Good opening?

rikaaim

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I've been practicing some openings, to get the reader involved right away. I would really like to play on this idea, but I want to make sure that I hook the reader right away. So, I'll post my opening and hit me with some feedback. Also, do tell me if I write too simple. That's one of my fears.



“I’m glad to see your eyes finally open. I was afraid the morphine that I injected in you was too much. I’m pleased to see your struggling body come back to life. Please, don’t move to much. I would hate for the barbed wire around your wrists to cut too deep, just yet. Oh, and do try to hold yourself up better, the metal bars pressed into your chest can only support so much weight before they impale you.”

The fuzz from her head started to clear and very quickly her eyes focused on the objects that he had just mentioned. Her heart began to beat so hard she thought it would exit her chest, then she saw it. The metal bars did indeed impale her gently. She tried to breath. With every inhale the bars poked and stung. With every exhale they provided her with an all too brief reprieve from her torture. She looked at her wrists and saw the trickle of blood slowly pooling down her forearms.

With her arms bolted high above her head and chest held diligently in place, he began to move towards her, into her. He placed his mouth next to her ear and whispered to her, “Do what you will my dear, but you’ll not leave until I say so. If you wish to kill yourself, simply relax and let your hands fall. As the wires slice open your wrists, you’ll undoubtedly fall forward to your ultimate demise. Even if you fall sideways the laceration of your wrists shall provide you with a more slow, and enticing death.”

Her eyes lit with fear. She knew not who this man was, or where she was. She wanted to leave, to flee and return to safety. She wanted to cry.

He saw her. He saw her eyes. The light in them fading. The hope was vanishing. “No my dear it’s too soon,” he thought to himself. To loose her now would have meant no fun later, when the morphine completely wore off. He wanted her to feel the pain. Now she only felt a dull ache compared to what he was going to do.

He backed away from her slowly. She watched his every movement. She tired hard not to hyperventilate, but it was nearly impossible. The only thing keeping her from going hysterical were the bars at her chest. Not until this moment, when the dreamy state subsided more, did she notice the very prominent point on the end of the bars. She tired to move her legs, stretch. She was bolted by the ankles to the wall. Her legs were spread uncomfortably wide by a large bar with shackles on the end.

“Wha…what do you wan…want,” she stammered, hardly able to breathe or talk.

“Why, I want to watch you suffer.”



That's what I have so far, rougly. As a reader, do you want to continue? Are you involved in the story. Even though it's graphic do you still want to read to see what happens? I really like this idea and think I can do a lot with it. I know this should probably be in feedback, but I feel at home here, and this is where I get all of my advice.
 
Not hugely my genre, but I'm intrigued. Sounds like Erotic horror to me. It's good stuff, but I don't like the opening speech. Would your character really say all of that? It's very formal and far too descriptive. Sounds like the character's been practising it for hours and instead of 50 people, his audience is one semi-conscious girl.

The Earl
 
TheEarl said:
Not hugely my genre, but I'm intrigued. Sounds like Erotic horror to me. It's good stuff, but I don't like the opening speech. Would your character really say all of that? It's very formal and far too descriptive. Sounds like the character's been practising it for hours and instead of 50 people, his audience is one semi-conscious girl.

The Earl


He has to tell her. She is still too grogy to comprehend the danger she is in. He snaps her to her senses quickly this way. If she relaxes too much now, she'll fall through the wire and impale herself. I envision him just finishing the set up as she awakens. It's all a flow that is unseen up untill this point. I'll be sure to explaind and expound later.
 
Earl's right. The reason this reads so awkwardly is that the author's obviously using this guy's speech to tell the reader what's going on. "I’m pleased to see your struggling body come back to life." is not something someone would say, and when he says, "I would hate for the barbed wire around your wrists to cut too deep, just yet. " it's obvious that he's saying this for the reader's beneft. She could certainly feel if there were barbed wire around her wrist, or she could just look up and see it., so he'd hatrdly have to mention it

No, it reads a bit too much like a radio play, where you can get away with things like "Stop struggling while I chain you to this railroad track!" In stories I think you need a little more finesse.

