Feedback on an Introduction

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Jan 21, 2011
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6
Hello Lit people. Given the volume of posts about how important a hook is in the introduction of a story, I wanted to ask for feedback on the one below before I go too much further with the story. I'm looking for showy rather than telly (that's right, I'm making up words now!) and intriguing without melodrama.

Does this give enough of a hook? Should anything be expanded upon or toned down? I'm also uncertain if I should include more of a character description in this first section, or if the next section will be early enough.

For genre, it'll fall somewhere near Erotic Couplings when it's done.

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My back hurt, my arms were numb, and when I reached up to adjust my disheveled chestnut ponytail, I realized I'd touched my hair at some point and left a now-dried clump of paint. I stood there musing over the amount of shampoo needed to get semi-gloss out when cloud cover outside changed and I saw my entire afternoon's hard work in better light.

The paint swatch taped to the door frame looked like a soothing gray blue that reminded me of the beach. Maybe it looked like the sky, or maybe clear water from somewhere tropical; I don't know, it was beachy. It did not look like the baby blue crap covering half my guest bedroom walls, though.

“Annie!”

My brother's voice bellowed through the house a second before the kitchen's screen door screeched open then slammed shut again with a heavy crack.

“Easy on the door!” I called back, hoping the hinges held to the door frame in sore need of replacement. That was another project on my ever-growing “to do” list.

Matt's heavy footsteps stomped up the stairs, sounding not unlike a drunken elephant. As soon as he poked his head around the corner, found me, and stepped inside, he surveyed the new wall color. “Are you pregnant?”

“No,” I snapped, and jabbed a finger at the paint swatch. “It's supposed to look like that.”

He dutifully consulted the color cube and then back at the wall color. “It looks like you're decorating a nursery.”

“Did you need something?” I dropped my paint brush in the empty paint pan and glared at baby blue. Maybe it'll darken when it dries. Some of it was already dry, though. The jackass at the paint counter in Home Depot assured me it would dry darker than it looked in the can, but he talked to the front of my t-shirt, so maybe he hadn't noticed it looked like an Easter egg after he mixed it. If I had to go back, I resolved to wear a turtleneck. A loose one.

Matt moved over to the curtain-less window and glanced out at the wide expanse of yard that came with the three-storey old farmhouse I fell in love with last year and bought on a whim. The yard needed a lot of work too, but that was the last priority. Long before I started gardening, the roof needed replacement, ancient plumbing and electrical needed to go, and the entire place needed updating from the classic nineteen-fifties Cat Lady décor it came with.

“How did those appointments go with the prospective contractors?”

I only shifted my glare his direction for a second before returning to the paint. “One won't take on this large a project and wanted me to piece it out a bit at a time. The second one wanted twice my budget, twice as much time to complete it, and when I asked about license and references, he suddenly had another appointment. The last guy spent half the appointment talking on his cell phone and let his dog run through the house without asking.”

Matt scrubbed his fingers through his short, dark hair but did not bother subduing the chuckle at my expense. “You're screwed, Sis. What are you going to do?”

I wiped my hands on my paint-splattered jeans, then tugged the end of my ponytail around so I could see how bad the glob was. “I'll either go with the first guy or do it myself,” I said with an absent nod towards the room while studying my hair. “This is the only room upstairs I don't plan on having gutted, so until I decide, I'm painting and moving my junk in here to have one space I can go in the house without being annoyed.”

“Well, would you be open to one more appointment?” He turned around and leaned against the window sill with a cryptic smile.

“With who? I think I've met with everyone in the greater Southeast.”

I had. When our grandfather passed away a year and a half ago, Matt and I were his only two grandchildren. When my grandparents married all those years ago, they started a savings account to leave their future grandkids, and when my grandfather passed and they read the will, my brother and I both nearly fainted. We were not independently wealthy, but Grandpa left us much more than we expected. I bought the house with a small part of my half, and had the rest set aside to fix the place up. Unfortunately, after months of meeting too many general contractors, I had yet to find one with both credentials and a sane grasp of budget and timeline.

