# Agents Hate it When You...



## Kyle R (Oct 18, 2013)

No one reads more prospective novel beginnings than literary agents.

They’re the ones on the front lines, sifting through inboxes and slush piles. And they’re the ones who can tell us which Chapter One approaches are overused and cliché, as well as which techniques just plain don’t work.

Below (you'll) find a smattering of feedback from experienced literary agents on what they hate to see (in) the first pages of a writer’s submission. 
*
False beginnings*

“I don’t like it when the main character dies at the end of Chapter One. Why did I just spend all this time with this character? I feel cheated.”
- *Cricket Freeman, The August Agency
*
“I dislike opening scenes that you think are real, then the protagonist wakes up. It makes me feel cheated.”
- *Laurie McLean, Foreword Literary*
*

In science fiction*

“A sci-fi novel that spends the first two pages describing the strange landscape.”*
- Chip MacGregor, MacGregor Literary*
*

Prologues*

“I’m not a fan of prologues, preferring to find myself in the midst of a moving plot on page one rather than being kept outside of it, or eased into it.”*
- Michelle Andelman, Regal Literary*

“Most agents hate prologues. Just make the first chapter relevant and well written.”*
- Andrea Brown, Andrea Brown Literary Agency*

“Prologues are usually a lazy way to give back-story chunks to the reader and can be handled with more finesse throughout the story. Damn the prologue, full speed ahead!”*
- Laurie McLean, Foreword Literary*
*

Exposition and description*

“Perhaps my biggest pet peeve with an opening chapter is when an author features too much exposition – when they go beyond what is necessary for simply ‘setting the scene.’ I want to feel as if I’m in the hands of a master storyteller, and starting a story with long, flowery, overly-descriptive sentences (kind of like this one) makes the writer seem amateurish and the story contrived. Of course, an equally jarring beginning can be nearly as off-putting, and I hesitate to read on if I’m feeling disoriented by the fifth page. I enjoy when writers can find a good balance between exposition and mystery. Too much accounting always ruins the mystery of a novel, and the unknown is what propels us to read further.”*
- Peter Miller, PMA Literary and Film Management
*
“The [adjective] [adjective] sun rose in the [adjective] [adjective] sky, shedding its [adjective] light across the [adjective] [adjective] [adjective] land.”*
- Chip MacGregor, MacGregor Literary*

“I dislike endless ‘laundry list’ character descriptions. For example: ‘She had eyes the color of a summer sky and long blonde hair that fell in ringlets past her shoulders. Her petite nose was the perfect size for her heart-shaped face. Her azure dress — with the empire waist and long, tight sleeves — sported tiny pearl buttons down the bodice. Ivory lace peeked out of the hem in front, blah, blah.’ Who cares! Work it into the story.”*
- Laurie McLean, Foreword Literary*
*

Starting too slowly*

“Characters that are moving around doing little things, but essentially nothing. Washing dishes & thinking, staring out the window & thinking, tying shoes, thinking.”*
- Dan Lazar, Writers House*

“I don’t really like ‘first day of school’ beginnings, ‘from the beginning of time,’ or ‘once upon a time.’ Specifically, I dislike a Chapter One in which nothing happens.”*
- Jessica Regel, Foundry Literary + Media*
*

In crime fiction*

“Someone squinting into the sunlight with a hangover in a crime novel. Good grief — been done a million times.”*
- Chip MacGregor, MacGregor Literary*
*

In fantasy*

“Cliché openings in fantasy can include an opening scene set in a battle (and my peeve is that I don’t know any of the characters yet so why should I care about this battle) or with a pastoral scene where the protagonist is gathering herbs (I didn’t realize how common this is).”*
- Kristin Nelson, Nelson Literary*

*Voice*

“I know this may sound obvious, but too much ‘telling’ vs. ‘showing’ in the first chapter is a definite warning sign for me. The first chapter should present a compelling scene, not a road map for the rest of the book. The goal is to make the reader curious about your characters, fill their heads with questions that must be answered, not fill them in on exactly where, when, who and how.”*
- Emily Sylvan Kim, Prospect Agency*

