This is the latest of my weekly updates on the redrafting of what will be my debut novel, ‘Safe Hands’. You can find the story so far in this previous post.
This week was all about revising my opening chapter. Like many of you reading this, I’ve spent a lot of time thinking about whether my book now starts in the right place. During the messy first draft, it’s best not to dwell on it too much, and it’s certainly not worth worrying about. However, as I push my draft on towards completion, it’s now something that needs to be addressed.
In addition to the dreaded FIRST CHAPTER CONUNDRUM, I’ve also toyed with the idea of a prologue. I know, I know, it’s a dirty word in some literary circles. I may be deluding myself, but to my mind, what I currently have isn’t actually a prologue. It’s a single tone-setting paragraph, with no historical context and will have a single word title: OPENING. And that is literally what it is . . . an opening to the book, an a description of the opening of a vault. What it does do, is give the reader an immediate sense of tone and a practical description of what my protagonist, Mickey Blake, can do – namely, crack a safe with only his bare hands and an acute sense of touch.
I made more revisions to the first chapter too, adding in a reference to a phone call that Mickey has just concluded as the novel begins. It sets the context for how he feels in the opening scene, but as the reader is left in the dark as to the specifics of the conversation, it raises a question and, I hope, provides the first ‘hook’ of the story.
I wanted to start the story in media res – come in late, get out early as the adage goes – and I think beginning the story with Mickey’s first meeting of potential antagonist, Parker, is a good way to do it.
After making the revisions, I took the piece to Phoenix Writers, the critique group I belong to, and got lots of useful feedback – particularly on the dialogue in my scene. It was clear that it’s currently a little too testosterone-fueled and needs to be paced better. In places it suffers from ‘ping-pong’ syndrome, with characters simply delivering one complete monologue after another, with few interruptions or pauses. I should know better. In my own ‘Big Screen Writing’ workshop, I advise ‘break it up’. Real conversations are fragmented and often nothing more than a series of interruptions – especially when there is conflict in a scene. Armed with the invaluable feedback of the group, I will be redrafting the chapter this week.
Dialogue tweaks aside, however, the group seemed satisfied with where I’ve chosen to start the story and they loved the OPENING section, so it seems I can at least put that issue to bed for the time being.
In addition to redrafting the beginning of the first chapter, this week I’ll be adding in some additional narrative elements brought about by my structural work. A new minor character and scene will be added and the current end section of the novel will be almost entirely discarded! Stay tuned.
What about you? Where do you stand on the whole ‘Prologue/No Prologue’ debate? Are you confident your story begins in the right place? Have any tips you want to share? Drop me a line in the comments below – I’d love to hear how you’re doing.
While you’re here, you might also want to check out the latest bonus episode of Joined Up Writing, the weekly writing podcast I host. This week, Matt Johnson talks about authenticity in Crime Fiction.