A novel's beginning, take two (950 words)

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Jackie Bee

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This is a rewrite of the piece I have posted here last month. The first half of the first chapter, 950 words. Any feedback is appreciated!

***

A distant roaring sound cut through the air.

Grace looked up. A plane cut a strange path in the sky. It aimed down—not straight down, but obviously at an angle too sharp for a successful landing. It disappeared behind distant skyscrapers, and, seconds later, came a sound like remote thunder. The ground vibrated slightly under her feet.

She gasped, and took a step back. Goose bumps rose on her arms. Did it actually crash? She started walking, then stopped again, looked around, ran her fingers through her hair. Was she supposed to do something about it? To call someone? To offer help? The parking lot seemed unusually deserted, and she shuddered from a sudden, overwhelming sense of loneliness and vulnerability.

She was still shivering when she swiped her employee card by the door, and stepped into the open space. For a second, the familiarity of it made her breath easier—but then, she frowned again. Usually, at this hour, the huge room was quiet, with only a few employees sitting in their cubicles, surfing the web, drinking their coffee—but not today. She saw small groups of people gathered here and there, some talking in hushed whispers, others frowning at their computer screens and their phones.

She walked to her desk, looking for familiar faces. A group of four engineers was hanging by the nearby terminal. Sitting in his chair was Colin, with his friends from another department crowding behind his back, eyes on his computer screen.

"I saw it." Grace did her best to keep her voice steady.

"Saw what?" Colin said, not looking at her.

"The plane."

"What plane?"

"The plane that crashed."

They didn’t react. Perhaps they were reading about something else—could there have been any more breaking news she had missed on her way to work? She walked over and tried to peek at the screen, but couldn't see anything from behind their backs. "What are you looking at?"

"Just a second," Colin said. "Holy crap, this can't be real. It's a joke!"

She turned away, annoyed by their lack of attention, and headed for the small kitchen adjacent to the open space. Idiots, she thought. Probably fussing about a sports game or something of the kind, while she had a real piece of news to share.

In the kitchen, she stumbled upon Martha, a woman so big it was impossible to steal past her unnoticed—not that Grace intended to.

"Morning." She placed a paper cup in the coffee machine and pressed a button, her fingers still trembling. Damn, she needed that coffee. "You know, I think I've just seen a plane crash."

Martha widened her eyes. "Oh my!" She put her cup of water down on the counter. "Are you serious? Where?"

"I was just outside the building. I saw that plane aiming down, but I didn't see any explosion. It must have fallen beyond the city limits."

"Holy Jesus!" Martha breathed out. At last, Grace seemed to have found someone with the proper reaction. "That's horrible! The poor people on board!" She picked her cup back up and finished her water in one gulp. "What a morning! All that prank news and now this…"

"Prank news?"

"Haven't you heard? There have been strange news, all over the net for the last half an hour. Our boys say it must be a prank, they say --"

She was interrupted by a low, loud sound coming from the outside. For a second, Grace couldn't quite grasp what she was hearing, but then she figured out that it must be the city alarm. The siren started somewhat stealthily, but it steadily increased, soon reaching a scary, deafening volume. Both women turned to the window, but it overlooked the back yard of the building, and nothing interesting was happening there.

"Oh, my." Martha pressed her palms to her chest, her voice barely audible above the wailing siren. "Now, what is that? What's going on?"

Suddenly, Grace wanted no coffee. Leaving her cup in the machine, she hurried back to her desk.

It was quieter there, with almost all the windows closed. She saw Colin locking one of them at the end of the passage between the cubicles. His effort had further reduced the noise, but the wailing outside still sounded strong and ominous. The siren must have distracted Colin's friends from whatever they'd been reading, for now they stood with their backs to the computer, looking around hesitantly. Grace stopped in front of them.

"What's going on?" she demanded. Too many strange things were happening at once for her to keep playing cool, and her voice was shaking now, in a very un-cool manner. "What did you read?"

"There's some weird stuff on the Internet," Colin said, coming back from the window. "We thought it was a prank, that maybe someone had hacked the major news sites and published that bullsh**, but it's on the TV, too, and now this…"

"But what kind of bullsh**?"

"It says there's some kind of an epidemic," he said. "Some kind of a virus—most likely airborne—spreading quickly, sort of washing over the country, so they claim."

"Good thing we've closed the windows," said one of his friends—a tall, skinny guy. He looked around with a weak smile, which nobody returned.

"And it mostly affects women," Colin added, looking at Grace. "Like, almost exclusively women."

