This Monday just gone saw the first local Romantic Novelists’ Association lunch of 2011. Good food, good company, always something to learn and always a great chinwag. This time we didn’t have a speaker. Instead we all read the first 250 words from one of our works (finished or yet to be) and discussed them. In total there must have been about 14 offerings, from authors with dozens of books under their belts to the newest newbies.
What amazed me was how different they all were. All good, but as varied as chalk, cheese and chewed pen lids. Within that small amount of words (a double drabble and a half) the tone of the story was set, the writer’s “voice” was instantly recognisable, you could get a pretty clear idea in all bar a couple of cases about where the story was going to go and you knew the era/seeting even where there hadn’t been a Cambridge 1907 type heading at the start.
And – maybe most important of all – I think you had a ninety percent chance of knowing whether you wanted to read more. While all the intros were good, not all of them piqued my interest enough to think, “Read on, read on!” Which led me to think about submitting stories and the importance of them making an instant impact.
I remember, on the I Do and I Do Two projects, how we could pretty well tell by the end of the first page whether a submitted story was a ‘goer’. The same applies where submission calls ask for a chapter or three. It’s not helping your cause to say, “The first few chapters are a bit slow” or “they don’t represent the story as a whole”. They’re the first bit the editor will see and if he/she isn’t sold, what chance have you got of nabbing a reader? Do we have the patience to plough through three chapters of intro to get to “the good stuff”?