“I hate reading purple prose – describing something so beautifully that has nothing to do with the actual story.”*
- Cherry Weiner, Cherry Weiner Literary*

“A cheesy hook drives me nuts. They say ‘Open with a hook!’ to grab the reader. That’s true, but there’s a fine line between an intriguing hook and one that’s just silly. An example of a silly hook would be opening with a line of overtly sexual dialogue.”*
- Daniel Lazar, Writers House*

“I don’t like an opening line that’s ‘My name is…,’ introducing the narrator to the reader so blatantly. There are far better ways in Chapter One to establish an instant connection between narrator and reader.”*
- Michelle Andelman, Regal Literary*

“Sometimes a reasonably good writer will create an interesting character and describe him in a compelling way, but then he’ll turn out to be some unimportant bit player.”*
- Ellen Pepus, Signature Literary Agency*
*

In romance*

“In romance, I can’t stand this scenario: A woman is awakened to find a strange man in her bedroom — and then automatically finds him attractive. I’m sorry, but if I awoke to a strange man in my bedroom, I’d be reaching for a weapon — not admiring the view.”*
- Kristin Nelson, Nelson Literary Agency*
*

In a Christian novel*

“A rape scene in a Christian novel in the first chapter.”*
- Chip MacGregor, MacGregor Literary*
*

Characters and backstory*

“I don’t like descriptions of the characters where writers make them too perfect. Heroines (and heroes) who are described physically as being virtually unflawed come across as unrelatable and boring. No ‘flowing, wind-swept golden locks’; no ‘eyes as blue as the sky’; no ‘willowy, perfect figures.’ ”*
- Laura Bradford, Bradford Literary Agency*

“Many writers express the character’s backstory before they get to the plot. Good writers will go back and cut that stuff out and get right to the plot. The character’s backstory stays with them — it’s in their DNA.”*
- Adam Chromy, Movable Type Management*

“I’m turned off when a writer feels the need to fill in all the backstory before starting the story; a story that opens on the protagonist’s mental reflection of their situation is a red flag.”*
- Stephany Evans, FinePrint Literary Management*

“One of the biggest problems is the ‘information dump’ in the first few pages, where the author is trying to tell us everything we supposedly need to know to understand the story. Getting to know characters in a story is like getting to know people in real life. You find out their personality and details of their life over time.”*
- Rachelle Gardner, Books & Such Literary

- *_fro__m Guide to Literary Agents, by Writer’s Digest Books._


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## The Tourist (Oct 18, 2013)

I had to kill my lead in Chapter One.  He had to go where the story was.  The plot was on the train, not at the station.


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## Gavrushka (Oct 18, 2013)

LOL... I started by cringing, and then as further nails were hammered home, I grasped the monitor, crawled under my desk and read on...

...By the third paragraph I'd lost the will to live. 

Yes, I'm the man with the prologue and then the protagonist that dies at the end of chapter one...

...At least the protagonist died but a single death, whereas I shall die a million times now.


Kyle, know this. I loathe you for posting! :disillusionment: (LOL... And thank you; it's a tremendous help)


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## Kyle R (Oct 18, 2013)

Lol Gavru. 

I think it's important to recognize that, while some agents may say they dislike certain things, that alone shouldn't discourage one from writing them. Just be aware that they may be common, or looked down upon, for certain reasons.

If your writing is good enough, or your characters/story compelling enough, you may able to prove those reasons wrong. :encouragement:


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## The Tourist (Oct 18, 2013)

Eh, there's a bigger issue here.  That being, are you writing because it's your passion, or are you writing to impression some power broker?

