The Writer’s Promise
August 1, 2011 4 Comments
The opening of any story is synonymous with a promise to the readers. This means it has to directly relate to the resolution.
I am reminded of a story I reviewed where a serial killer walked through a playground full of children. A reasonable person starts to worry for the children. Handled correctly, this can be a compelling opening that leaves us with a story-wide question. What is going to happen next? We hope he reconsiders or they escape or some hero stops him.
In a group meeting, several thought that the opening was a fairly decent hook and sustained the murder mystery reader’s interest into the second page.
When one person mentioned a dislike for this sort of story, the writer said, “Not to worry.” He had no intention of having his villain actually harm, or even confront, any children. This served as a relief to many, including myself, but it also raised a different flag in my head.
What about the story promise?
Unless the writer has a Ted Bundy in the offering, using the fear of a murderer walking through a playground full of young people is invalid. The story-wide theme offered on the first page of any story or novel must be consistent with the story-wide promise throughout and at its conclusion.
About Gary Wedlund
Depends on how it will fit in later with the story. Does the antogonist have a soft spot for children that might later play into the story, or if he shoots the kids would it be a set up for a reverse telling? As you said, it must fit with the resolution.
As you know, I had a similar issue. But I do feel like such an opening does NOT always have be directly related to the resolution, but rathercould hint at something forthcoming. Of course, I am predjudice about this sort of thing.
I love openings like that. They really creep me out and I don’t WANT to know how it going to play out. I am reminded of a short story by John Varley called “The Pusher” which milked that exact premise to the the very end and kind of beyond. I’m still not sure how I feel about the character in that story, but I’ll say this, I never forgot him.
I generally agree that an opening should relate to the story, but a writer should also take care not to tip his/her hand too much about what’s to come. I’d find an outright red herring irritating, but I like the idea of jarring the reader a bit before taking him/her in a direction he/she didn’t expect (as long as their is SOME logical connection to the opening). I’m kind of intrigued by the example you’ve provided, and now it’s going to bug me not knowing what happened next. Sheesh. Thanks a LOT, Gary!
RLR
You are right about maintaining the honesty of the promise. If it is just used as a trick to fool the reader into believing a false jeopardy the writer violates the trust of the reader. The Spanish film “Before the Fall” is an example of insinuating the threat of a child killer and then retains the true tragedy it demands, all within the context of the end of the world.