In any case, I would be very careful using these instant hook openings. They can be effective, but they can also be very gimmicky. An author named Bud Schulberg poked fun at these kind of openings when he started a tongue-in-cheek detective story like this:

Blam! Blam! Blam! Blam!
Four slugs tore into my gut and I was off on the adventure of my life!

In fact, there's a bad-story award known as the Bulwer Lytton Prize for the worst examples of the heavily barbed hook opening. You get things like, "It was only the lightening-fast reflexes of my trained ape Bongo
that kept the explosive-laden piranhas from devouring me in an instant and then blowing my scantily-clad expedition of comely chorus girls to kingdom come!"

The question remains, too, about how much time you have in which to hook the reader. Personally, I don't think anyone gets hooked on the first line, no matter how compelling it might be. I think most people give you a couple of paragraphs before they make up their mind about reading farther, and that should give you enough time to introduce a character or set up a situation and hook them the old fashioned way. In trying to set the hook in the first sentence, you risk scaring your readers off with a tortured sentence that tries to do too much.

---dr.M.
 
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dr_mabeuse said:


Blam! Blam! Blam! Blam!
Four slugs tore into my gut and I was off on the adventure of my life!

In fact, there's a bad-story award known as the Bulwer Lytton Prize for the worst examples of the heavily barbed hook opening. You get things like, "It was only the lightening-fast reflexes of my trained ape Bongo
that kept the explosive-laden piranhas from devouring me in an instant and then blowing my scantily-clad expedition of comely chorus girls to kingdom come!"

---dr.M.


Duely noted. So, any suggestions? I'm kind of at a loss here. Well, you did give me a couple I could work with. Is this idea worth pursuing?
 
rikaaim said:
He has to tell her. She is still too grogy to comprehend the danger she is in. He snaps her to her senses quickly this way. If she relaxes too much now, she'll fall through the wire and impale herself. I envision him just finishing the set up as she awakens. It's all a flow that is unseen up untill this point. I'll be sure to explaind and expound later.

It's not necessarily the detail, it's the way he says it. I'm just gonna c&p that para and analyse it properly so I can get a fix on what's not hitting me right.

“I’m glad to see your eyes finally open (No need for the 'finally'). I was afraid the morphine that I injected in you was too much (Odd and indirect speech. Is there a reason why he's taking the long way around these sentences? Do ignore me if there is, but I think 'I was afraid I'd given you too much morphine' is better. Apart from anything else, the informality gives it that nice 'In-his-power' touch. You're only very formal to people you want to impress). I’m pleased to see your struggling (Struggling's too much. Wouldn't be said in real life speech. Try reading it aloud) body come back to life. Please, don’t move to much. I would hate for the barbed wire around your wrists to cut too deep, just yet. Oh, and do try to hold yourself up better, the metal bars pressed into your chest can only support so much weight before they impale you.”(Good. I like these last three sentences - you've hit it right on the nail there)


What about:

“Welcome back. I’m glad to see your eyes open. I was afraid I'd given you too much morphine and having you die now would be no fun. Please, don’t try and move too much. I would hate for the barbed wire around your wrists to cut too deep, just yet. Oh, and do try to hold yourself up better, the metal bars pressed into your chest can only support so much weight before they impale you.”

A little bit Baron Vladimir Harkonnen perhaps, but you've gotta add a bit of life to this dialogue. This is the para that captures the reader. The previous one sounded stilted and forced, like we had a bumbling first time torturer who hadn't really thought what to say. Clean it up a little and make him sound a little more smug - more of the 'cut too deep, just yet' - that was good. Gives me the feeling of someone who's just about to start playing - mocking and slightly sardonic. Get that all the way through the speech.

Hope that helps.

The Earl
 
dr_mabeuse said:
Earl's right. The reason this reads so awkwardly is that the author's obviously using this guy's speech to tell the reader what's going on. "I’m pleased to see your struggling body come back to life." is not something someone would say, and when he says, "I would hate for the barbed wire around your wrists to cut too deep, just yet. " it's obvious that he's saying this for the reader's beneft. She could certainly feel if there were barbed wire around her wrist, or she could just look up and see it., so he'd hatrdly have to mention it

No, it reads a bit too much like a radio play, where you can get away with things like "Stop struggling while I chain you to this railroad track!" In stories I think you need a little more finesse.

