How do you choose your story start? What sort of incident do you use? Is it a cymbal crash to grab the reader’s or audience’s attention? Or a gradual build-up to draw them deeper into the world of the characters? 

There are many successful examples of both sorts of starts – Lord of the Rings is one. Speed is another. In his book Film Scriptwriting, A Practical Manual, Dwight V Swain calls finding the right moment to begin the story, the point of attack.

Swain suggests that in order to determine this optimal point in our tale we should ask ourselves the questions: What is the genre? Are you writing for impact, characterisation, or atmosphere? Only when you know the answer to those questions can you know what note to strike in your opening.

“A great story start is one which most affectively establishes mood while maintaining the reader’s or audiences attention.”

In The Grudge, a horror film, we are presented with a man standing with his back to us on the balcony of an apartment block several stories up. A woman, whom we presume to be his wife or lover, lies in bed, regarding him placidly. The man seems somber, pained, but calm. Suddenly, we see him tip himself over the railings and fall to the ground, killing himself.

The effect is one of shock, followed by intrigue and a series of questions: Why did the man commit suicide? What did the dark expression on his face mean? Why did the woman not see it coming? These questions demand answers and pull us into the story.

While the rest of the movie provides, a little at a time, the answers, the start poses the questions in an abrupt way. The screenwriter and director could have chosen to present events in chronological order, but that would have robbed the story of its mystery and dark intrigue. 

The same can be said of Memento, a neo-noir psychological thriller. Here the protagonist, who suffers from short term memory loss, can only remember events that have occurred no more than a few minutes back. 

In order to solve a life threatening problem, he leaves himself clues through a series of tattoos on his back. To make matters worse, the film relates the story about-face – from end to start. The note struck by the opening scenes, therefore, is one of extreme confusion and obfuscation.

Both openings in these examples are ideally suited to their specific stories. They provide maximum audience engagement.

Summary

Determine the tone you want to strike in your tale to help you determine your story start.

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