There's an old canard, _"Those who can--do.  Those who cannot--teach.  Those who cannot teach become guidance counselors..."_

Before I carve up my book to for the open-ended whim of making it more marketable, I want to find out if the guy in charge is a writer or just a poser.  And frankly, most times I'm disappointed at what I find.

My lead dies in Chapter One.  Period.


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## J Anfinson (Oct 18, 2013)

Heard some of this before, but some of it is new to me. Good stuff to know.


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## David Gordon Burke (Oct 18, 2013)

One thing I read elsewhere would fall into the Sci-fi type of book but could be applied to lots of genres.  If you start with too much action, particularly in a sci-fi, fantasy or 'realm' kind of work where the author has created their own reality.... oh, I'm sorry, there's just no nice way to put this.....it sucks!  A reader cannot assimilate the narrative flow while at the same time taking in the alien world setting, the societal structure and all the details that make up this new universe.  It's too much.

David Gordon Burke


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## Gargh (Oct 18, 2013)

Some good pointers here, especially these two;



KyleColorado said:


> “The [adjective] [adjective] sun rose in the [adjective] [adjective] sky, shedding its [adjective] light across the [adjective] [adjective] [adjective] land.”*
> - Chip MacGregor, MacGregor Literary*
> 
> “I dislike endless ‘laundry list’ character descriptions. For example: ‘She had eyes the color of a summer sky and long blonde hair that fell in ringlets past her shoulders. Her petite nose was the perfect size for her heart-shaped face. Her azure dress — with the empire waist and long, tight sleeves — sported tiny pearl buttons down the bodice. Ivory lace peeked out of the hem in front, blah, blah.’ Who cares! Work it into the story.”*
> - Laurie McLean, Foreword Literary *



I think everyone starts off there and finds their way out by one way or another. It's definitely good advice to hear early on.


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## Sintalion (Oct 18, 2013)

Alright, I'm going to do a horrible job of explaining myself, but here goes: 

Statements like these often have in mind people who take the common and write it poorly. What they're looking for is a unique story, whether the opening be entirely original or one of the items mentioned above. With common openings, the bar is usually set a little higher because there's just so many in their mountain of paperwork. Anything that's unique and specific to your story pushes you higher up that mountain, whether it be style, voice, character, action, or setting (and good writing puts you even higher). 

Many writers don't make their openings _personal_. Agents don't want to be told another detective story. They want to be told  Detective Sebastian Pryce's story as written by Sintalion. 

When I'm editing opening chapters, one of the questions I ask myself is this: If I removed chapter one and attached it to a new book would anyone notice? ["Hey! That belongs to The Frog Prince by Richard Apple Schmear!"] or is it so generic that it could pose as any [fairy tale] opening? 

So sure, go right ahead and use all the mundane, common, cliched openings you want- but make them "novel." Agents will forgive a morning, death, and almost everything above if it's interesting.


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## Gumby (Oct 18, 2013)

Thank you Kyle, I found that to be very informative. Some of it I knew already but some of it surprised me. And yes, I found myself cringing in guilt a bit, too.


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## The Tourist (Oct 18, 2013)

I answered a post David started and explained that a book is many things--least often a book.  It applies here, as well.  

I don't get up in the morning aiming to please anyone.  I seek to please myself with a full day's work and admirable conduct based on values I feel are important to me and me alone.

Yikes, if I could write with that kind of purity...


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## shadowwalker (Oct 18, 2013)

KyleColorado said:


> I think it's important to recognize that, while some agents may say they dislike certain things, that alone shouldn't discourage one from writing them.



This should be emphasized. And re-emphasized. If you're submitting to an agent you know doesn't like something you included, either change your mind or your story or acknowledge the lowered odds of acceptance, whichever you feel most comfortable with.


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## Arrow (Oct 18, 2013)

Ah!  It's too early to make me think this much, I haven't even made my coffee yet!!

Thank you for posting this, Im not even done with my story, and already I can see this list being helpful during editing.   I already have a couple of notes scribbled down about a couple of scenes.