"But that's bullsh**," the smiling guy said. He was very obviously trying to wipe the grin off his face, but it seemed to be stuck there against his will. "There's no such virus."

"But how does it affect women?" Grace said. "What happens to them?"

"They die, basically." Colin said, watching her warily.

...
 
Good rework! Even though you said "slightly", I was a little skeptical about the ground vibrating from a "distant" plane crash. The only thing that seems really out of whack is the guy smiling. Doesn't seem like the kind of thing someone would find funny, even if they thought the overall virus is a scam.
 
This is much better than the previous draft, and everything from the use of words to your character reactions is much better. I would even go as far as saying that it's a fine piece of work. However, there are a couple of places where I think you're in danger of underselling yourself:


A distant roaring sound cut through the air.

Grace looked up. A plane cut a strange path in the sky. It aimed down—not straight down, but obviously at an angle too sharp for a successful landing. It disappeared behind distant skyscrapers, and, seconds later, came a sound like remote thunder. The ground vibrated slightly under her feet.


Everything that's taking place is far away, and this is repeatedly underlined. What you're doing is keep us as far from possible from a moment of extreme tension, and it's severely reducing your ability to engage a reader. Condensed, what you've written is: "Somebody saw something very far away that didn't really affect her". Because of this, it doesn't really affect the reader either.

I can see what you're trying to do - trying not to make it your focus, because you want that for the virus later - but if you're going to go in with a bang, don't make it a whimper.

But you can still have something happen close without it impacting the immediate area, like the Taiwan air crash.


She gasped, and took a step back. Goose bumps rose on her arms. Did it actually crash? She started walking, then stopped again, looked around, ran her fingers through her hair. Was she supposed to do something about it? To call someone? To offer help? The parking lot seemed unusually deserted, and she shuddered from a sudden, overwhelming sense of loneliness and vulnerability.


These aren't bad reactions, but because the initial event was so far away, it's hard to feel so engaged. Additionally, if you focused more on the character experience rather than the physical actions, this section could be even stronger.


She was still shivering when she swiped her employee card by the door, and stepped into the open space. For a second, the familiarity of it made her breath easier—but then, she frowned again. Usually, at this hour, the huge room was quiet, with only a few employees sitting in their cubicles, surfing the web, drinking their coffee—but not today. She saw small groups of people gathered here and there, some talking in hushed whispers, others frowning at their computer screens and their phones.

Get straight with the immediacy of the situation for the strongest effect - everything up to "breath easier-but" is great. The you take us out to say what it should look like. However, if you get straight into a sight of everything forming excited crowds, we'll know this isn't usual.

She walked to her desk, looking for familiar faces. A group of four engineers was hanging by the nearby terminal. Sitting in his chair was Colin, with his friends from another department crowding behind his back, eyes on his computer screen.

This section is quite detached. If she's just seen something dramatic, isn't she going to seek specific friends/colleagues to share it with?

"I saw it." Grace did her best to keep her voice steady.

"Saw what?" Colin said, not looking at her.

"The plane."

"What plane?"

"The plane that crashed."

And, and? I'd expect her to be getting a kick of shock right now. Communicate what she's feeling - don't leave her feeling dead to us.

They didn’t react. Perhaps they were reading about something else—could there have been any more breaking news she had missed on her way to work? She walked over and tried to peek at the screen, but couldn't see anything from behind their backs. "What are you looking at?"

Personally I find this bit a bit flat. She's asking questions but still not feeling anything. But it's the feelings, not the questions, that will engage the reader more IMO.

"Just a second," Colin said. "Holy crap, this can't be real. It's a joke!"

Colin is reacting here, which is good. I want Grace to react more. At the moment she's simply walking us through events, like a curator at an art exhibition.

She turned away, annoyed by their lack of attention, and headed for the small kitchen adjacent to the open space. Idiots, she thought. Probably fussing about a sports game or something of the kind, while she had a real piece of news to share.

You're in danger of making her sound petty with this. Colin just exclaimed something - Grace, react! Instead she walks away and makes coffee, which is in danger of dragging things out and reducing your pace.

In the kitchen, she stumbled upon Martha, a woman so big it was impossible to steal past her unnoticed—not that Grace intended to.

"Morning." She placed a paper cup in the coffee machine and pressed a button, her fingers still trembling. Good - a visceral reaction. But because it's in the middle fo this section I nearly missed it. Most important points go at the very beginning or the very end for the most impact Damn, she needed that coffee.