I'm gonna disagree with the Doc for just a second here, even though he's agreeing with me. Some of that opening speech is very laboured (like the 'struggling body', as I explained a second ago), but the bit about the barbed wire and metal bars is good to my eyes.

Even if she can feel it, she is a little bit groggy. And the main point here is characterisation. He's not saying it just to inform the girl. He's saying it because he's a smug git who wants to congratulate himself on just what a fantastic system he's got going here. He's not drawing attention to the barbed wire, he's drawing attention to just how clever he's been by arranging the scenario with the barbed wire. It's very Vladimir Harkonnen and I have to say I like it.

The Earl
 
rikaaim said:


That's what I have so far, rougly. As a reader, do you want to continue? Are you involved in the story. Even though it's graphic do you still want to read to see what happens? I really like this idea and think I can do a lot with it. I know this should probably be in feedback, but I feel at home here, and this is where I get all of my advice.
Some order of wording issues. The speech is good for setting up a psychopath, who has had hours to plan his remarks, but his adjectives and words have to flow as speech, not text.

Some problems with grammar in paragraph two:
fuzz from her head.... --- "in her head"
that he had just ---- "he had"
then she saw it --- (saw what, can't end sentence this way)


other lines I have trouble with..

to lose her now would have meant no fun later......(present past, and future tenses in less words than it takes to describe. )

provide a more slow.... (how about "slower")


I think you have a great idea running here, you just have some technique and word use problems that kept me from truly feeling her horror"
 
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rikaaim said:
Duely noted. So, any suggestions? I'm kind of at a loss here. Well, you did give me a couple I could work with. Is this idea worth pursuing?

I'm going to make a guess here that you really don't know where this story's going. You've got an opening, but you don't know what happens next or even what it's about. Am I right?

There's nothing wrong with that. A lot of writers start by putting a couple of characters together and letting them interact, and sometimes good stuff comes of it. But when you've set up such a specific and bizarre situation, you've kind of written yourself into a corner. You've got a lot of explaining to do and that limits your options. It's a tough one.

If you want to just write this one out for a while and see where it goes, why don't you try this: have her wake up alone in this situation and try to figure out what the hell's going on. That way the reader can figure things out along with her, knowing what she knows and experiencing the things she does.

That gives you more leeway for different things to happen too. Maybe the mad doctor comes in, or maybe a rescuer. Maybe another prisoner, whatever.

That device has been used in a number of horror and sci fi and even erotic stories, but that doesn't mean it's worn out. It's still a grabber when you read about someone waking up with no idea of where they are or why.

---dr.M.
 
You got some first-rate advice and more than enough to keep you busy for the time being. The only thing I'm going to add is a very old writing trick. READ YOUR DIALOGUE OUTLOUD. Even better, have someone else read it outloud while you listen.

There's a substantial difference between what we say and what we write. Good dialogue bridges the difference. When your dialogue is read outloud, if what you're hearing sounds stilted, formal, or artificial, then it needs work.

And if you want a good laugh, check out the Bulwer-Lytton site at http://www.bulwer-lytton.com/#To inflict This was last year's winning entry:
She resolved to end the love affair with Ramon tonight . . . summarily, like Martha Stewart ripping the sand vein out of a shrimp's tail . . . though the term "love affair" now struck her as a ridiculous euphemism . . . not unlike "sand vein," which is after all an intestine, not a vein . . . and that tarry substance inside certainly isn't sand . . . and that brought her back to Ramon.

Rumple Foreskin :cool:
 
Ditto with an underline and exclamation point for all that's said before me.

But maybe this is new (I didn't read whole thread too closely) and useful:

If you just threw away the first and started the story with the second paragraph, (to me) it sounded like a fine opening. The details in that paragraph (waking up with something through your chest) is sufficiently unusual to serve as a hook, and I'd continue beyond that point.

You then could throw in the dialog in normal fashion beyond that.