“I found someone that I think can do the job, but he's not licensed. Yet,” he added when I inhaled to object. “He's new to the area, and he's experienced, and I think you'll hire him if you'll meet with him.”

“Who is it?”

I was dubious, but I'd done a lot of research. I knew absolutely nothing about home improvement other than what I'd seen on television, so I needed someone trustworthy. Everything I read said licensing and references were critical to avoid a scam artist.

Matt's smile widened. “Remember Jason Carver, my old roommate? He got caught in a mortar attack a few months ago and was given a medical discharge. He's making rounds to visit the guys, then he's using his severance pay to reopen his Dad's old business somewhere down this direction. His dad was a contractor for years before he got too sick and sold the business not long after Jason got deployed, but Jason used to help him when he was a kid, and this is the stuff he studied for in school. You'd be a big help to him if you brought him in here; it would give him something to do while the business becomes official and he could use a reference to find other clients. And you could use the help.”

Matt was rambling but I did not hear much after the name. I tried to keep the shock off my face until he wound down. “Matt, I know you want to help him, but doing business with friends is just behind doing business with family on the 'bad idea' scale.”

“He'll be in the area next week to visit. Just meet with him and if you don't want to go ahead, it'll be fine.” Matt pushed away from the wall and glanced out the window. The afternoon sun dipped low in the short time we we talked. “He mentioned something about wanting to see you, anyway, before I mentioned you had a shitty house you needed to renovate.”

I was grateful for the almost evening lighting so he could not see me pale. “Maybe. We'll see.” The hell we would. I needed to schedule a business trip out of town. Or hop a freight train. Or something equally cowardly.

“Great,” he grinned, certain the contract was already signed. Then the bastard gave the wall color a thoughtful nod. “You know, in this light the paint almost looks like the swatch.”

I sighed and gave him a bland smile he ignored. “Did you need anything else?” I inquired with a sugary tone and started collecting the brushes, roller, and pan.

Matt laughed and stepped around me and headed out the door. “Nope. I'll call you and let you know when Jason's in the neighborhood.”

“Looking forward to it!” I faked cheerful and listened to his elephant steps clomp down the stairs and out the kitchen's screen door again. Then sat in the middle of the baby blue guest room and stared at the paint.

What else could I say? Matt had no idea Jason was my first. Not my first crush. Not my first kiss. My First. They were best friends in college, especially their senior year when he met me as Matt's little freshman sister he was far too protective of; Matt might have killed us both back then if he knew. And while it was not said outright, the understanding was that I was never supposed to see him again after that night.

I cooked some dinner but didn't taste it, then spent far too long in the shower trying to get the baby blue streak out of my hair.
 
You hit "telly rather than showy" for no particular reason with the word "chestnut." Why do we need to know the color of her hair now--or ever? Will it have significance in the plot? If so, reveal it more subtely and naturally sometime later. If not, why ever mention it?

I got tired reading into the rest of it. It seemed forced and out of rhythm--like you were trying too hard. Did you read it out loud? Would you describe it this way in conversation?
 
You hit "telly rather than showy" for no particular reason with the word "chestnut." Why do we need to know the color of her hair now--or ever? Will it have significance in the plot? If so, reveal it more subtely and naturally sometime later. If not, why ever mention it?

I got tired reading into the rest of it. It seemed forced and out of rhythm--like you were trying too hard. Did you read it out loud? Would you describe it this way in conversation?

No, her hair color is not of great importance. When reading, I typically like stories with a bit of character description -- not anything ten paragraphs long, but a glimpse of the picture in the author's mind -- so my intent was to drop pieces of that along the way. I get your point though, and can remove that reference easily.

At risk of opening myself up to flames, could I bug for examples of what felt out of rhythm? On the re-read nothing felt out of sync to me, but that could just be too much familiarity with the contents.
 
