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69
Wow agents and editors by
grabbing them with your
opening chapters.
As stated above, the part of the proposal that is usually
read fi rst is page one of your sample chapters. Why? Be-
cause, if page one stinks, there is no reason to waste time
on the rest (so the thinking goes). Thus, you’ve got to slay
them from start. See “Speed is the essence of the open-
ing,” on page 119.
Remember:
1. The fi rst line, or fi rst paragraph at a minimum,
must show a disturbance to the character’s or-
dinary world.
2. Include dialogue on page one or two. Sharp
dialogue is the fastest way, up front, to create
confi dence in the reader that you know what
you’re doing.
3. If your fi rst chapter absolutely precludes the use
of dialogue, consider throwing it out and mak-
ing chapter two your new chapter one. You’ll be
amazed how often this improves your opening.
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4. If you absolutely have to start without dialogue,
make sure the scene feels like there could be dia-
logue, and get readers into a character’s POV
immediately.
5. Don’t open with a long description of weather
or setting, or with a dream.
6. End each chapter in a way that forces them to
read on.
7. If your fi rst three chapters don’t add up to at
least 3,000 words, add another chapter or two
until you get there.
Remember that your opening chapters are selling
documents. You’re trying to sell a busy agent or editor on
the idea of requesting your entire manuscript. They need
to feel confi dent, immediately, that your story is one they
can take to market.
Make the sale. Get the request for the full manu-
script. Then, after you sign a book contract, you can take
up the opening with your editor. But I’m going to bet by
this time you’ll love the one in your proposal, the one
that helped you get published.
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