More on my point I guess is this: I don't think the first line has to grab the user as long as the first paragraph does it and it's sufficiently brief.

FWtheheckIW
OC
 
"Don't move."

He watched as she blinked her eyes open. She frowned, looking confused. She was about to try, he saw her muscles tensing.

"The wires will cut you if you move."

That got her attention, through whatever fog remained from the drugs. She watched him warily as he stepped closer, menacing and feral.

--The above is how I'd start off the story. I'd only start it off with the speeches if the guy was telling the story to an audience after it had happened...and even then, it could use some trimming (and spell/grammar checking).
 
Some of my openings/ current story scores in descending order:

4.73
Once upon a time there was a young girl named Cindy Heller, who lived in a big house with a woman she called Mom, and two older girls called Kimberlee and Symphonee, whom she called her sisters.

4.65
This story is specially for all you femsubs out there, who a like a little humor with your domination.

4.45
"Hi. You're Mick Clarke, right? Thanks for coming. Please remove all of your clothes, and then sit on the blue chair on the other side of this lab bench to me." Alice didn't remove her gaze from the computer monitor.

4.25
Jodie's face pinched in exasperation. She leaned back and looked along the row of desks in search of a colleague who wasn't busy on the phone.

4.15
He lay naked on the cold hard floor. He held his eyes closed, then opened them again. There was no difference, the room was utterly dark. He felt his heart beating.

4.15
This woman, this girl, she was horny as hell. I got her story in the cab. Her whole story took two fucking minutes. Then I got right inside her. Oh, sorry. Let me slow it a little. Let me describe how I got it in that tight little pussycat.

2.74
A true story (related to Sub Joe by a well-known British political figure, and published with his permission).
 
Sub Joe said:
Some of my openings/ current story scores in descending order:

4.73
Once upon a time there was a young girl named Cindy Heller, who lived in a big house with a woman she called Mom, and two older girls called Kimberlee and Symphonee, whom she called her sisters.

4.65
This story is specially for all you femsubs out there, who a like a little humor with your domination.

4.45
"Hi. You're Mick Clarke, right? Thanks for coming. Please remove all of your clothes, and then sit on the blue chair on the other side of this lab bench to me." Alice didn't remove her gaze from the computer monitor.

4.25
Jodie's face pinched in exasperation. She leaned back and looked along the row of desks in search of a colleague who wasn't busy on the phone.

4.15
He lay naked on the cold hard floor. He held his eyes closed, then opened them again. There was no difference, the room was utterly dark. He felt his heart beating.

4.15
This woman, this girl, she was horny as hell. I got her story in the cab. Her whole story took two fucking minutes. Then I got right inside her. Oh, sorry. Let me slow it a little. Let me describe how I got it in that tight little pussycat.

2.74
A true story (related to Sub Joe by a well-known British political figure, and published with his permission).

Interesting. I've never compared mine. Gonna check it out now.

EDITED: Hoping to find a pattern, I checked all 18 of my stories. I don't see one. Voice, tense, quote/thought ... it varies wildly.

RE-EDITED: TMI
 
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hmmm....interesting...

(I left out the Lit olympics, for obvious reasons)

4.69
I'd always heard long distance relationships just don't work out in the end.

4.68
I looked out the window at the sky growing dark with storm clouds, and uneasily wondered why my husband wasn't home yet.

4.63
Darra slung her purse over her shoulder and stalked out of her lawyers office.

4.57
"Shall we give the men something to watch?"

4.51
"You want to do what? Here?"

4.51
The beach, the women, everything was the same as it always was.

4.51
We've been at the party at my friend Lindsay's house for a couple of hours now and everyone seems to have started well on their way to a nice hangover in the morning. I plan on editing this story for POV one of these days...it was my first

4.46
I couldn't actually believe I was going through with this!

4.41
I'm sorry I didn't call to let you know that we got to New Orleans okay. Letters and Transcripts category
 
OK I know Ill get kicked but

I liked the opening like it was. It was very vincent price like. I dont know why it apeals to me and im probably not the mainstream. But had to say it anyway.
goodluck hun,
Nymphy
 
dr_mabeuse said:
I'm going to make a guess here that you really don't know where this story's going. You've got an opening, but you don't know what happens next or even what it's about. Am I right?

