Kissmequick
loony
No doubt about it, a great first line will help
But, and it's a big but, I can name you half a dozen books I love with less than auspicious first lines, and another half dozen with really great first lines that I turned out to loathe.
I've been in the position of reading a lot to find the good stuff, and barring really obvious stuff* then the first line isn't what grabs me. I give a book a couple of paras at least, if not a page. I can usually tell by then if something is going to work for me, or if the writing is not up to snuff. But one line? I'd have missed out on some really really good stuff if I only went by that. Agents don't want to miss the good stuff and neither do editors.
A good first line only needs to do one thing -- not put me off finding out what the second line is. A good first page has to hook me into the story.
Do agents/editors only look at the first line? I suspect it depends on the agent/editor. But I also suspect that most read more than that -- they read enough to tell them whether the writer can write. And for most subs (not all, see * below) that's going to take more than five-to-fifteen words or so.
I mean, Call me Ishamel. Boring, right? *buzz* Next! Last night I went to Manderley again. Who cares? *buzz* Next! At twenty three minutes past eleven Robert Weil drove his 53 registered Volvo V70 across the bridge that links Pease Pottage, the improbably named English village, with Pease Pottage, the service station**. Sorry, I saw something shiny and didn;t reach the end. Next!
*the most usual being a basic grammar error, a homonym slip up or trying to stuff three sentences-worth of detail into one super-rambling sentence.
**The opening sentence to Ben Aaronvitch's latest. Which is a bloody good book. The opener however is only of interest to me because I live a couple of miles from Pease Pottage. It is not an example of a shining first line IMO, though it might be a good example of a police report, which it is, except that 'improbably named'. But it is an example of a bloody good book. By the end of the first page we've got a bit more of Peter's voice etc, and it's clear the author can write and I want to see where this is going.
But, and it's a big but, I can name you half a dozen books I love with less than auspicious first lines, and another half dozen with really great first lines that I turned out to loathe.
I've been in the position of reading a lot to find the good stuff, and barring really obvious stuff* then the first line isn't what grabs me. I give a book a couple of paras at least, if not a page. I can usually tell by then if something is going to work for me, or if the writing is not up to snuff. But one line? I'd have missed out on some really really good stuff if I only went by that. Agents don't want to miss the good stuff and neither do editors.
A good first line only needs to do one thing -- not put me off finding out what the second line is. A good first page has to hook me into the story.
Do agents/editors only look at the first line? I suspect it depends on the agent/editor. But I also suspect that most read more than that -- they read enough to tell them whether the writer can write. And for most subs (not all, see * below) that's going to take more than five-to-fifteen words or so.
I mean, Call me Ishamel. Boring, right? *buzz* Next! Last night I went to Manderley again. Who cares? *buzz* Next! At twenty three minutes past eleven Robert Weil drove his 53 registered Volvo V70 across the bridge that links Pease Pottage, the improbably named English village, with Pease Pottage, the service station**. Sorry, I saw something shiny and didn;t reach the end. Next!
*the most usual being a basic grammar error, a homonym slip up or trying to stuff three sentences-worth of detail into one super-rambling sentence.
**The opening sentence to Ben Aaronvitch's latest. Which is a bloody good book. The opener however is only of interest to me because I live a couple of miles from Pease Pottage. It is not an example of a shining first line IMO, though it might be a good example of a police report, which it is, except that 'improbably named'. But it is an example of a bloody good book. By the end of the first page we've got a bit more of Peter's voice etc, and it's clear the author can write and I want to see where this is going.