It's probably your attempt to give it mood, but a lot of it I find tedious and unnecessary to any plotline--just bogging it all down. "Footsteps stomped up the stairs, sounding not unlike a drunken elephant" is twice what is needed to get the idea across, and just as I don't need to know her hair is chestnut at that point (or ever), I don't need to know that his hair is short and dark at this point (or ever) or that the window is curtainless. If these are needed for the storyline, I think they've been given clumsily--and certainly "telly" when you said you were trying to be "showy." It's just weighed down too heavy with "stuff" and verbiage about stuff--and most likely unnecessary stuff. I didn't hang in with it long enough to see whether the stuff was necessary or even slightly helpful to the read.
 
Writtenfelicity— interesting start to your story and an interesting question you pose.

Based on your desire for showy-not-telly (me likey ;-)), when I read:

"My back hurt, my arms were numb, and when I reached up to adjust my disheveled chestnut ponytail, I realized I'd touched my hair at some point and left a now-dried clump of paint. I stood there musing over the amount of shampoo needed to get semi-gloss out when cloud cover outside changed and I saw my entire afternoon's hard work in better light."

My first thought was— so why tell? Dialogue reveals thoughts, so instead of telling us she is musing why not use dialogue?

To show you what I mean I took some liberties to rewrite your first few paragraphs using dialogue to reveal the narrator's thoughts, mood, and establish her relationship with Matt. I hope you don't mind—it is based on my very cursory reading of your intro. While I don't believe it'll fit your sense of style and the particular nuances you want to portray, it might suggest to you a way to make it more showy, less telly.

---------------

“Annie!” My brother's voice bellowed through the house a second before the kitchen's screen door screeched opened.

“Easy on the door!” I called back, winced as it slammed shut again with a heavy crack—those hinges were already on my ever-growing “to do” list. “What now?” I complained though he couldn't possibly hear me, “My back hurts, my arms are numb, and I've got dry paint caked in my ponytail. I wonder how much shampoo will I need to get this paint out?”

Matt stomped heavily up the stairs, sounding like a drunken elephant. As soon as he poked his head around the corner, found me, and stepped inside, he surveyed the new wall color. “Are you pregnant?”

“Why?” I asked.

“It looks like you're decorating a nursery.”

“No,” I snapped, and jabbed a finger at the paint swatch. “It's supposed to look like that.”

He dutifully consulted the color cube and then back at the wall color, shrugged.

“It's soothing like a nursery but there's too much gray in the blue for a nursery,” I said as I pointed to the swatch taped to the door frame. “It reminds me of the beach for some reason— it looks like the sky or clear water from somewhere tropical; I don't know, it's beachy somehow. Anyway it certainly does not look like the baby blue crap covering half the walls in my guest bedroom.”

---------------

Hope I wasn't too telly. Good luck!
 
Well, introductions are (one of) my weak points, so take what I say with a few dozen grains of salt.

If this were my story, I'd remove phrases like "I stood there musing," which are unnecessary and wordy. In fact, I'd bet you could remove the first two paragraphs and include the relevant information later in the introduction.

I read the whole intro, and would keep reading. I'm a sucker for reunions. Minor quibble… why EC and not romance? This seems like classic romance to me, but maybe that's just because I'm already inserting a happy ending and not a fling. ;) :eek:

I'd nix the phrase, "we're not independently wealthy." I'm not sure where this story is set, but in my neck of the woods if a person can afford a three story old farmhouse (and at least some of the land that goes with it?), and set aside enough to fix the roof, electrical, plumbing, and Cat Lady décor, then they're pretty darn close to the "independently wealthy" category (bringing an old house up to code is expensive!). Oh, and if the room isn't a bathroom or kitchen, no semi-gloss. Trust me when I say it looks terrible on wavy plaster. :) Both are more inconsistencies than mistakes, but they were jarring to read.

I'd also add "almost evening lighting" to Sr's list (chestnut, drunken elephant, curtain-less window). I actually have no idea what that means.
 