"You know, I think I've just seen a plane crash." If this sentence followed Colin's statement, this would all be much pacier.

Martha widened her eyes. "Oh my!" She put her cup of water down on the counter. "Are you serious? Where?" Martha's reaction is good.

"I was just outside the building. I saw that plane aiming down, but I didn't see any explosion. It must have fallen beyond the city limits." How does she feel when recounting this? Everyone else seems to be reacting more than Grace!

"Holy Jesus!" Martha breathed out. At last, Grace seemed to have found someone with the proper reaction. - which is, perhaps, more than we can say for Grace at this moment. :) "That's horrible! The poor people on board!" She picked her cup back up and finished her water in one gulp. "What a morning! All that prank news and now this…"

"Prank news?"

"Haven't you heard? There have been strange news, all over the net for the last half an hour. Our boys say it must be a prank, they say --" You're repeating yourself - Colin already announced this story element.

She was interrupted by a low, loud sound coming from the outside What sort of sound? She's in a city - it must be filled with many sounds! What catches her attention?. For a second, Grace couldn't quite grasp what she was hearing, but then she figured out that it must be the city alarm city alarm??. The siren started somewhat stealthily, but it steadily increased, soon reaching a scary, deafening volume Make the description more succint to keep pace. I'm hoping this sounds like an air raid siren, but it's difficult to tell from your discription. Both women turned to the window, but it overlooked the back yard of the building, and nothing interesting was happening there.

"Oh, my." Martha pressed her palms to her chest, her voice barely audible above the wailing siren. "Now, what is that? What's going on?" Why have Martha say this when we could have Grace frightened by what's going on?

Suddenly, Grace wanted no coffee. Leaving her cup in the machine, she hurried back to her desk. Why? Don't leave it as a random action - show us her motivation

Similar concerns through this:

It was quieter there, with almost all the windows closed. She saw Colin locking one of them at the end of the passage between the cubicles. His effort had further reduced the noise, but the wailing outside still sounded strong and ominous. The siren must have distracted Colin's friends from whatever they'd been reading, for now they stood with their backs to the computer, looking around hesitantly. Grace stopped in front of them.

"What's going on?" she demanded. Too many strange things were happening at once for her to keep playing cool, and her voice was shaking now, in a very un-cool manner. "What did you read?"

"There's some weird stuff on the Internet," Colin said, coming back from the window. "We thought it was a prank, that maybe someone had hacked the major news sites and published that bullsh**, but it's on the TV, too, and now this…"

"But what kind of bullsh**?"

"It says there's some kind of an epidemic," he said. "Some kind of a virus—most likely airborne—spreading quickly, sort of washing over the country, so they claim."

"Good thing we've closed the windows," said one of his friends—a tall, skinny guy. He looked around with a weak smile, which nobody returned. That really isn't going to help all that much

"And it mostly affects women," Colin added, looking at Grace. "Like, almost exclusively women."

"But that's bullsh**," the smiling guy said. He was very obviously trying to wipe the grin off his face, but it seemed to be stuck there against his will. "There's no such virus."

"But how does it affect women?" Grace said. "What happens to them?"

"They die, basically." Colin said, watching her warily.

The idea that this could be prank news is believable, because the idea of a virus being suddenly announced with a clear understanding of its effects and targets *isn't* believable. We're going to hear small stories, developing into bigger ones. Take the current Zika Virus news story - Race to understand Zika link to baby microcephaly - BBC News

IMO you can have people panic and retain a sense of mystery - the unknown is what makes people panic most. By jumping straight in with the claim of a virus, that attacks women (with no mention of symptoms), and kills them (over an indeterminable period) is just too rushed.


And, if this was like any workplace I know, the lads, knowing the story is probably a prank - and even if it isn't, only affects women - would be laughing and opening the windows, not rushing to close them.!

Overall, I'm being very tough on you - not because I think your writing is bad, but on the contrary, I think you're showing a good level of competence in many areas. But we're still very detached from your main character, and that is leaving our experience of the events also detached. I suspect it's because you haven't developed Grace enough yet as a character, in which case I'd recommend reading Save the Cat by Blake Snyder for pointers on development arcs.

Altogether, though, I think this is a good piece - I just think there are a few areas where you can really ramp things up in terms of experience and pace, and really get the reader going better than you are at present.

