blackness that is the water just beyond the thin plating of the hull.

Critique:

I’ll start by saying that I love the title, PUGET SOUNDS, in general, but it seems better suited to a literary novel than a thriller or other work of crime fiction. Still, I can picture it on a cover.

There’s a lot of great detail here. The reader gets a strong sense of what it’s actually like to be on a submarine. That being said, the writing is too dense. I felt at times that I was wading through it. A perfect example is this sentence: Along the sides and roof of the hull tucked into races neatly arranged near the hydraulic lines were a myriad of stainless steel braided electrical wires painted an odd shade of off white for various control and sensor operations.

I read that passage three times, and was still not exactly sure what I was supposed to imagine. Particularly when writing about something they know well, authors need to toe a fine line. You have to provide a layperson with enough detail that they can visualize something that is foreign to them, but not so much that it ends up confusing them. Some careful editing could resolve this problem.

There are also a few minor technical issues at work here. One is the double spacing between each sentence. There was a great article in Slate about this a few months ago (Why you should never, ever use two spaces after a period: 1/13/11) that emphasizes why such use is dead wrong and worse, appears dated (which, considering the average age of a NYC editor, is never a good thing). Jim also wrote a fantastic post about semi-colons. His conclusion, “Semi-colons. For academics, yes. For novelists, no,” pretty much sums it up. And kicking off the first sentence with a semi-colon is a definite no-no. Always err on the side of starting a new sentence.

Another issue (and a common mistake among debut authors) is shifting between tenses and viewpoints. We start in the past with “was” and “were,” but in a few places slip into the present, with “serves” rather than “served.”
I’m also not a fan of employing the second person, ie, “…knowing you’re surrounded by…” In this instance, I think it’s better to stay with a close third, writing from the perspective of Ramtin.

Above and beyond these more nitpicky technical details, I have to confess that this opening didn’t grab me the way I was hoping it would (despite the fact that I’m a huge fan of anything set on a submarine). Based on what little we learn on this first page, it seems like it should. The reader ends up knowing more about how well the boat is running than what kind of situation Ramtin finds himself in. I have no idea if he’s stowed away in a tight compartment, or if he’s helming the sub from a captain’s chair. And depending on what his specific situation is, the writer could kick off with boots tramping past his hiding place, or orders given to subordinates. There needs to be something stronger and more compelling inserted here to keep me turning to the next page.
I fear that this is one of those cases where the book really needs to kick off a few pages in, when the story really gets going.

First Page Critique: The Table

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By: Kathleen Pickering

It’s my turn to post the first page of a work and offer my opinion—of which, I will stress is merely that. One of my fantasies about reading new, anonymous work is that I would come to discover that I critiqued the next block-busting novelist. Could this one be he/she?

The Table

When Noa Torson woke up, the first thing she noticed was that her feet were cold. Odd, since she always wore socks to bed. It was bright, too—and she hated sleeping in a bright room, had even installed blackout curtains over her apartment’s sole window so that morning light never penetrated the gloom. She squinted against the glare, trying to make sense of her surroundings as her eyes adjusted. Her head felt like it had been inflated a few sizes and stuffed with felt. She had no idea how she’d ended up here, wherever here was.

Was she back in juvie? Probably not, it was too quiet. Juvie always sounded like a carnival midway, the constant din of guards’ boots pounding against metal staircases, high-pitched posturing chatter, the squeak of cots and clanking of metal doors. Noa had spent enough time there to be able to identify it with her eyes closed. She could usually even tell which cell block she’d been dumped in by echoes alone.

Voices intruded on the perimeter of her consciousness—two people from the sound of it, speaking quietly. She tried to sit up, and that was when the pain hit. Noa winced. It felt like her chest had been split in half. Her hand ached, too. Slowly, she turned her head.
An IV drip, taped to her right wrist. The line led to a bag hanging from a metal stand. And the bed she was lying on was cold metal—an operating table, a spotlight suspended above it. So was she in a hospital? There wasn’t that hospital smell, though, blood and sweat and vomit battling against the stench of ammonia.

Noa lifted her left hand: her jade bracelet, the one she never took off, was gone.
That realization snatched the final cobwebs from her mind.

Cautiously, Noa raised up on her elbows, then frowned. This wasn’t like any hospital she’d ever seen. She was in the center of a glass chamber, a twelve-by-twelve foot box, the windows frosted so she couldn’t see out. The floor was bare concrete. Aside from the operating table and the IV stand, rolling trays of medical implements and machines were scattered about like an archipelago of islands marooned in a grey sea. In the corner stood a red trash bin, “MEDICAL WASTE” blaring from the lid.

