How's My Opening Pages?

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Denise Tanaka

Denise RobargeTanaka
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I'm resurrecting an epic fantasy that I drafted many years ago. It already went through a cycle of critiques but for a variety of reasons, I put it aside until now. I've done some sanding and polishing. My question is, does the opening "hook" you in? The excerpt is about 1,000 words.

* * * * [TITLE UNDECIDED] * * * *

Condrie opened the shutters to welcome the silky air of late afternoon. Outside her window, the summer insects buzzed and purred. This was her favorite time of day when the glare of the sun was about to fade and the cool of night was at hand.

Townsfolk closed the awnings of their shops. The brewer, the cooper, the draper, and the chandler one-by-one latched their doors. They loitered in the street to share one bag of dried weed among four pipes. One of them cast a sideways smile to Condrie, but with the men's backs turned she could not identify his face.

Withdrawing from the window, Condrie returned to her routine kitchen tasks. From the wood box, she took an armload of kindling and a bellows, ready to revive the smoldering fire. It would be green pea and bacon soup for supper. A lump of bread dough, that had been rising on the mantle, was ready to be baked.

"Help me!" huffed a hoarse, male voice.

A man thrust his head and half his body through the open window.

Startled, she dropped her bellows. It fell loudly like the stomp of a boot on the wooden floor.

The man glanced backwards to the open window. Insects continued droning undisturbed. He appeared to calm down one notch from total panic.

Surprisingly nimble for a man his size, he tucked up his long legs and rolled over the windowsill. He slammed the shutters and dropped the bolt to seal them. Though he moved quickly, she caught the twinkle of jeweled buttons in a blur of elegant colors. Never had she seen such intense purple, crimson, and vibrant green except in a field of wild flowers. A gentleman... on this side of town?

Crouching beside the hearth, he looked up at her with vivid blue eyes. "Help me, please. They want to kill me."

She flapped her hand to draw him towards the center of the room.

The man helped her slide the heavy table aside. She plucked up an iron ring in the floor's hatch. He didn't balk at the dark pit that her sisters said was haunted. He didn't hesitate to plunge into the root cellar with the garlic bulbs, onions, smoked ham hocks, and radishes. Enough of a glow came from the oil lamp, ensconced on the wall, to see the top of his head. Shaggy, pale hair was like a sheaf of wheat stalks crouching among the vegetables.

Condrie let the hatch fall. The table was too heavy to drag back into place by herself, so she adjusted the stools then dropped a sack full of lemons over the hatch's iron ring.

Someone knocked on the back door.

Condrie swallowed her heart back down into her chest.

"Open in the name of King Davarche of Xol," demanded an angry voice. Several others muttered outside.

She frowned to wonder why agents of the kingdom to the south had ventured so far from their domain. Briefly she wished for the courage to shout at them, Go away, your hornets! You have no business here!

Condrie slid aside the plank that bolted the door.

Knights of Xol entered the kitchen – tall, muscled beings clothed in the black wool of foreign sheep. Metallic chips were riveted to the shoulder pads of their coats and the bracers on their forearms. Crescent gorgets hung over their chests. Their heavy boots pounded on the hard floor. Seven of them -- seven soldiers and seven swords -- entered to poke around. One stayed outside to watch the street.

One beardless knight spoke in a strong, clear voice. "Are you the mistress of this house?"

A woman! In the identical stiff uniform as the others, and with the mannerisms of a cavalryman, Condrie had not recognized this knight's sex until she spoke.

Condrie shook her head to answer. She continued gawking, not only because a woman bores arms in service of the southern king, but she had the exotic look of a foreigner. Pure Xol blood gave her wide-set pale eyes, a blunt nose, caramel-toned skin, and auburn hair that she had chopped short to the collar like the other knights.

"We're looking for a gentleman. Have you seen or heard someone run by?"

Again, she shook her head to answer.

The woman knight stepped in closer to stare face-to-face into Condrie's eyes. "Are you mute?"

