What caught my interest—Wow, so much is happening on the first page, so much emotion is detailed. I’m pulled in and want to read more. Ah-ha moment—. All the examples pulled me in within a few short paragraphs. I connected with the main characters and started to worry about their situations. I’m impressed. I need to really work my first pages, try to nail the change from normal and what’s at stake as early as possible.
Excellent, Brenda! This is exactly what I want you to do (and you ALL to do). Every writer has some form of personalized natural writing mojo, which–when fed properly–opens up to VOICE. The sooner the reader senses that VOICE, the sooner the reader will dive in to your story-life.
Pull some of your favorite books off your shelf, get out a highlighter, and NOTE where and why the opening pages grab you. Where do you start to worry? What’s HAPPENING at that point, how did the author phrase that, how did the author lead INTO that?
What caught my interest—I like the narrator’s slightly snarky voice. Even though she’s dead, a ghost I’m guessing, she’s plucky and will likely survive.
As I’ve noted before, VOICE is hard to define other than “I knows it when I sees it.” 🙂 For me, Alona’s opening situation–she’s dead and thrown under the bus, literally… her snark is almost a defiance of her situation. We admire people who strive, who are defiant in the face of adversity, who refuse to cower and snivel. The reverse of that (and yeah, I’m veering off into my characterization class here) is that we admire and root for the underdog.
Give some thought to that, all. 🙂
//Interstellar Adventure Infused with Romance//