However, it's all personal opinion. :)
 
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Good rework! Even though you said "slightly", I was a little skeptical about the ground vibrating from a "distant" plane crash. The only thing that seems really out of whack is the guy smiling. Doesn't seem like the kind of thing someone would find funny, even if they thought the overall virus is a scam.
As for the smiling guy, that's just a nervous reaction to a stress, sometimes people make stupid jokes when the reality is too scary.
Regarding the ground vibrating, it's interesting. That was one of the things I have added, because people in my previous thread said the crash would be heard and felt for hundreds of miles. Can't get it right! I wonder if there's some kind of technical forums that could answer that...
Anyone else felt the ground shaking was unlikely?
 
As for the smiling guy, that's just a nervous reaction to a stress, sometimes people make stupid jokes when the reality is too scary.
Regarding the ground vibrating, it's interesting. That was one of the things I have added, because people in my previous thread said the crash would be heard and felt for hundreds of miles. Can't get it right! I wonder if there's some kind of technical forums that could answer that...
Anyone else felt the ground shaking was unlikely?
I can only speak from the perspective of hearing bombs going off some 12-15 miles down the road. I've never felt the ground shake but I have heard the thud and there's a strange moment that I've called denting the air in the past, where the thud goes off and almost leaves a vacuum behind.
 
"Haven't you heard? There have been strange news, all over the net for the last half an hour. Our boys say it must be a prank, they say --" You're repeating yourself - Colin already announced this story element.
Nice point, I'll remove this.

But we're still very detached from your main character, and that is leaving our experience of the events also detached. I suspect it's because you haven't developed Grace enough yet as a character, in which case I'd recommend reading Save the Cat for pointers on development arcs.
Regarding Grace's reactions, I did make her react more in this draft, but in general, I meant her to be in a detached mindset of "holy sh**, this can't be happening" throughout the scene. Some people have instant emotional reactions, like Martha, and some need time to process what's happening, and that's Grace. I wouldn't want to change her completely as a character, make her a copycat of Martha in terms of behavior. But I see your point about the detachment. I'll see where I can perhaps enhance her reactions more, show her confusion and disbelief.
 
Hi,

For me the main issues were the other people and the transition from the street to the office. She saw a plane crash - sort of. Did no one else? Was no one pointing? Did no one react when they heard the sound? Maybe this is covered somewhere else and there's a reason no one else saw it, but as a reader it leaves me confused.

Then there's the question - what happens next? You see a plane crash even in the distance. Do you simply walk into your office building? I'd think there's be some standing and staring. Looking at other people's faces as they look at you. The obvious question - what the hell do we do? Call the cops? Run for the scene? Or realise that there's absolutely nothing we can do and simply give in? None of this seems to happen.

Other than that it seems well written, the conversation is believable - assuming no one else saw the crash. It's not in some senses because in any crisis there is immediacy to remember. A plague is miles and days away at the least. A plane crash is right here, right now. It should take precedence in people's thoughts. But I assume that this is going to be explained somewhere down the line?

Cheers, Greg.
 
I'd think there's be some standing and staring. Looking at other people's faces as they look at you.
I tried to cover it by "The parking lot seemed unusually deserted,", so she's alone there, nobody else to stare.
Other than that it seems well written, the conversation is believable - assuming no one else saw the crash.
Thanks Greg!
 
I've not read the other comments or your previous draft, so apologies if this is redundant! Overall it's interesting and well written from a technical point of view, but I do think it has one (quite common) overall problem. That's just jumping into the story or the "big deal" straight-off; no scene setting, no introducing the characters first, etc.

I think lots of people do this -- obviously you're excited about your story and want to jump straight in. Maybe this would work better as the beginning of the second chapter?
 
I agree with Brian Turner that the opening sentences need to have a more immediate impact. I would suggest that the airplane is literally flying over Grace's head. The noise would be intense, and Grace could look up to see the plane less than a hundred feet above. I feel that would give you a "Holy S*it" moment that you seem to be looking for to start the story.

The exchanges in the office could be tighter. I feel there is too much incidental detail, which clutters the story and deflects the reader. I am not sure we even need the coffee before we launch into the virus.

I like this opening, and the premise for the entire novel, but I feel you need to cull some of the material.

Good luck.
 
That's just jumping into the story or the "big deal" straight-off; no scene setting, no introducing the characters first, etc.

I think lots of people do this -- obviously you're excited about your story and want to jump straight in. Maybe this would work better as the beginning of the second chapter?
Me - I do this. It is a comment I had on my crit so this interests me.