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## Gamer_2k4 (Oct 18, 2013)

Well, I'm feeling a lot better about my opening chapter now.


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## D. E. Forester (Oct 18, 2013)

The Tourist said:


> My lead dies in Chapter One.  Period.



These agents referenced probably would have hated Watchmen, which is one of the most brilliant examples of a main character dying at the beginning. Comedian is not the most important man in the Watchmen universe, yet he's the most important man in the _story_. His death is what sets off the whole plot, and we see plenty more of him after his death through character flashbacks to the various ways he influenced their lives for better and for worse (but mostly for worse; Comedian's kind of a jerk /massiveunderstatement).

Actually, I don't think these particular people would have liked ANYTHING Alan Moore wrote, to be honest. He breaks a lot of their rules at some point, and to stellar effect.


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## Gargh (Oct 18, 2013)

I've heard the opinions cited about prologues before and worried about them, debated it and ended up back where I originally was; with a prologue _and _an epilogue. However, the process helped me really think about whether or not I needed them and whether or not I was just using them as a lazy device. Could my story work better without them? Like I said, I decided _not _in the end but my story, and the narrative structure, became tighter and more robust for having considered the construct as a weakness. 

I think that is the context in which you have to consider these opinions. These are all experienced people who think certain things weaken the way a story is told. That's not to say that they will never work, just that more often than not they are obstructive rather than integral to the story.


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## David Gordon Burke (Oct 18, 2013)

shadowwalker said:


> This should be emphasized. And re-emphasized. If you're submitting to an agent you know doesn't like something you included, either change your mind or your story or acknowledge the lowered odds of acceptance, whichever you feel most comfortable with.



I couldn't agree more with your statement.  However, there are a few other options aside from changing your mind, your story or acknowledging your lowered odds.  You could take Sintalion's advice and make the Mundane into something scintallating.  Without a doubt, if you can win over an agent with the stuff they DON'T like, you have hit a home run.  

You could also acknowledge that "ONE" agent's likes and dislikes are about as important as "ONE" grain of sand in the Sahara.  There are lots of agents.

You could skip the whole "agent" issue completely and publish your own work.  

Make yourself happy.  Equate agents with 12 year old girls and writing books to writing songs.
Are you going to write a pop song or are you going to play Jazz?  Blues?  Prog Rock?  (anything but another forgettable pop song baby baby whoo whoo) 

The criteria of what Agents HATE is a valuable tool but it doesn't mean that conforming to it or rejecting it will guarantee quality or sales.
From what I have heard "50 Shades of Grey" breaks about every rule / suggestion on the list.  Go figure.  

David Gordon Burke
PS.  My book Lobo breaks a bunch of the rules.  I don't plan to change it more than I would in normal edit / rewrite.  Luckily, although it opens with description of setting, it's just a paragraph.  There's some weather in there but just a line.  There's a little backstory but just a smidge.  Is it balanced?  Does it work?  Time will tell.  I wonder - Is it better to fall flat on your face and fail miserably as compared to humming and hawing over what other people like and don't like and then getting into the habit of second guessing yourself at every turn based on some arbitrary list of do's and don'ts?  And possibly never getting the story told....

D


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## David Gordon Burke (Oct 18, 2013)

Gargh said:


> I've heard the opinions cited about prologues before and worried about them, debated it and ended up back where I originally was; with a prologue _and _an epilogue.
> Could my story work better without them? Like I said, I decided _not _in the end but my story, and the narrative structure, became tighter and more robust for having considered the construct as a weakness.



I had to think about this a bit.  You ended up back where you started "with" Prologue and Epilogue ... then later you cut them?  Am I getting that?
Using Classic literature as an example - Prologues have been around a long time.  Using Modern Commercial pulp fiction from the paperback mills they still exist and a lot of $100,000,000 authors use them.  

