I've come to similar conclusions about the publishing process, based on my experiences with work rejected in one market, and eagerly received in another.
I agree that those early pages are the hardest, whether in a short story or a novel. Back when I was trying to nail down plot structure, I'd often start things "en media res" without really understanding what that meant. I'd get the story going with a bang to jump-start the plot, but at the cost of reader attachment because they didn't know who to root for and why.
It's a delicate balance, but now I err more on the side of character interiority. Beginning tightly in a POV (whether third or first) and a conflict that could be major or minor, and then slowly expanding from that. It can lead to a slightly slower start, but one I think better grounds the reader in both the setting and the protagonist.
I appreciate all your insight, Jennifer! And "Siren Says" looks amazing. I love how well-paired the first and last lines of the opening page are, (from the sample on Amazon):
"I had, of course, known that my mother was a witch, even though she'd always referred to herself as a Siren" followed by -- after a paragraph of further detail about the POV's mother and the ways in which she used magic -- "If I'd ever harbored any doubts about what my mother really was, all of those were put to rest on the day that she died."
A page-turner, and not because of fireballs and car chases. A deeply personal bit of exposition, sandwiched between question-raising statements. Why is "witch" not capitalized by "Siren" is? And after seeing the kind magic her mother could practice and the cost it sometimes inflicted upon her, why is it only the day she died that all doubts were dispelled?
I've come to similar conclusions about the publishing process, based on my experiences with work rejected in one market, and eagerly received in another.
Good intel about the writers group
I agree that those early pages are the hardest, whether in a short story or a novel. Back when I was trying to nail down plot structure, I'd often start things "en media res" without really understanding what that meant. I'd get the story going with a bang to jump-start the plot, but at the cost of reader attachment because they didn't know who to root for and why.
It's a delicate balance, but now I err more on the side of character interiority. Beginning tightly in a POV (whether third or first) and a conflict that could be major or minor, and then slowly expanding from that. It can lead to a slightly slower start, but one I think better grounds the reader in both the setting and the protagonist.
I appreciate all your insight, Jennifer! And "Siren Says" looks amazing. I love how well-paired the first and last lines of the opening page are, (from the sample on Amazon):
"I had, of course, known that my mother was a witch, even though she'd always referred to herself as a Siren" followed by -- after a paragraph of further detail about the POV's mother and the ways in which she used magic -- "If I'd ever harbored any doubts about what my mother really was, all of those were put to rest on the day that she died."
A page-turner, and not because of fireballs and car chases. A deeply personal bit of exposition, sandwiched between question-raising statements. Why is "witch" not capitalized by "Siren" is? And after seeing the kind magic her mother could practice and the cost it sometimes inflicted upon her, why is it only the day she died that all doubts were dispelled?
Looking forward to reading it!