***

Wow. Now that’s a nightmare to which I NEVER want to awaken. Am I hooked? Hell, yeah! This catapults “The Perils of Pauline” to the stratosphere–and, she’s not even tied down.

First off, the first three paragraphs delivered so much information so incredibly (what seems) effortlessly, while ratcheting up the tension, that this writer is no amateur. We learn Noa is tough, opinionated, world-weary and intelligent. Noa gives us insight into a world (Juvie) with so much detail, that you can taste the coppery resentment she holds against society. And now, as if she hasn’t been “processed” enough through life, she is stretched out on an operating table for the final dissection.

Is she in danger, or was she hurt and being aided? Holy smokes. I WANNA KNOW!

A poet at heart, I’m hugely into symbolism. This page is loaded with it. For example:

1. The “sole” window apartment and sleeping in the “gloom”—As if living in a rabbit hole, Noa has seen enough. When she’s most vulnerable she wants safety from the world.

2. Her jade bracelet missing –Jade symbolizes justice, renewal, contentment and courage. She never took it off. It’s gone. Now she has to go it alone.

3. A 12 by 12 frosted glass box and concrete floor—a reflection of her view of the world: cold, confusing, hard, unwelcome.

4. Two people whispering –nothing is ever clear. She always has to be on guard.

5. The Medical Waste trash bin –Is that what her life has been reduced to?

Next, every action verb (installed, pounded, dumped, scattered, split, battling), every description (blackout, clanking, squeaking, metal, cold) was perfectly chosen to create mood and move the plot forward. Not a feat for the unfocused writer. This author knows exactly what she/he is doing with word choice to make the reader empathize and act with the character.

Now, I know when given the chance to read on, I will learn her age (though I suspect she’s either still a juvie or a recent graduate), occupation, where she lives, why her bracelet is so important, why her chest hurts and what she was doing before awakening on this Table. But, let me point out, this page was so expertly crafted with concrete (not vague) impressions in this woman’s mind, that these questions created a need to know more; hence, a page turner.

Excellent writing. When can I read the book?

Give Us the ‘Tude

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We’re all about helping writers here at TKZ. We can do that on the blog, of course, but every now and again one of us will show up in person at a conference.
Or, we’ll throw one ourselves. That’s what I’ll be doing in Los Angeles, June 4th and 5th. Two solid days of getting your writing to the next level. Wall-to-wall instruction on what you can do to rise above the slush, get noticed, get sold. Click here if you’d like more information.
Of course, we’ll talk about openings and POV, which brings me to today’s first page entry:
THE FEN
The surveillance van stank. That wasn’t unusual. Put two or more people in a confined space for hours on end and the scent fallout will inevitably be a combination of stale sweat and funyuns with the desperate hint of pine from a cardboard tree hanging on the rearview mirror. 
           
 “…so I told her that’s how it would be irregardless of what she wanted,” Johnson said.
           
The words registered, but I hadn’t paid the slightest attention to the context. “Uh huh.”
           
“You’re a woman, what do you think the problem is?”
           
“I don’t know. Your use of the non-word irregardless?”
           
Surveillance work was the closest I’d been to the field since being shot three months earlier. I thought it would be better than desk duty. I was wrong.   
           
I popped the lid off a bottle of ibuprofen and dry swallowed three. Getting shot hurt. What was done to keep me alive hurt more. The company in the van and our location wasn’t helping. Ed Kowalczyk once wrote a song called “Shit Towne,” about York, Pennsylvania. I’ve been to York. Ed wrote a good song. He needs to write one about Reading.
           
“Do I have to go outside?” asked Johnson, changing topics. At least, I thought that’s what he was doing.
           
“What?”
           
“When I’m on surveillance with a guy,” he put too much emphasis on that gender specific word, “I can just pee out the back door of the van.”
           
“If I see your penis, I will shoot it,” I said.
           