There's nothing wrong with that. A lot of writers start by putting a couple of characters together and letting them interact, and sometimes good stuff comes of it. But when you've set up such a specific and bizarre situation, you've kind of written yourself into a corner. You've got a lot of explaining to do and that limits your options. It's a tough one.

If you want to just write this one out for a while and see where it goes, why don't you try this: have her wake up alone in this situation and try to figure out what the hell's going on. That way the reader can figure things out along with her, knowing what she knows and experiencing the things she does.

That gives you more leeway for different things to happen too. Maybe the mad doctor comes in, or maybe a rescuer. Maybe another prisoner, whatever.

That device has been used in a number of horror and sci fi and even erotic stories, but that doesn't mean it's worn out. It's still a grabber when you read about someone waking up with no idea of where they are or why.

---dr.M.



This idea I like a lot. I do have an idea of where this is going, but I also think the opening is a bit rough. That's okay since it's a rough draft.
 
Rumple Foreskin said:
You got some first-rate advice and more than enough to keep you busy for the time being. The only thing I'm going to add is a very old writing trick. READ YOUR DIALOGUE OUTLOUD. Even better, have someone else read it outloud while you listen.

There's a substantial difference between what we say and what we write. Good dialogue bridges the difference. When your dialogue is read outloud, if what you're hearing sounds stilted, formal, or artificial, then it needs work.

And if you want a good laugh, check out the Bulwer-Lytton site at http://www.bulwer-lytton.com/#To inflict This was last year's winning entry:
She resolved to end the love affair with Ramon tonight . . . summarily, like Martha Stewart ripping the sand vein out of a shrimp's tail . . . though the term "love affair" now struck her as a ridiculous euphemism . . . not unlike "sand vein," which is after all an intestine, not a vein . . . and that tarry substance inside certainly isn't sand . . . and that brought her back to Ramon.

Rumple Foreskin :cool:


The only thing I'll say about his manner of speech is that it is how I speak in real life.

How did Hannibal speak?

I like the more formal and intelligent villian. The one who knows exactly what he's doing. That's scarier than a run of the mill split second rage filled murder spree.
 
rikaaim said:
The only thing I'll say about his manner of speech is that it is how I speak in real life.

How did Hannibal speak?

I like the more formal and intelligent villian. The one who knows exactly what he's doing. That's scarier than a run of the mill split second rage filled murder spree.



So, what are you saying? Essentially you did not want advice about your opening just confirmation of its basic "goodness?"

--------------------------------------------
para 1


The stilted, formal language is good. I like it, it indicates that your protagonist has had several hours alone preparing his speech. It simply needs to be speech, not text.

"Ah, excellent, the morphine is finally wearing off, I was concerned I may have injected too much"

"Miss it would be better if you did not move overmuch. the barbed wire may cut your wrists and we wouldn't want that to happen, yet."

"Do try to maintain good posture, those stakes could penetrate your chest."

------- snobbish, hissing, professorial, accented --- describe his voice------

-------------------------------------------------------------------------------
para 2 critique.


The drugged fog was clearing in _____'s mind, allowing her to focus on the objects the voice had described.

------ we like to know the victim's name, it humanizes her and makes her problems more personal --------

"with each breath the bars pushed painfully into her torso"
inhalation or exhalation, not both not inhale
is it possible for blood to pool downward? Why not try"running in red rivulets"?

-----------------------------------------------------------------------
para 3.

If her arms are bolted, and her chest held diligently, why all the admonitions to be still and stand straight.. It seem the device has accomplished this?

lose more slow and use "slower"

----------------------------------
para 4-end

Why does this girl think in the same overly formal pattern as her torturer "know not who this man is"..... I just don't see it, hanging in a torture rack with steel points in my chest, and barbed wire wrapped around me I might think "who the fuck is this guy, what does he want," not "i know not who it is that torture me so, perchance he soothe my yearning mind and enlightenst my soul ere I die."

one does not go hysterical, one goes into hysterics.