My novel has one which I posted on site previously.  I feel it serves a purpose so I'll leave it.  I won't write another one unless it is needed.  
Epilogue is only the epilogue if you call it epilogue.  You could call all of Sam, Frodo, Merry and Pippin's adventure upon returning to the shire the "Epilogue" of Return of the King.  (the book that is.... the stuff they left out of the movie) Tolkien just called it the end of the book.  

So between the two, Prologue is the greater sin (for lazy readers and trendy agents) while Epilogue is the greater indulgence.  IMHO.  

David Gordon Burke


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## Gamer_2k4 (Oct 18, 2013)

David Gordon Burke said:


> Epilogue is only the epilogue if you call it epilogue.  You could call all of Sam, Frodo, Merry and Pippin's adventure upon returning to the shire the "Epilogue" of Return of the King.



And had it not been half the book, I'm sure it would've been classified as such.  An epilogue is removed from the plot; it's designed to give some insight into how things are now that the real story is concluded.  For that reason, it should be separate from the main story.

To me, epilogues are far more forgivable than prologues.  When a reader opens a book, they want the story.  They want a reason to read, and prologues often obstruct that.  Conversely, when the reader hits "THE END", you've already brought them along for the entire story, and now they want more.  The epilogue is our service to the reader, providing them additional closure beyond what the story itself could provide.


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## Motley (Oct 18, 2013)

I'd sum it all up into: Get to your story, let us sink into it, stop wasting time with stuff we don't need to know and do what the story needs you to do.

I admit I write with publication in mind. I want to be marketable because I need money to live and I'd rather write than do all the other boring things I could do to make money. Taking what particular agents or publishers or even writers do as some kind of 'rule' makes just as much sense as brutalizing your manuscript with a red felt-tip every time you spot an adverb.


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## shadowwalker (Oct 18, 2013)

For me, there's no sin in having a prologue and thus nothing to 'forgive'. I've read good ones, I've read bad ones, and I've read everything in between. If a particular agent doesn't like prologues per se, there's probably other things that would also make me wonder if they're worth submitting to. I'd prefer someone who judges my writing on its own merits, not on preconceived notions.


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## ViKtoricus (Oct 18, 2013)

*In a Christian novel

“A rape scene in a Christian novel in the first chapter.”
- Chip MacGregor, MacGregor Literary



This made me laugh hard.*


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## David Gordon Burke (Oct 18, 2013)

shadowwalker said:


> I'd prefer someone who judges my writing on its own merits, not on preconceived notions.



There no more truth to be added to that statement.  Bravo.
That someone hopefully will be either the AGENT or the READER.  I refuse to dumb down or change the natural shape of my story to please anyone who struggles to get through an Archie comic.  

David Gordon Burke


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## Gamer_2k4 (Oct 18, 2013)

shadowwalker said:


> I'd prefer someone who judges my writing on its own merits, not on preconceived notions.



People judge based on these "preconceived notions" because they tend to be a pretty good indicator of a work's merits.


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## The Tourist (Oct 18, 2013)

Gamer_2k4 said:


> People judge based on these "preconceived notions" because they tend to be a pretty good indicator of a work's merits.



Agreed.  But I also find that lately we try to pigeon-hole people to death.  You're either a conservative or a commie, a gun lover or a social apologist, and this permeates down to us--people I'd like to believe are artisans and craftsmen, but sadly less as time grinds on.

I can read a book outside my comfort zone, I'd just like it to be well written and cleverly constructed.  

But you cannot blame someone, even a trained publisher, for the fatigue of burn-out.  Right now someone in this forum is writing the best zombie apocalypse novel ever conceived.  I doubt I would even open the thread.


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## movieman (Oct 18, 2013)

The Tourist said:


> I had to kill my lead in Chapter One.  He had to go where the story was.  The plot was on the train, not at the station.



The literary world is full of novels where the main character in Chapter One is dead by the end of it. That seems particularly true in mystery and horror.