Many writing advice gurus tell us to 'get in as late as possible' - to open the story with the hook/the bang. I'm sure if we start by introducing the characters etc then we would be slated for a boring start?! Obviously there must be some happy middle-ground here but when we get such conflicting advice, it makes my head hurt!! Is this just a matter of taste do you think?
 
Sound travels at about 1,120 ft per second or 343 m/s. That's 5 seconds for a mile or almost 3 seconds per kilometer.

If you feel it in the ground it would be close and probably rattle windows in buildings, so her colleagues would be aware of something.

I think Brian is spot on with his comments.
 
Me - I do this. It is a comment I had on my crit so this interests me.

Many writing advice gurus tell us to 'get in as late as possible' - to open the story with the hook/the bang. I'm sure if we start by introducing the characters etc then we would be slated for a boring start?! Obviously there must be some happy middle-ground here but when we get such conflicting advice, it makes my head hurt!! Is this just a matter of taste do you think?

Yes, so they can sell books to the widest range of audiences, but there is some good advice in that if you don't take it too far.

Unfortunately, that doesn't give you much of a character development scheme. If you follow the monomyth scenario or Hero's Journey you begin with the hero's ordinary world, then a call to action, followed by an initial refusal to call.

Unless this is a short story, this all seems to be happening too fast for my taste. We are in the pot boiling with no sense how we got there or who Grace is.

Look how the Hobbit is introduced. They describe the home of the hobbit in the first paragraph. This is the ordinary life. Then there is the ring. Maybe today that book would be dismissed by publishers because it doesn't begin with Frodo in the middle of a fight with some mythical creature, but it still sells today.
 
Yes, so they can sell books to the widest range of audiences, but there is some good advice in that if you don't take it too far.

Unfortunately, that doesn't give you much of a character development scheme. If you follow the monomyth scenario or Hero's Journey you begin with the hero's ordinary world, then a call to action, followed by an initial refusal to call.

Unless this is a short story, this all seems to be happening too fast for my taste. We are in the pot boiling with no sense how we got there or who Grace is.

Look how the Hobbit is introduced. They describe the home of the hobbit in the first paragraph. This is the ordinary life. Then there is the ring. Maybe today that book would be dismissed by publishers because it doesn't begin with Frodo in the middle of a fight with some mythical creature, but it still sells today.
This is really interesting. I agree with the standard format for a 'Hero' plot but I don't think that this is a quest story (although I could be wrong). Personally I wouldn't want a chapter on Grace's 'ordinary' life, I like the fact it starts with the action. I know that we'll find out about Grace as time goes by. I have had this debate before, and it seemed that the men wanted more intro but the women didn't mind finding out later. Obviously this can't be extrapolated to speak for all males and females but maybe a certain personality (or maybe even age, or culture, or a zillion other variables) likes the information up front.

As for The Hobbit selling nowadays, I do think this is a bit of a moot point as it's JRR T's name on the front and the fact the films have been made and that it's termed a classic that makes it sell. I do wonder if it were written today whether it would even get an agent, let alone published. (Don't get me wrong I love the book :) )
 
This is really interesting. I agree with the standard format for a 'Hero' plot but I don't think that this is a quest story (although I could be wrong). Personally I wouldn't want a chapter on Grace's 'ordinary' life, I like the fact it starts with the action. I know that we'll find out about Grace as time goes by. I have had this debate before, and it seemed that the men wanted more intro but the women didn't mind finding out later. Obviously this can't be extrapolated to speak for all males and females but maybe a certain personality (or maybe even age, or culture, or a zillion other variables) likes the information up front.

As for The Hobbit selling nowadays, I do think this is a bit of a moot point as it's JRR T's name on the front and the fact the films have been made and that it's termed a classic that makes it sell. I do wonder if it were written today whether it would even get an agent, let alone published. (Don't get me wrong I love the book :) )

Maybe agents and readers are just more interested in instant gratification, but my current reads are Alastair Reynolds and none of his novels jump into action, they lead you there.

Again, he is more established, but the reading experience is superb and I feel plenty engaged to read onward.
 
The fashion today seems to be "start with the action, add background later". I see this advice in pretty much every book on writing that I read. Of course, some quite successful books started differently, but if you're not an established writer (yet), you might want to go with the fashion... especialy given that I personally like books/stories that start like that, so for me it was a natural choice.
 
Of, course, there's no right or wrong answer, and one should never blindly follow advice or a formula without really thinking for oneself. Personally, I prefer it when the "point" just bleeds in naturally, so one can avoid the "[...] when suddenly [...]" moment entirely. If you look at high profile work, I think this is much more common than not, despite what current advice may be.

