Hooks

And more first lines

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I’ve looked at first lines a couple times in the past, here and here.   Below are some others from books on my shelves…

The Stone Gods, by Jeanette Winterson.
This new world weighs a yatto-gram. But everything is trial-size; tread-on-me tiny or blurred-out-of-focus huge.

I like this opening because it evokes senses, but not quite images.  That makes me want to read further.  After looking through my notes and finding this blurb, though, I realize I’ve been unconsciously copying the hyphenated phrase style she uses here.  I am a big fan of Jeanette Winterson, so it doesn’t surprise me a ton.  What I like about this approach is that it alters the pace of the sentence itself.  Often, writers talk about pace in the context of a whole work, zooming into a scene and providing lots of detail and dialogue, slowing down the pace versus summarizing larger chunks of time passing with narrative.  I thought it was worth looking at pace within a sentence based on the use of language and punctuation itself, though.  The other thing I like about this style is that it’s a way of creating a new word when the right word doesn’t quite exist.

The Prince of Tides, by Pat Conroy.
My wound is geography. It is also my anchorage, my port of call.

I think these two lines work because they immediately introduce paradox.  When I think anchorage, I think home.  Comfort, familiarity.  When I think wound, pain and discomfort come immediately to mind.  I think this is a great introduction that at the very least, explains to the reader that place will be important, and the narrator’s association to that place will be complicated.

From My Father’s House, by Sylvia Fraser.
My father’s house was a three-story, frame building on a shady street in Hamilton, Ontario

I don’t like this first line that much.  It gives a bit of information, but it doesn’t hook me, beg me to read more.  Having read the book, I can say it is very well written, and a worthwhile read, and with the benefit of retrospect, the important element of this first line may be in its references to a large house – that can evoke a spooky feeling, especially from the perspective of a child.  The use of the word shady introduces a dark element, too.  When I read this the first time, though, those things didn’t mean anything to me yet.  To me, this is an example of how a great book can live without a great hook, though.

Middlesex, by Jeffery Eugenides.
I was born twice: first, as a baby girl, on a remarkably smogless Detroit day in January of 1960; and then again, as a teenage boy, in an emergency room near Petoskey, Michigan, in August of 1974.

This opening line tells the reader exactly what the story will be about, and the subject itself is unusual and promises to be intense.  References to place and time help set the stage for the inherent struggle the narrator will have in dealing with gender identity.  Most of the language is straightforward, unadorned, though the first four words imply the significance of the subject matter.  I like the combination of the gravity of the first phrase, and the almost boring everyday description of the remainder of the line.

Water for Elephants, by Sara Gruen.
Only three people were left under the red and white awning of the grease joint: Grady, me, and the fry cook.

“Only three people were left,” – this part of the sentence implies that we’re joining the narrator at some later point in the story – I expect to hear what led up to there being only three people left.  The terms “grease joint,” and “fry cook,” both make me think of lower class characters – people that don’t have much money.  The line isn’t earth-shattering, but it sets the stage a little bit, and the opening words make me want to read more.

More First Lines

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I wrote a post recently on the first lines that open books. Below are five more first lines and my thoughts about them…  I did cheat a bit in two cases, and I included the first few lines because despite the punctuation, I felt they were meant to be read together.

Then We Came to the End, by Joshua Ferris.
We were fractious and overpaid.

I recently shared an excerpt of this novel, Joshua Ferris’ debut.  I loved the book, and identified with the humor of the ad agency world contained within it.  This first line is incredibly short and simple, but I think it grabs the reader very effectively.  The line clearly indicates the story will be about a group of people and have something to do with jobs.  The reason I love the line, though, is because of the use of the word “fractious.”  What an awesome word, and one I doubt I’ve seen in print anywhere!  Dictionary.com gives two great examples of the meaning and use of the adjective:

1. refractory or unruly: a fractious animal that would not submit to the harness.

2. readily angered; peevish; irritable; quarrelsome: an incorrigibly fractious young man.

Looking at this first line after having read the book, I couldn’t possibly pick a more appropriate opening line, and I think that also underscores it’s effectiveness.

The History of Love, by Nicole Krauss.
When they write my obituary. Tomorrow. Or the next day. It will say, LEO GURSKY IS SURVIVED BY AN APARTMENT FULL OF SHIT.

I absolutely love this first line, and I loved the novel.  The reader is introduced to Leo Gursky, the main character, and knows the story will be narrated by him.  It also immediately introduces sarcasm and humor, both of which are big pluses in my book.  The narrator’s name to me reads “quirky,” and I know that Leo is old or doesn’t expect to live long for some other reason.  If you’ve never read this book, go get it.  It’s brilliant.