I think the problem is when it's done badly, and goes against reader expectations. If I open a horror novel and, in paragraph two, the jogger hears the man-eating killer gerbils rustling in the bushes, I pretty much know they're going to die by the end of the chapter. But I remember a fantasy novel I critiqued once where I spent the whole of the first chapter being introduced to a doctor who I expected to be the main character in the novel... but was eaten by a demon at the end of the chapter. I hated that.


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## movieman (Oct 18, 2013)

The Tourist said:


> Right now someone in this forum is writing the best zombie apocalypse novel ever conceived.  I doubt I would even open the thread.



It's true. Right now I'm about half-way through the novelization of my _Lesbian Nazi Zombie Apocalyps_e B-movie script (written for Script Frenzy some years ago as a dare). It will be the best zombie novel ever.


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## Gamer_2k4 (Oct 18, 2013)

movieman said:


> I remember a fantasy novel I critiqued once where I spent the whole of the first chapter being introduced to a doctor who I expected to be the main character in the novel... but was eaten by a demon at the end of the chapter. I hated that.



I have a rule when writing: If a character isn't going to last more than a chapter, he doesn't get a name.  While this might be due to the person dying, they might just never show up again for plot reasons.  This way the reader knows, even subconsciously, that they can ignore or care for a character.

Is it shocking if a character dies unexpectedly? Does it provoke emotion? Sure, but more often than not, that emotion will be resentment.  Why chance it?


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## movieman (Oct 18, 2013)

Gamer_2k4 said:


> I have a rule when writing: If a character isn't going to last more than a chapter, he doesn't get a name.



That's a good idea, particularly for bit parts, though I'm not sure how easily a reader could get through an entire chapter with a main character who doesn't have a name.


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## David Gordon Burke (Oct 18, 2013)

Gamer_2k4 said:


> People judge based on these "preconceived notions" because they tend to be a pretty good indicator of a work's merits.



Although 9 out of 10 times I would have to agree with you, that attitude happens to be one of the greatest problems with the human race in general.  If you were to substitute "Person's" for the word "work's" in your statement you have the definition of prejudice.  Why would it be acceptable in one case and not another?

I realize that you are not promoting the idea, just reporting the sad state of things.  It is what it is.  

Here is where my sympathies go out to the younger generation - (they rarely do but.....) before a cliche became a cliche it was just a natural way to start a story or a typical element of a story.  Then it got over used.  In my 50 years I have read tons and tons of books.  I begin to see what has been overdone.  How is a young writer suppossed to have the same 'story element database' as a person three times his age?  And again, so what if the bloody story starts out with a short description of the weather or whatever tired cliche element is the pet peeve of an agent.  It could possibly be a major work, a brilliant piece of literature.  I don't write with the jaded agent in mind.  

In the list of best books I have ever read, not one of them didn't take a little work to get into.  The best writers don't spoon-feed their readers - at times you have to work for it.  Heck, with some of them you have to work and work and work all the way through.  What a double standard - some pretentious, tired, failed hack of a writer takes a job as an agent.... by day he/she looks for the next "fly off the shelves Da Vinci Code" type novel and by night he/she lounges with ex-university English Lit. graduate pals and spouts the merits of James Joyce and Hemingway over cocktails.  

That sounds like the beginning of a Tom Wolfe novel along the lines of The Bonefire of the Vanities.  I like it.  And at the end the agent does a double gainer off the 60th floor rooftop of his Manhatten Publishing house when his own work is rejected.  

David Gordon Burke


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## The Tourist (Oct 18, 2013)

Gamer_2k4 said:


> Is it shocking if a character dies unexpectedly? Does it provoke emotion? Sure, but more often than not, that emotion will be resentment.  Why chance it?



The best reason is that creative writing should be creative.

For example, in the movie "The War of the Roses," director Danny DeVito was under incredible studio pressure to change the ending.

If "Romeo and Juliet" were to written now, a YA focus group would reject the ending, and now have a representative from ObamaCare text the EMTs who would bring pressure bandages and a poison antidote.  I mean, they'd sell more popcorn that way...