"N-n-n-n-no... I-I-I-I-..." Condrie balled her fists, silently cursing her stubborn tongue. Of all the times for it to fail! Why could the words never make the journey smoothly from her mind to her mouth? Especially at a time like this. They'll think I'm nervous; they'll think I'm hiding something.

The other knights checked the window shutter, seeing it was bolted from inside. They poked their leather gloves into barrels of flour and pickles, knocked at the dirty pans, and even picked through the stack of logs by the smoldering hearth.

"Where is your husband?"

Condrie shook her head. "N-n-n-no husband."

"Surely you don't live alone in this grand house? It's got a second floor and, from the street, I saw at least six windows with glass panes! If you aren't the mistress of this house, then where is your master?"

Condrie's tongue gagged in the back of her throat. She wanted to cry out, Don't you know where you are?

"Answer me, wench," the woman knight snapped.

The knight from outside put one foot in the door. "Captain? There's a placard over the door. This isn't a home, it's a paintery."

"We're a b-b-b-b...," Condrie stammered, not sure what a paintery was supposed to mean. The correct word -- such a simple word -- would not come out of her mouth. "We, uh, we open for b-b-business soon."

"A paintery?" The woman knight snickered to her companions. "We're wasting time here. He must have gone the other way."

With a rattle of scabbards, the seven of them filed out the door. The vacant kitchen suddenly seemed enormous when she was alone.

Condrie carefully bolted the door shut. She listened at the open window until she was sure that their heavy boots had tromped farther down the street.

When she raised the heavy trap door, her arms trembled. She wasn't sure if it were from nervousness or the exertion.

"Are they gone?" the man whispered from deep down in the hole.

Condrie nodded.

* * * [END OF EXCERPT] * * *
 
I think it was hooking enough! There's enough happening to make the reader curious. What was missing for me was some insight into the woman's mind - why did she help the man? It wasn't a very obvious choice, he could be just a bandit. What did she think that made her help him?
A couple of technical things I noticed-
"One of them cast a sideways smile to Condrie, but with the men's backs turned she could not identify his face."
If she saw his smile she had to see his face!

"It's got a second floor and, from the street, I saw at least six windows with glass panes! "
A bit of an obvious telling the reader something that both charaters know, you don't normally describe a house to someone who lives in it...
 
The gentleman took off into the brothel? The serving girl must be more or less used to the high born arriving oddly in a place like that. That he was quality would probably be enough for her to help him. She would be trained to serve the patrons, trained into taking orders from higher class persons.

I enjoyed it.
Just wondering why the knights would have authority in the other realm.
 
I really liked this, but I thought the story didn't really begin until the 4th paragraph. I wonder if you could rewrite most of the first 3 paragraphs, letting tension build a little more?

I agree with Jackie Bee about the sideways smile, and yet that part did add mystery and tension, which I liked.

I think with the very beginning tightened a little more, you have a great hook there.
 
You're missing the trick of hooky first sentence - so what you do instead is spend a few paragraphs trying to set the scene. Arguably this is simply killing time until your story actually starts - which is when someone jumps in through the window.

You're also lacking in character development at this point - as soon as this event happens we should expect some big reaction from Condrie - fear, excitement, some form of tension. Instead, she just "flapped her hand". This also shows when she's confronted by soldiers - her big reaction isn't that she's in danger, but instead that there's a woman knight questioning her.She comes across as very passive overall.

There is some really nice attention to detail in this - I love all the little references to food, because they help give a sense of place and can add a richness to the text. However, you're in danger of being too generic with some details, and potentially overlooking them. For example, Condrie sees "the brewer, the cooper, the draper, and the chandler" - no names, no descriptions, so it doesn't feel like a character experience to see them. Additionally, this also means that there are potentially four witnesses just aside from her window, who might express a similar surprise at a gentleman jumping in - but the soldiers don't seem to think to ask anyone on the street.