The Sunflower, by Simon Wiesenthal.
What was it Arthur said last night?

This simple first line doesn’t tell the reader a whole lot, but it does instantly convey that he is not in top mental shape.  It sets the mood, though, as I quickly pictured myself with eyebrows scrunched, searching my memory for something I couldn’t quite remember.  I love that readers do that – fill in details themselves as they read, whether its’ picturing themselves or another person with an expression that’s well-described, or painting a picture in their heads of a character, even though only certain details are provided by a story.

Fool’s Crow, by James Welch.
Now that the weather had changed, the moon of the falling leaves turned white in the blackening sky and White Man’s Dog was restless.

This sentence primarily sets a scene, though it also introduces the main character and illustrates his general state of mind.  The language is descriptively rich, and continues that way throughout the book.  As a tale of Native American life, this type of description runs throughout the entire novel.  I don’t believe it is the type of first line that completely grabs the reader, but the question of why White Man’s Dog is restless is compelling, and the many references to nature, weather, and season do set a certain ambiance.

Lighthousekeeping, by Jeanette Winterson.
My mother called my Silver. I was born part precious metal part pirate.

Again, these statements are classic Winterson.  You know instantly that you’ll be reading a tale that has some fantasy in it.  Punctuation is missing, which subtly reinforces the concept that this character is  truly a combination of precious metal and pirate – there is nothing to separate the two elements of the character.  The unique and odd combination itself begs for more information, so I think these lines do their job.

 What are some of your favorite first lines?  Or, if you don’t have any off the top of your head, open up a couple books and jot them down – what do they do for you?

First Lines

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One of the exercises in Writing Life Stories, by Bill Roorbach, is to write down the first lines of a ton of books so you can analyze them, and look at why they work. Below are some first lines from some of my books that are within arm’s reach of my desk.

Gut Symmetries, by Jeanette Winterson.
First there is the forest and inside the forest the clearing and inside the clearing the cabin and inside the cabin the mother and inside the mother the child and inside the child the mountain.

This sentence reads to me like classic Winterson.  The lack of punctuation and repetitious phrasing creates a rushing, falling forward, feeling of things growing smaller and smaller until you reach the smallest thing and inside it is something larger than everything that led up to it.  The sense of spiraling motion and paradox startled and hooked me.  I have yet to read this book, but after doing this exercise, it will jump high up on my list.

Typical American, by Gish Jen.
It’s an American story: Before he was a thinker, or a doer, or an engineer, much less an imagineer like his self-made-millionaire friend Grover Ding, Ralph Chang was just a small boy in China, struggling to grow up his father’s son.

While this sentence contains little drama, it tells me the story has the global theme of son-trying-to-live-up-to-dad’s-expectations.  It also sets the stage for the journey of Ralph Chang, and introduces a character that seems quirky simply based on his name – Grover Ding.  Hard to take seriously anyone with the surname of Ding.

The Kite Runner, by Khaled Hosseini.
I became what I am today at the age of twelve, on a frigid overcast day in the winter of 1975.

This simple first line instantly frames the story as a remembrance, possibly a dark remembrance based on the description of the weather.  It also makes clear the narrator will experience something very significant at the age of twelve, and as a reader, I want to know what that is.

Still Alice, by Lisa Genova.
Alice sat at her desk in their bedroom distracted by the sounds of John racing through each of the rooms on the first floor.

This sentence simply sets a scene, and although I did continue to read this book and enjoyed it in the end, this first line had no big impact on me at all.  I can visualize the scene, so it is effective in achieving that and introducing two main characters, but it doesn’t scream, “Keep on reading!”

The Passion, by Jeanette Winterson.
It was Napoleon who had such a passion for chicken that he kept his chefs working around the clock.

This sentence sets the historical period of the book, while introducing a quirk the reader doesn’t expect to be associated with a figure like Napoleon.  The image of Napoleon having people working around the clock to serve him fits, but the reference to chicken passion adds a unique twist and generates curiosity for the reader – at least when that reader is me.

I wrote down (or typed, to be more accurate) many more first lines than these today, but in the interest of NOT writing an overwhelming amount of information on this subject, I started with five.  I’ll post more another time.  What are some of your favorite first lines?  Or, if you don’t have any off the top of your head, open up a couple books and jot them down – what do they do for you?