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## shadowwalker (Oct 18, 2013)

Gamer_2k4 said:


> People judge based on these "preconceived notions" because they tend to be a pretty good indicator of a work's merits.



I would challenge that on the basis of all the classic and/or bestselling novels that have prologues. Pity the agents who rejected those simply because they had a prologue. Pity more the writer who bastardizes his/her work because of such an agent.


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## The Tourist (Oct 18, 2013)

I have a prologue and I have names for my chapters.  Cutesy names, inside puns.  I was told by a big fish mod in a very small pond forum not to do such things.  Heck, if I didn't listen to my mom or my parole officer why should I listen to him?


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## Gamer_2k4 (Oct 18, 2013)

shadowwalker said:


> I would challenge that on the basis of all the classic and/or bestselling novels that have prologues. Pity the agents who rejected those simply because they had a prologue. Pity more the writer who bastardizes his/her work because of such an agent.



I think it's fair to assume that for every novel with a prologue that's published, dozens or hundreds more (at least) were rejected on account of their prologues.

I'm sure there are NFL players that didn't play football in college, but it's hardly good advice to say that such a background doesn't matter.


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## The Tourist (Oct 18, 2013)

I actually think that millions are rejected for a myriad of reasons.  Trust me, if Tom Clancy wrote a rambling prologue and epilogue that stunk to high heaven no one would have done a thing.

Selling trumps smelling.


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## Tiamat (Oct 19, 2013)

Oh goodie!  An excuse to whine about being rejected, but to use my on-going failure to argue a point.  I'm in the process of submitting a YA fantasy novel.  It doesn't open with a battle scene or any pastoral herb gathering, but it does have a prologue.  I thought about making the prologue just "chapter one" instead, but it's not.  Darn it, it's a prologue!  

Now, hang on for a moment while I go do a quick rejection count and cut myself a few times (kidding!) . . . Eighteen.  Eighteen agents have said "thanks but no thanks."  About half of them rejected my query only.  None of that "please include the first five pages" or anything.  Just sorry-your-query-sucked responses.  The other half requested writing samples of some form--and most of them sent me form rejections after that.  For the three personal rejections I received, not one of them said, "Sorry, but your prologue is a deal-breaker for me.  Tough luck."

In fact, all three of them _complimented_ the writing, but rejected on the basis that the story just didn't excite them enough.  And that brings me to my point:  Start with a damn good story.  If you've got that, things like prologues, adjectives, and protagonists dying become just a tad inconsequential.  If the story is there, the rest can be fixed.  If it isn't . . . well, a Mustang is a sexy car, but without that V8 under the hood, you just aren't going anywhere.


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## The Tourist (Oct 19, 2013)

Rejections (in all of life) are the norm.  It's success that's the surprise.

Look at how things go just navigating through a regular day.  The gym might be full.  The girl you want to ask out says "no."  You don't get the job, in fact, you don't even get a second interview.  It rains.  The car you want to buy doesn't come in the same color as your eyes...

So, gird your loins.  Keep writing.  Play a little turn-about in your life as a drill.  After all, if you had a publishing house, would you pay real money to buy most of the stories printed here?


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## Jeko (Oct 21, 2013)

> *In a Christian novel
> 
> “A rape scene in a Christian novel in the first chapter.”
> - Chip MacGregor, MacGregor Literary*



I laughed so hard when I read this.



> That being, are you writing because it's your passion, or are you writing to impression some power broker?



That's easy; you're writing because you want to tell a story. You're editing it because you want to sell it to someone and have people read it, knowing there's little hope of reaching the readership you desire unless you make a few sacrifices.

Sometimes more than a few. 


Reading the list, I feel happy about my opening chapter. But I felt happy about it before as well, since I'm in the drafting stage ATM. When drafting, I'm happy about anything as long as it's telling the story I want to tell.


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