Additionally, watch out for slips of detail - "King Davarche of Xol"? If Condrie does not live under that king's authority, then the name itself will give none - but the status of the knight alone could give plenty.

Overall, not a bad effort at all, and as above, I love the attention to background detail. I think where you're lacking at the moment is in terms of structure and character development. Books on writing cover these issues a lot:
https://www.sffchronicles.com/threads/551724/

For the piece above, I'd suggest you start with the man coming through the window - and give Condrie's immediate reaction - fear, confusion? If he's fleeing in fear of something, make that fear infectious. Also consider Condrie's motivation - why is she actually going to help? You don't need to provide back story - the gentleman's apparent wealth and an imagined reward could be motivation enough - but put that in because it's the character being proactive. You could then have Condrie looking for hiding space to bring your background details into the fore as they have suddenly become very important in deciding on an appropriate place to hide. When the knights come, one writing tool you can use to give immediate reader sympathy to Condrie is to have the knights treat her unfairly - doesn't have to be violent, or humiliating - simply unfair. After, she's potentially going to be torn between relief and anger for being put in that situation, and expecting something in return.

Just a suggestion, anyway.
 
I liked it and the start held my interest long enough till action started.

I don't see any need to prune or re-arrange, which might make it too hard to fix the action in a situation.

It's lovely as it is. Action isn't everything anyway, or else every book would read like different genre flavours of Fleming / Ludnum / Clancy / Cussler
 
The gentleman took off into the brothel? The serving girl must be more or less used to the high born arriving oddly in a place like that. That he was quality would probably be enough for her to help him. She would be trained to serve the patrons, trained into taking orders from higher class persons.

I enjoyed it.
Just wondering why the knights would have authority in the other realm.

Wow, you spotted that it's a brothel right away. I hesitated to emphasize it too early because I don't want to set - err - certain expectations. This is rated PG and is not a romance.

You're missing the trick of hooky first sentence - so what you do instead is spend a few paragraphs trying to set the scene.

The first page is the hardest. I wanted a little of crickets chirping and then, boom! The trick is to infuse some anticipatory tension into the crickets chirping part.
 
Sorry, there's a miserable person in every crit.... I'm afraid this didn't grab me at all, simply because it's too removed from the character experience (but remember I'm obsessive about being kept close to a character).

Take the first line - it's as if we're watching a movie of Condrie, or being told it by a distant narrator. There's nothing of the character experience there, nothing to make it more than a single, watched action. To bring it closer (someone like Joe Abercrombie might be good to look at), I'd want something like

Condrie reached for the shutter, tugging it over the stiff section of wood. Air, softly moving, silk-like, ruffled her hair, and a bee (specific brings us in more than something like summer insects which seem to me more of a tell than a show) moved in the honeysuckle to the side, buzzing from bloom to bloom.

Obviously, that's my style of prose, not yours, but can you see how being closer to the character, having her experience the air rather than it being told about, is a little more hooky.

One trick that @Boneman taught me is to write these scenes in first, sometimes, like a stream of consciousness, and then translate it to third later. :)
 
Just wondering why the knights would have authority in the other realm.
I wondered too, but presumed all would be clearer later.

Condrie reached for the shutter, tugging it over the stiff section of wood. Air, softly moving, silk-like, ruffled her hair, and a bee
No, I prefer the original :D
 
Wow, you spotted that it's a brothel right away. I hesitated to emphasize it too early because I don't want to set - err - certain expectations. This is rated PG and is not a romance.

It was all the second floor windows that gave it away combined with the smirks from the man on the street, and the reaction of the soldiers. ;)
Her reaction to the knights bespeaks to me that this is a kind of war zone she is in. A layer of polish and civility over what could explode into violence in a moment.

If you were to indicate that the 'pipe weed' is a somnolent psychotrophic, the inability for the streetpersons to assist in the manhunt would be clarified. Or perhaps the distain of those free merchant men towards outside knights. Meanwhile the knights would feel free riegn to terrorize an indentured serving wench, whose freedoms and rights would be of no more consequence then a slave's.

