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There's nothing’s more dangerous than a wizard-in-training. And Pete Riley, has just proven it. He's worked a bad time spell--a very bad time spell.
No YouTube, no smoothies, no Manga. Not ever again. Not unless Pete figures out how to reverse his spell and free Weasel and him from Victorian England.
He has until the next full moon. Only a few days.
Tick. Tock.
He has until the next full moon. Only a few days.
Tick. Tock.
C. Lee On Opening Lines
Opening lines are the hardest for me to write. So much hinges on them. I’ve gone through books and read hundreds of first lines to find out successful writers’ secrets for getting me into a book.
Then I started doing a bit of research. The best definition of a great opening came from Sol Stein in Stein on Writing. Here’s a short version of what he says:
The first lines must:
I’d add that the first lines must sweep me away from where I’m reading in my chair and plunk me dead center inside the world of the story.
Here are three of my favorites.
1. Today I moved to a twelve-acre rock covered with cement, topped with bird turd and surrounded by water. Alcatraz sits smack in the middle of the bay—so close to the city of San Francisco, I can hear them call the score on a baseball game on Marina Green. Okay, not that close. But still. Al Capone Does My Shirts, Choldenko
2. Tad was beginning to hate the spear.
It was his first spear, and—when he had woken on the morning of his twelfth Naming Day—he had thought that it was the mist beautiful thing he had ever seen. His father had always pretended that Naming Day presents were brought each year by the Moon Elves, who traveled to Earth on moonbeams and brought gifts to well-behaved girls and boys. The Waterston, Rupp
3. “Where’s Papa going with that axe?" said Fern to her mother as they were setting the table for breakfast. Charlotte’s Web, White
Now here’s my attempt from The Great Time Lock Disaster. I’m up against some stiff competition.
One minute the clock was tick-tocking on the mantel and the next it was a smoldering mess.
“No,” Harriet shouted. Then she braced one hand on her desk and covered her eyes with the other.
Pete froze, not blinking, not breathing, but waiting to see if Harriet would point one of her long, bony fingers at him and turn him into a turnip or something slimy.
Then I started doing a bit of research. The best definition of a great opening came from Sol Stein in Stein on Writing. Here’s a short version of what he says:
The first lines must:
- excite the reader’s curiosity, preferably about a character or a relationship. Stein later refers to this as “quick characterization.”
- introduce a setting.
- make the story important enough for the reader to continue.
I’d add that the first lines must sweep me away from where I’m reading in my chair and plunk me dead center inside the world of the story.
Here are three of my favorites.
1. Today I moved to a twelve-acre rock covered with cement, topped with bird turd and surrounded by water. Alcatraz sits smack in the middle of the bay—so close to the city of San Francisco, I can hear them call the score on a baseball game on Marina Green. Okay, not that close. But still. Al Capone Does My Shirts, Choldenko
2. Tad was beginning to hate the spear.
It was his first spear, and—when he had woken on the morning of his twelfth Naming Day—he had thought that it was the mist beautiful thing he had ever seen. His father had always pretended that Naming Day presents were brought each year by the Moon Elves, who traveled to Earth on moonbeams and brought gifts to well-behaved girls and boys. The Waterston, Rupp
3. “Where’s Papa going with that axe?" said Fern to her mother as they were setting the table for breakfast. Charlotte’s Web, White
- In each case, we immediately locate the character(s).
- We sense their emotions and know a bit about them: 1) a relocated, not too happy person 2) disappointed 12-year-old 3) kid who’s curious and a bit fearful
- We know which point of view these stories are going to be told in.
- We know a bit about the setting: 1) isolated place, unattractive, sense of coldness 2) a different way of life with Naming Days and kids with spears 3) morning, maybe on a farm
Now here’s my attempt from The Great Time Lock Disaster. I’m up against some stiff competition.
One minute the clock was tick-tocking on the mantel and the next it was a smoldering mess.
“No,” Harriet shouted. Then she braced one hand on her desk and covered her eyes with the other.
Pete froze, not blinking, not breathing, but waiting to see if Harriet would point one of her long, bony fingers at him and turn him into a turnip or something slimy.
******
To celebrate the launch of The Great Time Lock Disaster I'm giving 20 eBooks away. Hope you'll jump in to the copter and go for a ride!
Usually, C. Lee takes on modern issues that today's teens face in their daily lives. Her first young adult novel, Sliding on the Edge, which dealt with cutting and suicide was published in 2009. Her second, titled The Princess of Las Pulgas, dealing with a family who loses everything and must rebuild their lives came out in 2010. Double Negative (2014) was her third young adult novel. Researching it turned her into a literacy advocate. Her fourth YA, Sudden Secrets came out in December 2014.
When she really want to have FUN, she writes middle grade books. Alligators Overhead and The Great Time Lock Disaster are now available.