He grumbled, but left in search of a public restroom, or a bush. I didn’t care as long as the smell from the contents of his bladder didn’t reach my nose.
***
The voice of the narrator in this piece is strong. When writing in First Person, that’s the main goal. Give us an attitude. The narrator should sound like someone specific, and someone who might be worth listening to. 
This narrator has a good, irreverent, spunky style. We like protagonists who have a bit of the rebel in them. Why? Because that promises conflict, which is the engine of fiction. In that regard, the repartee is promising. We know this Lead is going to run afoul of those she has to work with.
I also like the crisp attention to detail. The desperate hint of pine from a cardboard tree is excellent. And it’s mixed with Funyuns (note: capitalize product names). That’s specific. It’s almost always better to use actual names than generic categories.
The main way I’d strengthen this opening is to root us in the POV right from the start. I see this kind of opening a lot—a sensory description, but from a voice we have not identified yet. Could this be the author’s omniscient voice? A third person “in the head” voice? Or is this First Person? If so, who is the person?
We don’t get clued in until the third paragraph.
Thus, I strongly urge writers to make that opening paragraph clear about the POV. My suggested reworking is below. It’s by no means the only way, but it’ll give you an idea of what I mean.
****
I popped the lid off a bottle of ibuprofen and dry swallowed three. Getting shot hurt. What was done to keep me alive hurt more.
“…so I told her that’s how it would be irregardless of what she wanted,” Johnson said.
           
The words registered, but I hadn’t paid the slightest attention to the context. “Uh huh.”
           
“You’re a woman, what do you think the problem is?”
           
“I don’t know. Your use of the non-word irregardless?”
The surveillance van stank. That wasn’t unusual. Put two or more people in a confined space for hours on end and the scent fallout will inevitably be a combination of stale sweat and Funyuns with the desperate hint of pine from a cardboard tree hanging on the rearview mirror. 
Surveillance work was the closest I’d been to the field since being shot three months earlier. I thought it would be better than desk duty. I was wrong . . . .
***
Now, I know the thinking is that the author wants to establish the setting first, the van, then get to the scene. But readers will wait for setting information if something is happening, like dialogue with a little spice (with all due respect to Brother Gilstrap.) So putting in description after action is often the better choice for the opening page.
Establishing POV and voice right away are:
Janet Evanovich in Two for the Dough:
I knew Ranger was beside me because I could see his earring gleaming in the moonlight.
James M. Cain, The Postman Always Rings Twice:
They threw me off the haytruck about  noon.
J. D. Salinger, The Catcher in the Rye:
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.
And so on. I know immediately we are in First Person, and that lets me understand better the descriptions that follow, because it’s coming through a particular perspective. And there is an attitude apparent in each narration as they move along.
Main point: it’s the voice of the narrator that’s the number one thing I look for in First Person. This piece has a good voice, so I would keep reading. 

First-page critique of your work, here at TKZ

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We’re launching another round of first-page critiques  here at TKZ! You can send us the first page of your manuscript (anonymously, of course!), and we’ll critique it. Sound good?

Here’s how it works: Send the first page (350 words max) of your manuscript  as a Word attachment, along with the title, to the email address killzoneblog at gmail dot com. (We’ll take the first 33 submissions we receive over a month’s period, first come first served.) The pages will be divvied up among the Killers. From time to time we’ll post each page, and do a critique. Everyone will be able to comment as well.

Last year we had great fun doing this exercise! We’re looking forward to reading some of your pages!

First Page Critique: Kerguelen

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by Michelle Gagnon
We’re winding up our first page critiques this week. Thank you everyone for your patience, especially all of you brave folks who submitted pages. We apologize for any delays in posting them.
Today I thought I’d talk a little bit about formatting. As a savvy commenter pointed out last week, some of the first pages we’ve posted appear to be longer than others. Some of you sly dogs submitted a 10 pt font, single-spaced page. This isn’t something an agent or editor will let you get away with, however, so in the interest of keeping the process as fair and helpful as possible I re-formatted today’s submission (which ended up weighing in at TWO full pages, not one).
Here’s why: the point of this process is that we’re critiquing what most agents would read, and that’s one page. You have that much time to grab their (and our) attention. So fudging the formatting doesn’t really help. The main goal should be to make that first page compelling enough to keep a reader turning to the second, and then the third…and so on.
Here, then, is the true opening page of Kerguelen:

Prologue

My boots are slick with blood and guano. I push my feet through dead terns and petrels, their downy wings flopping, their necks lolling as though life never belonged there. I plow ahead, daring not lift my feet. In some places the litter of birds is half-a-foot deep across this flat headland overlooking the gunmetal ocean. Not a sound from the cliff-face rookery just beyond the edge, an odd braid of birds now and then falling off into dead space. I turn around and follow my plowed trail over the headland back toward my cottage.
Day without wind—a rarity. Fog creeps past the knobheads of grass and fennel, thinning, whispering above the flagstone steps of my cottage. It’s simple really. Fog is moisture, water laden with whatever is in the air: pollution, particulates, poisons. Give us our gales, thank you, from sea-borne air currents that daily carry more and more of the rest of the world to us. Even as far away as the southern Indian Ocean. No one lives isolated—even on a remote island like Kerguelen. Air circulation patterns being what they are in our little whirlpool pocket of climate, yes, in time, we will breathe the same air as everyone else.
There. My last breath was joined by some remainder of a cough from a 19th century Liverpool tubercular ward and a little something from a hacking terminal flu case in Coeur-d’Alene and, of course, the tick-tick-ticking of some isotope, Strontium 90, perhaps, Lawrencium, Polonium.
Some of us thought of going underground, but now it’s surely too late for that. We hope that each day will bring a topping out, and then we will begin the downhill slide, nursing our inevitable lesions, losing hair, pressing on despite frail appetites. We’ve all read and reread the survival manual. We know how it will go. We just hope it won’t turn out as badly as all that.
The good news here is that I would definitely keep reading. I’m a sucker for post-apocalyptic novels anyway (ORYX AND CRAKE, anyone?) I do think the language could use a merciless edit, however. Some of the metaphors didn’t really work for me, they felt somewhat melodramatic and cumbersome. For example, in the second sentence: “I push my feet through dead terns and petrels, their downy wings flopping, their necks lolling as though life never belonged there.”
I think the image of the dead birds is powerful enough on its own: lose the “as though life never belonged there.” Also, consider cutting “my feet.” You also repeat “plow” in the first paragraph, a big no-no. I’m not entirely certain what a braid of birds looks like: that expression briefly took me out of the story.
I’m assuming that the rookery is on a sea cliff- shouldn’t there be a splash when the birds hit the water? I actually think incorporating one makes that sentence more effective. Word choice is always critical. Instead of “some of us thought about,” I would write, “some of us considered.” It’s tighter and less clunky. Also, the second half of that sentence, “but now it’s surely too late for that,” is overwritten. Just say, “it’s too late for that now.”
I’m a little confused by the “topping out” and “eventual slide” in the final paragraph. Is the topping out when air quality reaches the absolute worst point, then gradually starts improving? Or is it when the worst of those air currents finally reaches the island, setting about the inevitable death of the inhabitants? I think if that information is being offered on page one, clarity is key. I love how the page ends, however. Great work.
So, to sum up: compelling premise, just needs some tightening up. And since I’m just emerging from full-bore editing mode on my own manuscript, here are my suggestions for a much tighter opening page:
My boots are slick with blood and guano. I push through dead terns and petrels, their downy wings flopping, necks lolling. In some places the litter of birds is half-a-foot deep across this flat headland overlooking the gunmetal ocean. Not a sound from the cliff-face rookery, except for the occasional splash of a dead bird tumbling into the water. I turn around and follow my plowed trail over the headland back toward my cottage.
Day without wind—a rarity. Fog creeps past the knobheads of grass and fennel,
whispering above the flagstone steps of my cottage. Fog is moisture, water laden with
whatever is in the air: pollution, particulates, poisons. Give us our gales, sea-borne air
currents that daily carry more of the rest of the world to us. No life remains isolated—even
on a remote island like Kerguelen. Air circulation patterns being what they are, in time we
will breathe the same air as everyone else.
There. My last breath was joined by the remnants of a cough from a 19th century
Liverpool tubercular ward, combined with a hacking terminal flu case in Coeur-d’Alene
and, of course, the tick-tick-ticking of some isotope: Strontium 90, perhaps, or Polonium.
Some of us considered going underground, but it’s too late for that now. Every day we pray for a
topping out, after which we begin the downhill slide, nursing our inevitable lesions, losing hair,
pressing on despite frail appetites. We’ve all read the survival manual. We know how it will go.
We just hope it won’t turn out as badly as they promised.

First Page Critique: Character in Motion

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James Scott Bell


Filling in for Kathryn today, with a first page from a story entitled “The Wizard of the Middle Realm.” Here we go:

Katie stared restlessly at the creamy white ceiling as she lay back on her bed. The summer holidays started two weeks ago, but she was not enjoying them at all. Apart from the fact that she was hot and sticky, a discomfort the whirring pedestal fan by her bed was doing little to ease, Katie was feeling lonely. She had never had a lot of friends, but she did have one very good friend who was unfortunately at this very moment moving to the opposite side of the country.

Katie rolled over onto her stomach and rested her cheek against her pillow. The book she had just finished reading lay discarded on her bedside table. At least she still had her favourite characters to keep her company on the long summer days ahead.

