It’s true what they say: First impressions matter. The same can be said for novels, and as an author, getting the first chapter of your book right can make or break the reading experience. So for this article, I’ve put together some tips on how to make an impactful first impression and write a chapter that will immediately grab readers’ attention. Let’s dive right in.
1. Try starting “in medias res”
In medias res is a Latin phrase that means “in the middle of things;” in literature, it usually refers to starting a book, chapter, or scene in the middle of the narrative, without any preamble or backstory. This stands in contrast to starting ab ovo, or “from the egg” — both terms having originated from the Roman poet Horace, describing different methods of beginning an epic poem. In any case, rather than info-dumping in your first chapter, starting your book in medias res is an excellent way to instantly hook your reader.
There are many ways to start in the middle of a story, and you could argue that most stories do this to some extent. (After all, what is the true origin of any event? The main character’s birth? The birth of their parents?) The point is that you throw readers right into the thick of it, whether that means a character running from an unknown threat or starting your story after a funeral. This creates a sense of immediacy and great narrative tension, as it raises questions that the reader will only be able to answer by reading on.
One of my all-time favorite opening chapters does exactly this. Javier Marías’ A Heart So White — a sort of literary thriller — opens up with a bathroom scene in which a young woman, recently returned from her honeymoon, aims a gun at her chest and pulls the trigger. She is at a dinner party and, at the sound of the gun firing, everything comes to a standstill.
When movement finally resumes and guests make their way to the bathroom, the father of the deceased still has a bite of steak in his mouth, unsure of what to do with it. This grotesque imagery not only evokes the horror of the scene, but cements just how “in the middle of things” we really are. As a reader, you can’t help but wonder at the characters’ behavior and ask yourself what events have led to this point, as well as what will happen next.
This is a perfect example of how to start your book by hooking readers in, then slowly zoom out to fill in the backstory. Many mysteries and thrillers in particular start this way, precisely because it throws the reader right into the action while effectively setting up the intrigue of the story. From the reader’s perspective, they don’t have to wait for the story to get going — and as an author, all you have to do from there is keep readers on the line by feeding them the answers slowly but surely. When done right, in medias res is an almost foolproof way of getting your readers invested from the get-go!
More examples:
- The Odyssey by Homer: Starts with Odysseus being held captive by Calypso.
- Middlegame by Seanan McGuire: Starts with a battle and someone bleeding out.
- Twilight by Stephenie Meyer: Starts with James about to kill Bella.
2. Build anticipation with an unexpected POV
Whether you choose to start ab ovo or in medias res, a surprising number of books actually begin with a secondary or tertiary character’s perspective — designed to show the reader a glimpse of the “ordinary world” before the real journey begins. This may sound like a roundabout way to get to the heart of the story, but it introduces a sense of anticipation that spurs readers to keep going: wondering when they’ll actually meet the main character(s), how the main plot will connect, and what this has to do with anything.
The prologue of A Song of Ice and Fire (the first book in the Game of Thrones series by George R. R. Martin) is a great example of this. It opens with a group of characters who find themselves in the middle of the deep, dark woods (ominous!), discussing whether or not to go back (where?) and whether the wildlings are well and truly dead (wildlings?).
Even though none of these characters become key figures in the series, this section helps establish some pretty essential facts about the world we find ourselves in and what else is to come. Not only is there a threat looming in the shadows, but we also quickly learn that in this world, the distinction between dead and alive is not altogether clear-cut.
With this setup, Martin can take his time to develop his world and characters in the forthcoming chapters; readers are already engrossed enough to keep turning the pages, wondering how this prologue will connect to the main plot later on.
More examples:
- Six of Crows by Leigh Bardugo: Starts with Joost (a random soldier with no connection to the main characters), who introduces intriguing new concepts for the story.
- Harry Potter and the Sorcerer’s Stone by J.K. Rowling: Starts with the Dursleys going about their business, creating tension because we know their lives will soon be interrupted by magic.
- Station Eleven by Emily St. John Mandel: Starts with a play in which an actor has a stroke and dies — a death that’s significant for not being caused by the ensuing pandemic.
3. Raise questions that tie into the main plot
Speaking of connecting to the main plot, as both of the previous tips have suggested, your first chapter should ideally establish an important why. Why is this an interesting place to start and why should readers care? To do so, you must raise questions that hint at what the story will be about and that will eventually connect to the main plot and themes.
The questions you raise in the first chapter will serve as your hook, and can even be reused in your marketing materials. Just don’t forget to sufficiently answer those questions over the course of your book — it sounds obvious, but you’d be surprised how often this doesn’t happen, or how often the answers are hasty and unsatisfying! If your opening chapter features a character running for their life, then by the end of the book, the reader should know who was chasing them and why; otherwise they’ll feel hoodwinked.