Think about the standard three act formula for films to start with (although, again, one should never blindly follow a formula). My favourite novel, Neuromancer, starts with Case just hustling on the streets. It's actually quite a while before the real plot emerges. The Steel Remains has a whole chapter of each of the three main characters before anything really happens. The Expanse has a pretty long intro. Alien. A Song of Ice and Fire has an entire volume before things kick off! Kraken starts with Billy just showing people around the museum. The beginning of Mass Effect is a routine mission -- yes, which slides into the main plot, but it doesn't start that way. Dune. Pretty much any of the Culture novels. The Baroque Cycle. Revelation Space. Ready Player One. God's War.

Yes, I've cited examples from other media here, and I'm sure there are plenty of counter-examples. It may also be that your protagonist doesn't really have a normal life in the first place: The Quantum Thief, Roadside Picnic, Quantum Gravity [oh, Agent Lila Black, you will have my heart forever]. It may be that their everyday life is exciting enough that it can keep readers' interest anyway. I guess what I'm really getting at with all of this is starting out with throwing the "main point" at the reader straight off always seems jarring and artificial to me. It doesn't feel like storytelling. Maybe there doesn't even have to be a main point! Not in an obvious way, anyway. But then I've always been fond of mood pieces.

Also, if you are going to have a long intro, the foreshadowing prelude (AKA The Ice Monster Prelude) often works well: The Expanse, A Song of Ice and Fire.

Finally, thinking about your actual piece here, maybe one idea with which to play around is starting out with the main character in the thick of it (i.e. their every day life is already about living with the virus), and then tell how it started with flashbacks.
 
Of, course, there's no right or wrong answer, and one should never blindly follow advice or a formula without really thinking for oneself. Personally, I prefer it when the "point" just bleeds in naturally, so one can avoid the "[...] when suddenly [...]" moment entirely. If you look at high profile work, I think this is much more common than not, despite what current advice may be.

Think about the standard three act formula for films to start with (although, again, one should never blindly follow a formula). My favourite novel, Neuromancer, starts with Case just hustling on the streets. It's actually quite a while before the real plot emerges. The Steel Remains has a whole chapter of each of the three main characters before anything really happens. The Expanse has a pretty long intro. Alien. A Song of Ice and Fire has an entire volume before things kick off! Kraken starts with Billy just showing people around the museum. The beginning of Mass Effect is a routine mission -- yes, which slides into the main plot, but it doesn't start that way. Dune. Pretty much any of the Culture novels. The Baroque Cycle. Revelation Space. Ready Player One. God's War.

Yes, I've cited examples from other media here, and I'm sure there are plenty of counter-examples. It may also be that your protagonist doesn't really have a normal life in the first place: The Quantum Thief, Roadside Picnic, Quantum Gravity [oh, Agent Lila Black, you will have my heart forever]. It may be that their everyday life is exciting enough that it can keep readers' interest anyway. I guess what I'm really getting at with all of this is starting out with throwing the "main point" at the reader straight off always seems jarring and artificial to me. It doesn't feel like storytelling. Maybe there doesn't even have to be a main point! Not in an obvious way, anyway. But then I've always been fond of mood pieces.

Also, if you are going to have a long intro, the foreshadowing prelude (AKA The Ice Monster Prelude) often works well: The Expanse, A Song of Ice and Fire.

Finally, thinking about your actual piece here, maybe one idea with which to play around is starting out with the main character in the thick of it (i.e. their every day life is already about living with the virus), and then tell how it started with flashbacks.

There's plenty of examples for novels that start with action, too, but that's not the point. There's an opinion that the readers nowadays - especially agents - have a very short attention span, even more so when the writer is someone new. George R.R. Martin and Stephen King can write as slow an intro as they want, people will buy and read the book because they know the writer and feel confident it's going to get interesting earlier or later. A beginner must get interesting stuff going right away, because otherwise there's no reason for an agent to keep reading-they are known to look for a reason to stop reading, not for a reason to continue. So, I believe that starting with action is more likely to work for a beginner. (Although you can never be sure what will actually work, of course...)
 
Jackie,

I believe you are right to follow the advice on beginning with a 'hook' in the first half a page. You can set a new trend when you are a million seller and you've just come home from the opening night of your film adaptation. Until then, make your work as attractive as possible to the agents, the publishers and potential readers. I agree about a formula, but think how someone who is not you will react to your work. Writing for yourself is fine, but help your reader to enjoy your story.

Good luck.
 
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