Katie pulled herself slowly up from her dampened bed, unsticking her white cotton t-shirt from her stomach as she did so, and wandered moodily over to her bookshelf. She fingered each book looking for another novel that might transport her mind to some faraway fantasy land and help her stop thinking such depressing thoughts.

A tingling sensation prickled in her outstretched fingers, travelled down her arm and spread throughout her entire body. She felt a tightening in her stomach as though invisible hands had wrapped around her waist and tried to pull her backwards. She dropped her hand from the book she was removing from the shelf and frowned. She looked around, half expecting someone to be behind her, but her room was empty of anyone besides herself. The pulling sensation intensified and Katie lost her balance. A tightness formed in her chest and her breathing grew shallow.

“Don’t panic,” she told herself in a shaky voice, “It’s just the heat.”

Katie turned towards her door thinking she would just go get herself a glass of water. She didn’t make it. As she fell forwards her room became a whirlwind of colours.

***

This page does get us to an opening disturbance. That’s good. That’s what we want. It’s just that getting there is a bit of a slog. But we can fix that.

As I mentioned in a previous post, starting a book with a character alone, thinking, is not a wise choice. Readers want to see a character in motion and in trouble, and then later on will care about what the character is feeling and thinking.

When I see a page like this, I move forward until I find some action, some motion, closer to that immediate disturbance (which is anything that presents a change or challenge, even small). Sometimes (often, in fact) I have to move right to Chapter 2 to find that place.

Here, I think we can start with a tweaked third paragraph, this way:

Katie pulled herself up from her dampened bed, unsticking her white cotton t-shirt from her stomach as she did so, and wandered to her bookshelf. She fingered each book looking for another novel that might transport her mind to some faraway fantasy land and help her stop thinking about her best friend – her only friend – moving away.

See the difference? We get Katie moving toward the bookshelf right away, where the disturbing thing will happen.

Now, you can put the first paragraph next, revamping it slightly. This will give you a chance to describe the room (e.g., pedestal fan) and drop in the bit about it being summer. What you’re doing is simply a variation of the chapter 2 switcheroo. When you do that kind of surgery, you begin with chapter 2 and drop in, bit by bit, only what is absolutely necessary from chapter 1. Much of the time, you don’t need any of it. Here, drop in a couple of things from paragraph 1 after the ball is rolling.

I think the second paragraph can be cut entirely, as it doesn’t add anything to the scene. Everything there is implied elsewhere.

So that’s the big lesson to draw here. Get a character in motion as close to the disturbance as possible.

And if you really want to zoom things along (and why wouldn’t you?) you can put that disturbance in the very first line and then “drop back” for a bit of set-up. Dean Koontz used to do this all the time in his early fiction.

For example, Dance With the Devil (written under the pseudonym Deanna Dwyer), begins:

Katharine Sellers was sure that, at any moment, the car would begin to slide along the smooth, icy pavement and she would lose control of it.

Koontz then “drops back” to fill in the set-up information – after we are hooked by this character in trouble.

By the way, these opening strategies can be employed throughout the novel. Sometimes, to slow the pace, you can open a chapter with description or introspection. But if you need to pick things up, start with action or dialogue and then “drop back” to explain how the characters got to the scene.

Other notes on this page:

There are chunks of telling in these opening paragraphs: she was not enjoying them . . . she was hot and sticky . . .Katie was feeling lonely . . . wandered moodily (watch those adverbs!) . . . depressing thoughts.

What we want is more showing. The opening line I suggest has her unsticking her tee-shirt, which gets the hot, sweaty impression out there naturally.

Also, the first three paragraphs start the same way: Katie, Katie, Katie. It’s always good to vary the rhythm of paragraphs that are close together.

All in all, this is not a bad set-up. I do want to know about the whirlwind of colors. But we can capture that interest more quickly with the trims suggested.

Any other notes?

Innocence Lost

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by Michelle Gagnon

Today we’ll be tackling another first page critique. This one is entitled, INNOCENCE LOST:

The elevator doors opened facing the sign for Children’s Psychiatry. Seth Bellingham froze. Places like this never changed. Dreary, gray waiting areas were filled with old, broken toys and troubled people. He was fifteen again, and angry with his mother for forcing him to come. Talking to someone wouldn’t help. No one understood how he felt and no one ever would. They kept asking him, how it made him feel. Why? They didn’t care.

