Almost everyone who tries to write a novel hits a wall roughly a third to halfway through the book. They discover that the plot is played out and the characters have hit dead ends. Why is this?
Part of the problem is often found in the opening pages. One of the inescapable truths of storytelling is that you must get to the story quickly; it’s the reason readers won’t be able to put down your book. This is true for every kind of story, but it’s especially true for a novel that fits into the category thriller. Yet if the novel focuses solely on kicking off the plot, it won’t give itself enough material to keep going once the initial plot mechanism runs its course. This is why many early novel drafts tend to stall out after 70 to 100 pages.
The question is how to do two things at once: hook the reader and also plant seeds that will sprout later in the book.
An excellent example of planting seeds can be found in Natalia Sylvester’s novel Chasing the Sun. The hook is made clear in the front flap: “Andres suspects his wife has left him—again. Then he learns that the unthinkable has happened: she’s been kidnapped. Too much time and too many secrets have come between Andres and Marabela, but now that she’s gone, he’ll do anything to get her back. Or will he?” But you have to read the first chapter to find the seeds that will sprout into the second half of the novel.
How does Sylvester integrate early hints of those secrets into the kidnapping scene that must begin the story? Find out by reading the opening pages here.
How the Story Works
Anyone who’s read the jacket of Chasing the Sun knows that Marabela will be kidnapped. So, the novel has no choice but to begin there. Even if Sylvester had wanted to start earlier, the reader wouldn’t have stood for it. If readers know what happens next, they won’t keep reading for long. So, Marabela disappears in the first chapter. And yet what a difficult place to begin. Once the kidnapping occurs, there are certain steps that must quickly follow: calls from the kidnappers, requests for ransom, negotiations, and wrong steps by everyone involved. These events carry an incredible gravitational field. The reader’s eye will skip over everything else and move straight to the central question: then what? Good luck creating depth of character or culture or place when a woman’s life hangs in the balance. But character and culture and place are the best parts of the story and (from a practical standpoint) the triggers that will propel the plot forward after the initial burst of kidnapping energy has played itself out. As a result, the writer must embed these things, this backstory, into the hook. Sylvester does this in a couple of ways.
First, she creates synchronous events. While Marabela is being kidnapped, her husband Andres is on a business call. Sylvester ties the events together in a few deft sentences, when Andres has to explain why his wife couldn’t come to the meeting:
He’d hoped Marabela would come with him today to help make a good impression.
“She’s so sorry she couldn’t make it. She was really looking forward to seeing you again,” he says.
“Tell her I said hello and that I hope she feels better,” Lara says.
We don’t yet know she’s been kidnapped, but we know something is going to happen (and if we’ve read the jacket, we know exactly what will happen), and so we’re aware of the irony of Lara’s statement. Sylvester doesn’t let it drop there. After the meeting, Andres’ son asks why his mom would come to a business meeting for something that doesn’t directly involve her. Watch how Sylvester uses Andres’ answer to do something crucial to the novel:
He sighs, unsure how to explain the less concrete aspects of his business. “Sometimes those kinds of things help the situation along. A man like Manuel wants to know the person he’s about to do business with shares his values. That he’s a good husband, a family guy. That he can be trusted.”
Again, the statement is ironic (“a good husband, a family guy. That he can be trusted”). Sylvester is making a clearcut statement about the man Andres wants to be, and, later in the novel, it will inevitably turn out that he’s not this kind of man. But Sylvester is doing something else as well. She’s beginning to tell the reader the values that Andres holds dear. Just one page later, when Andres and his son are being driven home, his son accidentally rolls down the window at a stoplight:
“Señor, tres paquetes de galletas por un sol.” A young boy, no older than thirteen, pokes his head through the window. Ignacio shakes his head and starts rolling up the window when his father leans forward to stop him.
“Not so fast. You already got his hopes up. Don’t toy with the kid.” He leans over and shouts, “¡Dos paquetes! Go ahead, pay him.” He nudges his son.
“But you’re the one who—” With a stern look from his father, Ignacio stops protesting and fishes two coins out of his pocket.
The scene might seem incidental, but it tells the reader that Andres lives by a particular ethical code. Just as the novel will inevitably challenge Andres’ definition of himself as a good husband, a family guy, and trustworthy, the novel will also inevitably challenge his ethical system, forcing him to act in ways he would have previously believed unacceptable. The scene has also introduced Andres’ relationship to the larger political situation in Lima. The novel is set during the days of the Shining Path, a guerrilla group whose battle against the government cost more than 100,000 lives. It’s not accident, then, that the scene just described involves two people with a hired driver and a poor boy selling cookies. The novel is hinting at the politics that will play a large role in the story.
These seeds will become increasingly important. The kidnapping will be resolved, as it must, and that is when the real story begins—a story that is impossible without these details about Andres that can be turned on their head, a turning that will drive the plot forward again.
The Writing Exercise
Let’s plant some seeds using Chasing the Sun by Natalia Sylvester as a model:
- Create a synchronous event. Your novel probably has a Big Event that kicks off the story. At its most basic, it’s likely some version of a stranger arriving in town or a character leaving on a trip. The story hinges on that event, and, as a result, it’s difficult to shoehorn any character development in those scenes. So, carve out a scene that takes place at the same time or within the Big Event. It can be anything. Sylvester’s Big Event is the kidnapping, and her synchronous event is the business meeting. In a way, this is true to life. We’re never doing one thing at a time, and when something big happens, we’re almost always engaged in some other activity. Create that activity. If your character is getting ready to leave on a trip, send her to the bank, the grocery store, the mechanic, to coffee with a friend, or to the person who will take care of the dog while she’s gone. If a stranger is arriving, find out what people are doing as the stranger gets into town; they’re probably not sitting around, waiting for him.
- Connect the events. The connection is essential because otherwise the reader may feel like you’ve added an extraneous scene. Obvious ways to connect the events are with glimpses of someone (I saw a figure walk past the window and didn’t think much of it) or with phone calls or text messages (Ready yet?). You can also connect the events with irony (I couldn’t wait for a relaxing evening, or, they seem like they’ll make the perfect married couple). Because any novel’s initial events are given away by the jacket flap, the reader is anticipating whatever Big Event you have in store. So, if you’re dropping hints that the characters have certain expectations that won’t be met, the reader gets a sense of anticipation. Therefore, the connection that you make between events doesn’t need to be direct; it can simply hint at expectations that the Big Event will disrupt.
- Use that connection as an opportunity for character definition. Remember, not all character development is created equal. It’s fine to know that a character is vegan, but if you write that a character refuses to sit in an establishment that doesn’t serve vegan options, then you’re creating a scene that the reader can anticipate. A great way to create expectations in the reader is to define the character’s value system (He’s the kind of person who…). Sylvester lets Andres define himself as a good, honest husband and family man. The reason that he defines himself is because he’s thinking about his wife’s absence at the meeting. So, how can you use the connection between events as an opportunity for your characters to define themselves? If your character is leaving on a trip, let her define the kind of traveler she is (I take books and a coffee grinder, but I refuse to answer my email). If it’s a stranger arriving in town, let the character define the kind of place he lives, which will be a reflection of how he sees himself (I thought about hitting the showers but decided to knock out another couple of sets. The guys nodded at me as I came back into the weight room.) You’re setting the stage for the Big Event. Notice that these definitions contain value systems. When you establish a value, it’s a good idea to try to pressure it, even break it, in the story. The reader will be expecting nothing less.