Trained by reading hundreds of submissions, editors and agents often make their read/not-read decision on the first page. In a customarily formatted book manuscript with chapters starting about 1/3 of the way down the page (double-spaced, 1-inch margins, 12-point type), there are 16 or 17 lines on the first page.
Here’s the question:
Would you pay good money to read the rest of the chapter? With 50 chapters in a book that costs $15, each chapter would be “worth” 30 cents.
So, before you read the excerpt, take 30 cents from your pocket or purse. When you’re done, decide what to do with those three dimes or the quarter and a nickel. It’s not much, but think of paying 30 cents for the rest of the chapter every time you sample a book’s first page. In a sense, time is money for a literary agent working her way through a raft of submissions, and she is spending that resource whenever she turns a page.
Please judge by storytelling quality, not by genre or content—some reject an opening page immediately because of genre, but that’s not a good enough reason when the point is to analyze for storytelling strength.
This novel was number one on the New York Times trade paperback fiction bestseller list for December 21, 2019. How strong is the opening—would this narrative, all on its own, hook an agent if it came in from an unpublished writer? Following are what would be the first 17 manuscript lines of the first chapter.
First there was nothing. Then there was everything.
Then, in a park above a western city after dusk, the air is raining messages.
A woman sits on the ground, leaning against a pine. Its bark presses hard against her back, as hard as life. Its needles scent the air and a force hums in the heart of the wood. Her ears tune down to the lowest frequencies. The tree is saying things, in words before words.
It says: Sun and water are questions endlessly worth answering.
It says: A good answer must be reinvented many times, from scratch.
It says: Every piece of earth needs a new way to grip it. There are more ways to branch than any cedar pencil will ever find. A thing can travel everywhere, just by holding still.
The woman does exactly that. Signals rain down around her like seeds.
Talk runs far afield tonight. The bends in the alders speak of long-ago disasters. Spikes of pale chinquapin flowers shake down their pollen; soon they will turn into spiny fruits. Poplars repeat the wind’s gossip. Persimmons and walnuts set out their bribes and rowans their blood-red clusters. Ancient oaks wave prophecies of future weather. The several hundred kinds of hawthorn laugh at the single name they’re forced to share. Laurels insist that even death is nothing to lose sleep over.
Something in the air’s scent commands the woman: Close your eyes and think of willow.
You can turn the page and read more here.