The tap on his arm brought Bellingham back to the present. He saw his new partner, Jake O’Brien, eyeing him with caution before he asked, “Are you okay? Did they get the results back on your father’s tests, yet?”

Bellingham shoved the elevator door that bumped him for the second time, and stepped out. “I don’t know what the results are. The old man threw me out after I dropped my mother off.”

He changed the subject of his father with years of practice and asked, “What do we have?”

Jake pulled his small notebook out of his shirt pocket and flipped to the right page. “The hospital security was here first, followed by a couple of uniforms. They secured the scene and waited for us. I got here a few minutes ago.”

Bellingham followed Jake down the hall, past all the doors that normally would’ve been closed, hiding the private sessions of pain and trauma. Today the doors were open, filled with faces of doctors and patients curious about someone else’s misery. The last time he’d seen a place like this, he was a scared fifteen year old, with a gut full of pain and guilt. His years in the military and on the police force rid him of the fear, but the pain and guilt still lingered and grew stronger the longer he was forced to stay in Maine.

My notes:

I think there’s potentially a great premise here, but it’s buried under some fairly awkward sentences and way too much exposition. I understand that the author wants to give us a sense that Seth has past experience with Children’s Psych wards, and that will play into the story. But as of yet, I’m not invested enough in this character to really care. And not only am I being asked to care about him, but also about his father, an apparently negligent dad currently waiting for test results. That’s a lot of information presented at the get go, about people I don’t really know anything about yet. Better to hint at that dark past with a single sentence, farther along in the story.

I would open with the reason that Seth is there. If the cops are about to interview a kid, I want to see that right away. Consider starting with a line of dialogue, then show Seth’s discomfort throughout, but subtly. Get to the meat of the matter much more quickly. If I know why the cops are there, and how it feeds back into Seth’s past, then I’m engaged. I have no idea what the situation is, but take this as an example:

“So why’d you kill her?”

The kid shrugged, eyes fixed on the floor. He was fifteen, scared, with a gut full of pain and guilt. Watching him, Seth reminded himself that he was a cop here to do a job. Still, all of this was striking uncomfortably close to home…

That’s a little rough, but something along those lines would draw a reader into the storyline more than following two guys out of an elevator and down a hallway. The point at which you choose to open a story is critical. You’ve got one shot at grabbing a reader’s attention, and turning that browser into a buyer. Make sure you don’t squander it.


Little things that add up to a big difference

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Several years ago I did a post over at Killer Hobbies called “Stomping out your story killers,” in which I discussed how the frequent repetition of small errors  can kill your manuscript. As writers we tend to commit our own particular story killers, such as the overuse of certain words and constructions. Some of my most frequent offenders are are the overuse of dashes, and using italics for emphasis in dialogue. During rewrite, I do a global search for my story killers and winnow them down so that they they don’t occur as often.
Which brings me to today’s critique. I enjoyed today’s first page submission, but I do think it contains a couple of potential story killers that the writer may want to watch out for. My comments follow in the bullets. 
MYSTERY OF THE HEART
What could be so urgent as to have his old friend send for him so soon after their recent visit?
Witt entered the palace and a world of opulence greeted him and a smile tugged at the corners of his mouth. A wonderful place to visit, but not his kind of purposeful, long-term living. He much preferred the country.
A young page dressed in the red and gold finery of the Regent’s colors approached, a serious expression clouding his young features.
“Lord Witt.” The page bowed low. “The Regent awaits you. Follow me, please.”
Witt smiled. “Young Thomas, you are far too serious this evening. Why the frown? I enjoy the sound of your laughter much better than the stern look you wear.”
“You will know soon enough and you will understand.”
An edge of uneasiness rippled down his back as he followed the boy. He’d helped his old friend out of difficulties in the past, but those were around issues of war, but those days were past and he enjoyed his quiet life in the country now.
The page knocked on a heavy oak door and bowed out of the way as the door swung open. A dozen men occupied the room. All wore serious expressions.
“Who died?” he joked. But when the circle parted a man, pale and slack, lay across a chaise lounge, his face horribly disfigured.
“Charleton,” said the Regent, stepping from the circle: regal, robust and somber. “Murdered.”
“How?”
“We are not entirely sure…that’s why I sent for you. When word gets out.”
“Tell me what happened.”
Templar came forward. “It appears his face was torn to pieces.”
Comments:

  • I enjoyed this piece, especially the last line, “It appears his face was torn to pieces.” However, I got thrown as I encountered three instances of the word “serious” on the very first page, plus a similar word, “somber.”  Every word on the first page needs to have a purpose for being there. It needs to push the narrative forward in some way. I would suggest that the writer trim down the use of “serious” to one instance. Rather than simply repeating the fact that people seem serious, find another way to heighten the tension on the first page.
  • The description of the palace was too nonspecific to draw me into the setting. I would suggest highlighting one outstanding thing about the palace–something that’s familiar to the narrator, but that underscores its opulence–to bring it to life.

