The First Chapter

I've had a few questions lately along the lines of - 'how important is the first chapter?', 'how do you know where to start the book?' and 'should I give the background information for the story up front?'.

The first chapter is where the author has the opportunity to grip the reader's attention. Get them involved so they know that this is a story that won't be putting down real soon. The first chapter should introduce your main character/s in a situation of conflict. And that situation should announce the theme of the book.

The first chapter should start just before a major scene or the build up to one. For example, in my first book the main character finds himself on the wrong side of his favoured skill, interrogation. I introduced the main character in a situation of conflict and in a seemingly impossible circumstances that he needs to escape from.

A lot of first-time writers want to start their book with background information that they think the reader would need to know. I tend to think this is because authors spend so much time developing their character/s that we want to impart all of that information to our reader straight away. Not necessary. A paragraph here or there throughout the book in the narrative or through dialogue can fill in the gaps on background information that value-adds to the story.

The first paragraph needs to captivate or hook the reader. Give them something that spikes their interest to keep on reading. Last thing we want to do is bore the reader - that applies to the whole story, but to do it in the first paragraph can lose a lot more potential readers. I also think it is important to introduce the main character into the first paragraph. It lets the reader know who they are dealing with for the rest of the book. It gives them an initial visual that will shape their perceptions along the journey.

First chapters take time to get right. Don't be afraid of spending the extra time on this part of the book. We need to get it right for our readers. So, no backstory or flashbacks (and please no dream scene straight away), introduce your main character in a sitaution of conflict and make sure we hook the reader right from the start.

JJ

The Value of Writing Related Websites

I don't keep it a secret that the time I have spent in the last year or so at the AbsoluteWrite website, has helped me get a fantastic publishing deal.

I have now discovered another wonderful writing site called The Writers Block. Another fantastic site for writers to gather in a forum and exchange ideas and encourage each other toward their writing goals. This forum caters for all genre and for those just starting out to published authors.

Sometimes writers can feel isolated in chasing their dreams. I never felt that way whilst writing Interrogated, because I had the support and encouragement from an online writing community.

Whatever your writing goal may be, do yourself a favour by joining an online writing community. You won't regret it.

JJ

Fight or Flight - What do your Characters do?

The Flight or Fight theory is something I ponder with all of my characters before I write them.

I wonder if my fellow writers consider this theory. I'm not just talking on a confrontation type of situation with limited consequential value. I mean in a life or death situation because I think in order to understand our characters we need to venture there with them (not necessarily in our stories but before we develop them).

Over the years I have seen people at that pure raw emotional level. And I learnt early that first impressions such as looks, build, age and sex of the subject isn't necessarily an accurate guage.

The thing is, given enough time - everyone will break down to pure raw emotion under certain circumstances. That animal instinct where we fight or flight.

So imagine your characters broken and at that raw emotion type level. What is their natural instinct? Do they fight or flight?

We need our MCs to have a vulnerability. But, we shouldn't just make it a 'cosmetic' vulnerability. We need to dig deep into our character's lives and start by figuring out what their raw emotions would be. Then give them a reason for those emotions either way.

I find starting with the raw emotion and building upon it doesn't 'cheat' the reader in the end. You know the feeling you get when you say 'I knew he/she was evil/good', that's because of the raw emotions you start with. After that you can twist and add to suit your needs for the story.

For me, this is truly understanding your character and allows you to build their personality upon it.

JJ

Types of Questions

Regardless of the occupation or personality of your characters, it is an advantage if you are aware of how to construct questions. Or, how your character should construct questions in order to ilicit the information they require. This doesn't just pertain to Detectives or Journalists (although I would argue many Jounalists could use a course in questioning techniques). It can be used by everyone and anyone to gain some information. Here's why:

Let's firstly look at types of questions:

Closed question. A closed question generally means an obstructive person or shy person will only provide a yes or no answer if given the choice. It is what it is - closed. It may be used effectively when leading someone to a point before reuqiring detail or when confirming detail. For example: Did you kill the maid? The answer can only be yes or no. There is no room for expansion because you haven't asked for expansion.

Open question. The best type of question to ask in order to get the other person talking and ideal as a first question to get the other person to explain their story. For example: Descibe in detail how you killed the maid. You see how there is no room for a simple yes or no answer.

Leading questions. Most favoured by Journalists. Personally, not my favourite because they lead a subject onto a topic that you want to hear about. Unlike probing (which I'll get to), these do not allow for a conversation to naturally, or skillfully, flow by letting the subject tell their story. Foe example: You said an email to the maid that you desired her; and it is apparent that this may be questionable intentions in the context of her murder - who do you think killed her?

Probing questions. As opposed to leading questions, their is no accusatory conotations regarding an incident. It's not going as far as a leading question. You get the subject on track and then follow up with an open question. For example: You said in an email to the maid that you desired her - what bearing do you think this has on the case?

Mirror questions. Simply put - you repeat the previous answer given and then ask another. This should not be overused because it is an obvious attempt at buying time to ask the next question. For example: Subject. I have no recollection of that night. Interviewer. So, you have no recollection of that night, why?

Multiple choice. Another one for the Journalists amongst us. No need to explain in detail here. The main problem is that you must know what choices are avialable. By that I mean if the reason for something happening is outside of the choices you are given, then you are showing your hand that you don't know. For example. Do you prefer killing with a knife or a gun?

That should jsut about cover off on the type of questions available for use. This information, coupled with questioning techniques that I will blog about another time, may help when considering how your characters will ask questions. Although the examples I provided are basic, I hope they put the type of questions in context.

Let me know if you have any questions or points on this post.

JJ

Using Body Language in our Writing

When I was in the Military, I spent some time teaching Body Language Analysis in interviewing and interrogation. This involved reading the subjects body language as well as using the interviewers/interrogators own body language to get the optimal results.

Research suggests the relative proportion of information is passed via three elements:

Verbal - 7% (what is said);

Vocal - 38% (how it is said); and

Non verbal - 55% (facial expression, posture, gestures).

In normal conversation, the verbal element is primarily used for passing the facts or opinions that a speaker wishes to convey to the listener. The vocal element is used to support the words and may also be used to support the non-verbal element which is used primarily for showing attitudes and feelings, though it can be a substitute for verbal messages, for example where there is a language barrier.

As you can see the non-verbal component, which is more commonly referred to as body language, is the single largest component of person to person communication.Each gesture is like a single word, and a word may have different meanings. It is only when the word is used in a sentence with other words that its meaning is fully understood. Gestures come in sentences/clusters and may indicate the truth about a person's feelings or attitudes.

We are generally unaware that posture, body movements and gestures can tell one story while the voice may be telling another. Suffice to say that if you work at understanding body language the better chance you have at understanding what is really being said.

So how does one transfer this information into their writing? Firstly, using body language indicators is a great way of 'showing' the information instead of 'telling' the reader what is happening. And, when using dialogue, accompany it with some sort of physical movements. Let's face it, do you just sit or stand still when talking to someone? Do you stand closer to someone you are more comfortable with? Do you touch the arm of someone you care for just before speaking with them?

A word of warning though. Don't have a physical movement at the end of each dialogue tag. Remember, everything we write must add value to the story somehow.

If you have a particular question on body language that you would like me to blog about, just let me know.

JJ