Showing posts with label Ellery Queen Mystery Magazine. Show all posts
Showing posts with label Ellery Queen Mystery Magazine. Show all posts

21 February 2020

More about Opening Lines


More about Opening Lines

I feel the opening line of a short story or novel is the most important line in the piece. First impressions are the strongest, especially for a beginning writer who wants an editor to read beyond the first page of a manuscript.

"The first page sells your book being read, the last page sells the one you're writing." – Mickey Spillane."

The same goes for short stories, maybe more so.

Over the years, I put together information given by writers and editors. As I've said so many times before, there is no one way to write anything and what follows are just suggestions.

The opening of a novel or short story could capture the attention of the reader with an original hook.

1. THE OPENING SHOULD PROMISE ... SOMETHING IS GOING TO HAPPEN

How?
a. By presenting compelling events
b. By presenting an unusual character
c. By presenting a vivid setting
d. By using striking language or dialogue
e. By an unusual presentation of ideas

It should arouse expectation with a promise of more to come.

It should let the reader in on WHO, WHAT, WHEN, WHERE, or WHY.

In your opening scene(s) you may want to establish:

a. Who is the main character?
b. What is the situation (the problem)?
c. Where is the story taking place (setting)?
d. When is the story taking place (time frame)?
e. Why did this situation happen?
f. How did the situation happen?

You may want to include a cliffhanger that makes the reader want to read on.

You opening should set the tone of the story.

The strongest type of opening usually hooks the read with action (physical or psychological).

The story does not generally open at the beginning of a situation. It usually opens at the high point of action.

EXAMPLES:

Character Opening – If you are writing a character-driven piece.
Atmosphere Opening –Take your reader to a unique setting.
Action Opening – Start in mid-scene.
Dialogue Opening – Promises the reader there is a emphasis on communication between characters.
Philosophical Opening – Prepares the reader this may be a reflective piece.
Emotion Opening – Promises emotional conflict.

In a 2013 interview, Stephen King stated, "... an opening line should invite the reader to begin the story ... it should say: Listen. Come in here. You want to know about this."

King went on with, "For me, a good opening sentence really begins with voice. You hear people talk about 'voice' a lot, when I think they just mean 'style'. People come to books looking ... for the voice. An appealing voice achieves an intimate connection – a bond much stronger than the kind forged, intellectually, through crafted writing."

Award-winning short story writer John Floyd gives us, "I've always heard that ideal openings should (1) introduce you lead character and/or (2) establish the setting (time, place) and/or (3) introduce conflict. A fourth goal is to make the reader curious about what might happen."

Important Note:
A good opening line is like the opening move in a battle. If you do not follow up a good opening, you could lose the battle.

Ellery Queen Mystery Magazine Editor Janet Hutchings gives us, "Some writers have told me they have an attention-getting opening line as the seed for the story. That's fine. But from a reader/editor's perspective what makes the opening good or bad is how it serves everything that follows in the story."

Writing novels and short stories is a trade. A profession. Not a philosophical exercise.

OK – we have all read excellent novels and short stories which did not have a good opening line, which proves again there is no one way to write. In the epigraph in Fahrenheit 451, Ray Bradbury quotes Juan Ramón Jiménez – "If they give you ruled paper, write the other way."

Hey Paul,
Here is Charley. Gone but never forgotten.



Thats all for now –
http://www.oneildenoux.com

30 October 2019

The Last Lesson: Queen vs Hitchcock



Two weeks ago I reported that I had been invited to speak to the Northwest branch of the Mystery Writers of American on the subject: "Ten Things I learned Writing Short Stories."  I listed nine of them and promised to deliver the last one this week.  Here goes!

10.  What's the difference between Ellery Queen's Mystery Magazine and Alfred Hitchcock's Mystery Magazine?  That's the second-most common question I hear about my writing.  (The first is the dreaded WDYGYI?)

For many years my reply was simple: AH buys my stories and EQ doesn't.  But since EQ has surrendered to my dubious charms several times I have to come up with some better distinction.  So here are a few.

Origin stories.  I mean the origins of the magazines themselves.  I think they are useful in thinking about how the editors think: What is in the magazine's DNA, so to speak?  Because as the old saying goes "What's bred in the bone, comes out in the flesh."

EQ was started in 1941 under the editorship of Frederic Dannay, one half of the author Ellery Queen.  Besides being an author and editor, Dannay was an anthologist and a historian of the mystery field.  He was determined to cover all aspects of the field (as opposed to Black Mask Magazine, for example, which had focused on hardboiled) and to stretch the definition of the mystery as well.  Therefore it was not unusual for him to print stories from around the world, stories from "literary" authors who were not considered mystery writers, and reprint stories that had been forgotten or that no one had previously thought of as belonging to the crime field at all.  EQ, for example, was the first American magazine to publish the great Argentinian writer Jorge Luis Borges.  EQ retains a keen sense of the history of the mystery field, which leads to publishing parodies and pastiches.

AH, on the other hand, was founded in 1956.  The film director had no direct role in the magazine, simply licensing the use of his hame and likeness.  For many years the introduction to each issue was written in his voice.  The magazine was not inspired by his movies as much as by his very popular TV show Alfred Hitchcock Presents, which actually filmed some stories that had originally appeared in the magazine.  Like the TV show, the magazine leaned toward suspense, twist endings, and a macabre sense of humor.  It still does.

Distinctions today.  EQ has regular departments.  Going all the way back to Dannay's day it has featured the Department of First Stories, which has premiered the work of up-and-coming artists who went on to fame such as Harry Kemelman, Henry Slesar, Stanley Ellin, and Thomas Flanagan.  Every issue features Passport to Crime, a story translated from another language.  EQ also owns the rights to the Black Mask name and often features a story in that magazine's hardboiled style.

My description of the beginnings of AH may have left you with the impression that their selection of story types is narrow. In fact, the opposite is true.  You can find examples of westerns and science fiction in its pages, as long as crime is front and center. Fantasy elements  may slip in.  (The rare ghost story can show up in either magazine; for some reason ghosts are the one bit of woowoo that is allowed in the mystery world.)

And some more quick generalizations.

EQ seems to lean more toward the grim, the longer, and the fair-play detection stories.

AH appears to favor the lighter, the shorter, and the twist ending.

It is important to be clear that everything I am saying here is about tendencies, not absolutes.  You can find exceptions in every issue, but if you are trying to decide which magazine to submit a story to first, this might help you.

One thing both seem to insist on, is high quality, which may explain why my overall sale record at AHMM is only about 33% and much worse at EQMM.

Your mileage, needless to say, may vary.