 Your thoughts? And while you’re at it, can you share some of your personal “story killers”?

Taking it on the Chin

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by Clare Langley-Hawthorne

Today I return to our first page critiques and tackle an issue that is always a thorny one for writers – how to deal with feedback (or as it is all too often, criticism in disguise!) In my writing group I have witnessed at least one member halt writing her memoir completely – she was simply so overwhelmed by all the conflicting comments and feedback she had received that she couldn’t progress any further with the book. While this may be an extreme example, there’s no doubt that taking in feedback can be a daunting task – and taking criticism can be even harder.

By now I cope with criticism pretty well – my agent and editors have dished it out often enough and almost always their feedback has been spot on. In those instances I am merely thankful for their feedback and the opportunity to fix the manuscript! I do, however, worry about giving negative feedback to a new writer. All too often the issue is one of stylistic taste – and a new writer can so easily be put-off or overwhelmed by the range of comments received. One person loves the prologue – the next person hates it. One person loves the complex imagery – another finds it bogs down the book. The list of issues can be endless. So how is a new writer to respond to criticism? You hear of many established writers disagreeing with their editor or their agent over a manuscript – sometimes even parting the ways over it all…I have never faced that (as yet) thankfully, but still when I read our first page critiques, I am aware of the over-arching issue.

So how should a writer ‘take it on the chin’?? How do you respond to criticism? How do you deal with conflicting feedback (I always think it’s pretty easy when there are consistent issues coming up – then I know I need to address them – but what if no one agrees on what is right or wrong about your piece?!)

Anyway I’d be interested in finding out how people cope with feedback…and now it’s on with today’s first page critique. It’s a piece entitled DOUBT. My comments follow as bullet points.

DOUBT

“We had a deal,” Tom said as he turned his attention back to the blonde across the table. Without waiting for an answer, he lifted the cold bottle of Heineken to his lips. The bitter liquid flowed down his throat, but couldn’t wash away the distaste of doing business with Alessandra LaFave.
Alessandra tapped her long red fingernails, one by one, on the table as she silently stared at him.

Clack…clack…clack.
The impact of acrylic against Formica echoed like deliberate shots of distant gunfire. She took a long drag off the slim cigarette, tilted her head back and blew gray smoke toward the yellow stained ceiling.
“Deals are made to be broken. Aren’t they?” she asked.
“What are you talking about?” He could see the gears turning behind those icy blues. It was now a waiting game. Tom glanced out of the large glass window behind her as he waited for her reply.
The small Italian seaport was busy. Fishing trawlers docked alongside freighters from around the world in Gaeta Harbor. From where he sat, Tom could just make out the NATO base in the distance.
It was getting late and hurried workers anxious to get home for dinner yelled to each other as they offloaded boxes and fish. The salty air merged with the acrid taste of burning tobacco as diners left the small cafe with their arms full of boxes stuffed with a local specialty, Tiella, a combination of a pizza and calzone.
Tom’s dinner sat untouched on his plate.
His gaze went back to Alessandra still sitting silent in front of him. Her black pantsuit cinched at the waist, curving tight around her ample hips as she moved in her chair. A very pampered Yorkshire terrier puppy snored on her lap, its nose tucked under its tiny paws.
Yes, Alessandra portrayed the softness of a woman. But he knew better. Charming one minute; chilly the next. After having done numerous transactions with her over a number of years, he was immune to her machinations.
In return, she no longer bothered with him. It was strictly business.
“Well? Deal? No deal?” asked Tom. “I have a plane to catch.”
“In a hurry are we?” She lifted a fork and pushed the now cold chicken picatta around her plate. “This isn’t cooked properly. It’s such a shame when things don’t work out the way we hope. Isn’t it, Tom?”
“Quit whatever game you’re running. This was a done deal.” He jabbed his finger down on the table hard. “If you don’t want my future business just say so and we can part company now.”

  • There were a number of things I thought worked well in this first page – I liked the way the dialogue interspersed with the description and I thought there was a good balance between dialogue and backstory exposition – although the description of the Italian seaport seemed to lack specificity for me – the NATO base was a teaser but still I was left wanting a little bit more local colour (beyond the menu variety).