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It's probably your attempt to give it mood, but a lot of it I find tedious and unnecessary to any plotline--just bogging it all down. "Footsteps stomped up the stairs, sounding not unlike a drunken elephant" is twice what is needed to get the idea across, and just as I don't need to know her hair is chestnut at that point (or ever), I don't need to know that his hair is short and dark at this point (or ever) or that the window is curtainless. If these are needed for the storyline, I think they've been given clumsily--and certainly "telly" when you said you were trying to be "showy." It's just weighed down too heavy with "stuff" and verbiage about stuff--and most likely unnecessary stuff. I didn't hang in with it long enough to see whether the stuff was necessary or even slightly helpful to the read.

I see what you mean, though it's an issue I'll struggle to fix on my own. All the ones you hit on are unnecessary (the curtainless reference was flung in to allude to the place being unfinished with much to do, but it did not serve its purpose) but when reading myself, they fit into the picture in my head and my eye skimmed past. I received a very kind offer to have a beta read done once it's further along though, so that will hopefully help trim the spare words.

Thank you for the rather frank critique. Even if you didn't care to read the whole thing, it did provide some additional tips to keep in mind as I revise this portion and move forward with the rest.
 
Writtenfelicity— interesting start to your story and an interesting question you pose.

Based on your desire for showy-not-telly (me likey ;-)), when I read:

"My back hurt, my arms were numb, and when I reached up to adjust my disheveled chestnut ponytail, I realized I'd touched my hair at some point and left a now-dried clump of paint. I stood there musing over the amount of shampoo needed to get semi-gloss out when cloud cover outside changed and I saw my entire afternoon's hard work in better light."

My first thought was— so why tell? Dialogue reveals thoughts, so instead of telling us she is musing why not use dialogue?

I was also going for a little realism. If I spoke all the thoughts that ran through my head, I'd be committed (or arrested). I don't think I want Ana/Annie hauled away in a paddywagon, though I guess that would be a possible tangent to the intended story direction. :D I see what you and others mean, though. I've still got some spare parts to trim to do away with the "telly." Thank you for the helpful suggestions!
 
Well, introductions are (one of) my weak points, so take what I say with a few dozen grains of salt.

If this were my story, I'd remove phrases like "I stood there musing," which are unnecessary and wordy. In fact, I'd bet you could remove the first two paragraphs and include the relevant information later in the introduction.

I read the whole intro, and would keep reading. I'm a sucker for reunions. Minor quibble… why EC and not romance? This seems like classic romance to me, but maybe that's just because I'm already inserting a happy ending and not a fling. ;) :eek:

I'd nix the phrase, "we're not independently wealthy." I'm not sure where this story is set, but in my neck of the woods if a person can afford a three story old farmhouse (and at least some of the land that goes with it?), and set aside enough to fix the roof, electrical, plumbing, and Cat Lady décor, then they're pretty darn close to the "independently wealthy" category (bringing an old house up to code is expensive!). Oh, and if the room isn't a bathroom or kitchen, no semi-gloss. Trust me when I say it looks terrible on wavy plaster. :) Both are more inconsistencies than mistakes, but they were jarring to read.

I'd also add "almost evening lighting" to Sr's list (chestnut, drunken elephant, curtain-less window). I actually have no idea what that means.

After reading sr's two posts this morning, I've set aside the intro for later revision (but have the suggestions from everyone here copied into the draft when revision time comes). I'm going to try to keep my own mental pictures to a minimum moving forward in the story, though. That's my personal weakness; I get hung up on the picture in my head and assume the little, irrelevant details fit. For the quibbles...

It could have a home in Romance, though I have a few final details to sort through as I progress that may make that impossible. One of the possible endings is the happy sort, though, so you may be right.

The "independently wealthy" reference is expanded upon in a later section. Without giving away too much that has not yet been written in full yet, Ana/Annie's grasp of budget and almost everything else revolving around that house is unrealistic. The same goes for the semi-gloss paint and a few other design choices she's made. She bought it on a whim with visions of HGTV dancing through her head, but it all turns out okay. More or less. The fact those tidbits were jarring tells me I did not clearly relay how far out of her element she was, though, so it's something I'm going to rework when I tackle all the revisions.

Thank you! I really appreciate the comments to get me on the right track.
 
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