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

This story has potential. The language needs work, and the author needs to watch tense and word choice.



-----------------------------------------
 
kbate said:
So, what are you saying? Essentially you did not want advice about your opening just confirmation of its basic "goodness?"

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

This story has potential. The language needs work, and the author needs to watch tense and word choice.



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


You're remarks are exactly the kind I am looking for. I gladly accept all the advice that is offered, and what your second part says is what I've heard many many times over. I have a constant problem with all of those issues, but never seem to recognize when I'm making the mistake. This is exactly why I haven't posted anything substantial yet. I make too many mistakes. I know I can get an editor to help, but I always make these mistakes. The sad part is that I don't even recognize them. I do have an idea to open this opening a little bit. Thanks to all of the wonderful advice and opinions here, I can take the same story, but make the intro more believable and more acceptable. I also have a better idea of where exactly I want this story to go. Now, the only problem is all of my mistakes, which I am learning to make and move on. It's hard to know that what you write is wrong sometimes, but in the end you write it anyway. I know my grammer and verb tenses are wrong sometimes, I just don't know when. If I could look at my work and see my mistakes I wouldn't feel so bad. When I write something I look at it and say, "Hey, this isn't too bad." Then someone else reads it and tells me everything that is wrong with it, which is fine, but I get very discouraged when I write about 10 stories that all have the same basic flaws and I don't know how to fix them.
 
rikaaim said:
You're remarks are exactly the kind I am looking for. I gladly accept all the advice that is offered, and what your second part says is what I've heard many many times over. I have a constant problem with all of those issues, but never seem to recognize when I'm making the mistake. This is exactly why I haven't posted anything substantial yet. I make too many mistakes. I know I can get an editor to help, but I always make these mistakes. The sad part is that I don't even recognize them. I do have an idea to open this opening a little bit. Thanks to all of the wonderful advice and opinions here, I can take the same story, but make the intro more believable and more acceptable. I also have a better idea of where exactly I want this story to go. Now, the only problem is all of my mistakes, which I am learning to make and move on. It's hard to know that what you write is wrong sometimes, but in the end you write it anyway. I know my grammer and verb tenses are wrong sometimes, I just don't know when. If I could look at my work and see my mistakes I wouldn't feel so bad. When I write something I look at it and say, "Hey, this isn't too bad." Then someone else reads it and tells me everything that is wrong with it, which is fine, but I get very discouraged when I write about 10 stories that all have the same basic flaws and I don't know how to fix them.

Rika: Do try reading your work out loud. Yes, I know, it feels weird. And it takes a lot of time. But I guarantee you'll pick up a hell of a lot of errors, both grammatically and in tone and word-choice.

The Earl
 
Rika, please forgive me....this may be way off base, but it occurs to me that the flowery, stiff language may be from the effort you're using to be "literary." If I'm wrong, please just throw this opinion into the garbage where it belongs.

There's nothing wrong with using formal, stilted language for a villian, if that's the way you want to develop his character, but sometimes I think we try very hard to be a "writer" and lose something in the process. Write the way you speak in the real world, not the way you would post here. A writer is, first and foremost, a storyteller, and you have to be able to tell the story, not just write it.
 
cloudy said:
Rika, please forgive me....this may be way off base, but it occurs to me that the flowery, stiff language may be from the effort you're using to be "literary." If I'm wrong, please just throw this opinion into the garbage where it belongs.

There's nothing wrong with using formal, stilted language for a villian, if that's the way you want to develop his character, but sometimes I think we try very hard to be a "writer" and lose something in the process. Write the way you speak in the real world, not the way you would post here. A writer is, first and foremost, a storyteller, and you have to be able to tell the story, not just write it.


Yes, a storyteller, that I agree with. The thing is, this is how I talk in real life. The way I write in here, the AH, and the way I write my stories are the same. That's me. That's how I talk in real life. I won't beat this thread into the ground anymore. I have been given more than I deserve in this regard. I only wanted to express that what you see from me, be it chatting here on Lit, or in my stories, is how I really am.
 
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