As the window opened seemed to be kittycornered to an alleyway with a bit of natural flora and fauna as opposed to being entirely upon the street direct, perhaps the gentleman had made his way up the side alley and into the window, and thuswise bypassing the street people.
 
I don't know if 'one by one' should be hyphenated or not.
I wouldn't think it to need it specifically unless you want to set it off from the main block of text in emphasis.

Denise, I really enjoyed the character. The limitations of her stutter that would for the most part curtail her interpersonal interactions was worked in quite well here I think. When she would be startled, first by the man's entrance and then by the pursuers, she wouldn't be able to communicate verbally effectively, and overall with the impediment would rely upon nonverbal communication skills. This you depicted aptly.

I really connected with your serving girl. As a person with a stutter myself, I can tell you, you pretty much don't talk unless you need to. As soon as you open your mouth, you are thought to be mentally defective by most, and therefore an easy mark.

I thought the knights treatment of her to be bullying and humiliating enough. But I believe Brian is right, that you have a chance to further develop the character and situation with her reaction to the search.
 
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you pretty much don't talk unless you need to. ... you are thought to be mentally defective by most, ... I thought the knights treatment of her to be bullying and humiliating enough
Or at best useless.

I agree.

I think the character can be developed as the story progresses. Do we have to wait for the book to be published?
My question is, does the opening "hook" you in?
yes.
 
I am definitely hooked into reading it. But you could make it a bit closer to the character.
Still there is a difference between coming in feet first and running or sneaking in with just enough enticement to get things started. Either way you will want to consider getting a bit closer to the character experience sooner or later or you'll throw the whole thing away hook line and sinker.

It's good though and reads well.
Keep it up.
 
Miserable old git No.2 here.

The opening starts directly with Condire, as do 7 more lines – usually with an action of some sort soon after. Noticeable starts is my point here.

The first three sections were description and scene setting but didn’t quite do it for me. The day/time description was good if a little overlong, but then there was no descriptions of the street at all and for all I know it could be an out of town shopping district with free parking. I’m over doing the comparison here, but hopefully you’ll see I didn’t get enough information for any placement.

A little bit better on the third section but no character feelings. Is she happy in her work or not? How does she feel?

Then our man arrives via an open window, which if it happened to me in my home I’d be somewhat concerned. Why is this person running and/or is this person a criminal? Being a lone woman, am I safe would be a question flashing neon signs for me. So the character reactions felt all wrong to me.

The man glanced backwards to the open window. Insects continued droning undisturbed. He appeared to calm down one notch from total panic. – The shift to outside insects felt odd to me. Why would the insects be worried about a man climbing in through an open window?

When the Knights turn up, there was no questioning from your character that she would protect this random stranger from the law of the land. This was important for me, because without this explanation I don’t understand your characters motivations, or reason for action.

In general the dialogue was predictable for me and very un-natural. Very distant emotionally and lacking depth and feel to hook me in.

"Surely you don't live alone in this grand house? It's got a second floor and, from the street, I saw at least six windows with glass panes! If you aren't the mistress of this house, then where is your master?" – Info dump and would anyone really say this in dialogue? Also, why didn’t they search such a big house in the end, which they didn’t – I’m confused. I had flashes of the “Life of Brian” where Roman centurions conduct a search and all the Monty Python’s hide under sheets and are never found by the Romans.

Anyway, a long crit, but surprisingly, I’m going to say the attempt was still good. Focus on being more real and a lot closer to your character. The descriptions didn’t work this time, but I did see flare in the use of descriptions that I liked. Technical English was very good, so you have the skill base you need ok. Focus on character development and don’t be afraid to take some time to set the scene and provide placement as well. Study some good books (instead of only reading, which after some time writing you can’t help but doing) and see how successful published writers go about their trade and take what you like and use it for yourself. Keep at it and good luck.
 
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