Let’s look at The Catcher in the Rye by J.D. Salinger as an example. At the start of the novel, we encounter the protagonist, Holden Caulfield, recounting his life from a mental institution. Naturally, this establishes some key questions: who is Holden, and how has he ended up here? For the rest of the novel, Salinger expands upon Holden’s character, hitting on key life events and relationships that make sense in the context of who he’s become. Through his POV, we get to know his cynical nature, the disconnect he feels from society, and his struggles with transitioning from childhood to adulthood.
Exactly what type of bait you use will depend on what kind of book you’re writing and how much tension you want to establish. Your initial question might be as simple as, “Why is this character the way they are?” or “Whodunit?” But no matter what, by the end of your novel, readers should feel that they have gotten the answers to most of the questions — and perhaps even a couple of answers they didn’t know they needed.
More examples:
- The Girl with the Dragon Tattoo by Stieg Larsson: Starts by asking why Michael is in trouble, how Lisbeth is connected to it all, and, crucially, what happened to Harriet?
- Gone Girl by Gillian Flynn: From Nick Dunne’s perspective, we learn that his wife, Amy, has disappeared. What happened to her? What was their relationship really like?
- To Kill a Mockingbird by Harper Lee: Starts by introducing the town of Maycomb, the character of Scout Finch, and her family. Who are they, what is the role of this setting in the story, and how does this impact the main characters — particularly Scout’s father, Atticus?
4. But don’t introduce too many confusing elements
All that said, while you do want to establish intrigue in your first chapter, you don’t want to leave your readers feeling lost or confused. The first chapter is as much about hooking your reader as it is about convincing them that they are in safe hands. In that vein, you need to strike a balance between divulging and holding information back. If you overwhelm readers with too many details, it can raise some questions about what is going on with the writing, rather than the plot.
To avoid this, boil your story and plot down to the essentials and try to limit your first scene(s) to just a couple of characters or events that hint at those essentials. You’ll have plenty of time to make your story more complex once your readers are on board.
I like how Jente Posthuma does this in Things I’d Rather Not Think About, a novel about a twin who has lost her brother to suicide. Told in short vignettes, the whole book is a perfect example of balancing what to withhold and what to divulge — but in the first chapter, specifically, the narrator is discussing the concept of waterboarding with her mother. The mother, only half listening, sighs and says, “This has to be one of your brother’s ideas.”
The moment is contained enough to not overwhelm the reader. Instead, it establishes some core questions, character dynamics, and a discomforting atmosphere, even inserting some foreshadowing. Why did Posthuma choose waterboarding as an opening imagery? Where did the brother’s morbid curiosity come from? And why is the mother not reacting to any of it?
Because the first chapter sets the tone for your novel, readers will be paying extra attention to the imagery, word choices, and events that you include here. Starting small allows you to home in on those details, while still keeping key elements close to the chest as you gradually build to the crux of your story.
More examples:
- Atonement by Ian McEwan: Starts with Briony setting up a play and introduces some of the key players in the story, hinting at events to come without revealing the exact details and implications of the play.
- Pride and Prejudice: Starts with an inciting incident — Mr. Bingley arriving in town — and introduces the Bennet family and the importance of making a suitable match.
- Beloved by Toni Morrison: Starts by outlining the house at 124 and its haunting presence, creating an unsettling atmosphere while hinting at Sethe’s traumatic past.
5. Consider working with a professional editor — even if just for the first chapter
Lastly, sometimes it can be beneficial to enlist the help of a professional editor to really nail your first chapter. If you’ve experimented with different ways of starting your novel but it just doesn’t feel right, or you’re unsure of whether your first chapter is as impactful as it could be, getting a second opinion might just help you take it to the next level.
The opening line and first few paragraphs are particularly vital; if you can hook someone in that space, they’ll almost certainly keep reading. And from a marketing perspective, these are the pages that appear in previews and free excerpts of your book — as well as being the pages that potential readers are most likely to peruse of their own accord, whether online or in actual bookstores. With this in mind, it’s worth investing a bit of extra editorial care and attention to getting these first few sentences right.
Essentially, getting your first chapter right is all about raising readers’ curiosity, setting the tone, and effectively hinting at what’s to come without giving away too much. By following the tips above, you should be able to grab readers’ attention!
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Click to tweet: .@ReedsyHQ shares tips on how to write a chapter that will immediately grab readers’ attention ✨ https://bit.ly/3UwNiL5 #writetip #amwriting
Click to tweet: How to write a captivating first chapter:
🤓 Start “in medias res”
🫣 Build anticipation
🤔 Raise questions
😵💫 Minimize confusion
✍️ Work with an editor
More great tips and examples from @ReedsyHQ: https://bit.ly/3UwNiL5