  • What I did feel was lacking was sufficient tension. We already know by the opening line that the ‘deal’ whatever it is, is in jeopardy but by the end of this first page the tension really hasn’t mounted all that much. We get a glimpse of Alessandra but while at first she appears cold and calculating the pampered pooch in her lap seems to detract from her initial ‘sang froid’. The threat at the end of the page ‘if you don’t want my future business…” doesn’t really seem the raise the stakes enough for me. I think perhaps the issue is one of repetition – I would perhaps just speed up the first page – delete some of the to-ing and fro-ing over the deal and cut to the chase: what’s going to happen if the deal goes south.
What do you all think?

Opening with action: Today’s critique

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Today we have the first page of a story called CRYSTAL WHITE. My comments follow in the bullets.


PROLOGUE

Warehouse District

Ontario, California

Assistant Special-Agent-in-Charge Nick Lafferty swore at his vibrating cell phone, trapped in the breast pocket of his suit jacket, trapped under his DEA-issued body armor. He ripped open the top Velcro strap. The noise reverberated through the warehouse. Then he contorted to fish his hand under the vest trying to reach the damn thing before it rang again.
A passing police sergeant, in gray urban fatigues, body armor and carrying an assault rifle slung over his shoulder, let him know, “Sharp shooters are in position, Agent Lafferty. Ready when you are.”

He nodded thanks. With the cell phone firmly in hand, he flipped it open. “Lafferty here.”

“Lafferty here too,” his wife, Renee, said, mimicking his stern, gruff voice, then laughing. “Except for us here is on the boat. We’re missing you. Any chance you’ll be able to join us?”

It was Sunday morning. He’d promised to take Renee and Vicki, their seven-year-old daughter, out for the day on their 32-foot Chris Craft Catalina, the YOU CAN RUN. They kept it docked at the marina off Harbor Drive in San Diego Bay. By now the sun would be full up, warm, baking the dry, gray wharf and the teak aft decking of the boat. Gulls would be circling and cawing, begging for handouts from the boaters and fishermen hanging off the piers.


A light breeze gently snapping the harbor flags, carrying with it an intoxicating aroma of salt water, wet rope and diesel fuel. He could practically hear the lapping of waves, the thump of fiberglass hulls against rubber bumpers, the creak of straining ropes.

He glanced around at the warehouse his team had commandeered for the morning’s impromptu operation. It was a far cry from the sunny marina where he wanted to be, on the water, with his family.

Instead he was here, with his Mobile Enforcement Team. They wore black fatigues and heavy bullet resistant vests under blue DEA windbreakers. With them was a Special Operations Team from the Ontario PD and the County Sheriff’s Tactical Services Team. Decked out in urban camouflage and full tactical gear and body armor, waiting, they stood around talking and checking their equipment, loading weapons and laughing at old war stories or politically incorrect jokes. Rifles and semi-automatic pistols clicked loudly as slides snapped closed. Metal clips clanged against plastic stocks, the musty air sharp with the smell of Hoppe’s No. 9 gun oil.

“I don’t know, honey,” Lafferty said into the phone. “I need to see how this thing plays out.”

***
My comments:

  • This first page seems to be a promising story–I like the sense we’re getting of the main character. I would keep reading, but I did get frustrated by the fact that the opening scene lacks action and suspense. We open on an armed officer, and he’s at a stakeout. This setup should be suspenseful. But then: 1) his cell phone rings; 2) his colleagues are seen standing around joking; 3) he has a conversation with his wife; 4) we get a description of his boat, which is docked someplace else, gulls circling, etc. All of these things drain the drama from the opening scene.
  • I think it would be more effective to open later into the action–open big, provide some drama and suspense, and then you can add the personal background, the wife, etc.
  • I’m not a big fan of prologues, in general. But if you do use a prologue, it should draw the reader in faster than this one does.
  • I don’t think you need to have “Assistant Special-Agent-in-Charge” in the first sentence. We’ll  get an idea that this character is an agent through the dialogue and action.
  • I would like to see more about the goal of the “impromptu operation,” and less about the things that distract from the suspense. So I would suggest that the writer tighten the scene.
  • There’s a lot of description of what everyone is wearing (vest, camouflage, body armor), but nothing that conveys what they’re trying to accomplish. 
  • Is there supposed to be any tension in this scene? The fact that the men are joking and telling war stories conveys an air of relaxation, not suspense.

What do you guys think?