This is not how I imagined starting the video.
This is not how I imagined starting the video.

I've re-written this opener somewhere in the ballpark of fifteen million times, and, ultimately,
I've re-written this opener somewhere in the ballpark of fifteen million times, and, ultimately,

what you're getting here is... a white flag.
what you're getting here is... a white flag.

And you know what?
And you know what?

That's okay.
That's okay.

Because the honest truth is that opening lines are really hard to write.
Because the honest truth is that opening lines are really hard to write.

Among the hardest things you'll ever write, probably.
Among the hardest things you'll ever write, probably.

They are loaded.
They are loaded.

They can make or break a story.
They can make or break a story.

They're responsible for encapsulating and representing the whole thing, carrying the
They're responsible for encapsulating and representing the whole thing, carrying the

full emotional force of the piece.
full emotional force of the piece.

...right?
...right?

Well, the good news is that it might not actually be quite that intense.
Well, the good news is that it might not actually be quite that intense.

We might just be programmed to expect it.
We might just be programmed to expect it.

The more you think about this, the less terrifying it becomes.
The more you think about this, the less terrifying it becomes.

But I'm getting ahead of myself.
But I'm getting ahead of myself.

Let's start... at the beginning.
Let's start... at the beginning.

A special thanks to Campfire writing software for making this video possible!
A special thanks to Campfire writing software for making this video possible!

And now, with campfire blaze, you can get your entire world-building arsenal right here,
And now, with campfire blaze, you can get your entire world-building arsenal right here,

online!
online!

More on that... later.
More on that... later.

Welcome back to Tale Tips, where I use my vast robot intellect to answer the questions
Welcome back to Tale Tips, where I use my vast robot intellect to answer the questions

you have about writing, storytelling, and fiction!...
you have about writing, storytelling, and fiction!...

Provided I can find a good way to start.
Provided I can find a good way to start.

This month's question comes from our lovely patron Unnatural Green of Copper, who says:
This month's question comes from our lovely patron Unnatural Green of Copper, who says:

"I'm having a lot of trouble with writing first lines.
"I'm having a lot of trouble with writing first lines.

Most of it stems from the conflicting advice of 'having a strong introduction' and 'just
Most of it stems from the conflicting advice of 'having a strong introduction' and 'just

write something'.
write something'.

Do you have any advice for overcoming this block I've built?"
Do you have any advice for overcoming this block I've built?"

Well Green, you're in luck, because, as it happens, I do!
Well Green, you're in luck, because, as it happens, I do!

I've thought about this a lot and I'm really excited for the opportunity to share what
I've thought about this a lot and I'm really excited for the opportunity to share what

I've come up with.
I've come up with.

Thanks for the wonderful question, and for the support!
Thanks for the wonderful question, and for the support!

Before we get into it, I want you to know that you are not alone.
Before we get into it, I want you to know that you are not alone.

Plenty of writers get stuck on the opening line.
Plenty of writers get stuck on the opening line.

I shudder to imagine how many amazing stories were never written for this very reason.
I shudder to imagine how many amazing stories were never written for this very reason.

But as with most creative blocks, you probably aren't going to surmount this one with sheer
But as with most creative blocks, you probably aren't going to surmount this one with sheer

force of will.
force of will.

When it comes to blocks, it's really important to understand the obstruction; the source
When it comes to blocks, it's really important to understand the obstruction; the source

of the problem.
of the problem.

Once you deal with that, you'll most likely find yourself back in the flow of things.
Once you deal with that, you'll most likely find yourself back in the flow of things.

For this particular block, there are three main culprits I can think of.
For this particular block, there are three main culprits I can think of.

First, and probably the most wide-spread: you may not actually be as familiar with your
First, and probably the most wide-spread: you may not actually be as familiar with your

idea as you think.
idea as you think.

It sounds a little counter-intuitive, but sometimes you need to create something before
It sounds a little counter-intuitive, but sometimes you need to create something before

you understand it.
you understand it.

It is exceedingly rare for an artist of any kind to conceive a work in completion, no
It is exceedingly rare for an artist of any kind to conceive a work in completion, no

matter how hard they try.
matter how hard they try.

Translating creative thought to reality is not an exact science, so the artist is bound
Translating creative thought to reality is not an exact science, so the artist is bound

to encounter features of the product during the process that they had never intended or
to encounter features of the product during the process that they had never intended or

expected, which in turn changes their initial concept.
expected, which in turn changes their initial concept.

By trying to define the thing in the first creative motion-if they even manage to do
By trying to define the thing in the first creative motion-if they even manage to do

so-the artist is making some major presumptions about what it will look like by the end.
so-the artist is making some major presumptions about what it will look like by the end.

It's a bit like trying to give a eulogy for somebody you just met.
It's a bit like trying to give a eulogy for somebody you just met.

You want to represent them well, but... all you really have are impressions.
You want to represent them well, but... all you really have are impressions.

It's not enough to do them justice.
It's not enough to do them justice.

Give your story the same courtesy.
Give your story the same courtesy.

Get to know it.
Get to know it.

Write.
Write.

Let it be bad, let it be ineffective-that's what rough drafts are for.
Let it be bad, let it be ineffective-that's what rough drafts are for.

Then, when you know your story a little better, go back and give it a proper introduction.
Then, when you know your story a little better, go back and give it a proper introduction.

You might be surprised how often the first few words actually show up for the first time
You might be surprised how often the first few words actually show up for the first time

somewhere in the middle of the story.
somewhere in the middle of the story.

Of course, if you've already done this and you're still digging frantically for that
Of course, if you've already done this and you're still digging frantically for that

perfect opening line, writing and re-writing it ad-nauseum...
perfect opening line, writing and re-writing it ad-nauseum...

You may just be overestimating the importance of the opening line.
You may just be overestimating the importance of the opening line.

Which is the second possible source of block I've found here, and also very common.
Which is the second possible source of block I've found here, and also very common.

Yes, being the first thing the audience experiences gives it some power.
Yes, being the first thing the audience experiences gives it some power.

It's a great place to make an impact or an impression... but your first line isn't a
It's a great place to make an impact or an impression... but your first line isn't a

sales pitch.
sales pitch.

Chances are, if the audience is reading the first line, most of the work of convincing
Chances are, if the audience is reading the first line, most of the work of convincing

them to try the story out was already done by its packaging-the title, cover, blurb-or
them to try the story out was already done by its packaging-the title, cover, blurb-or

by its reputation.
by its reputation.

Take Neil Gaiman's American Gods, for example.
Take Neil Gaiman's American Gods, for example.

A book about modern deities doing battle with old, worn-out, nigh-forgotten ones, rich with
A book about modern deities doing battle with old, worn-out, nigh-forgotten ones, rich with

social commentary and symbolism... and the opening line is "Shadow had done three years
social commentary and symbolism... and the opening line is "Shadow had done three years

in prison."
in prison."

Doesn't give you much, but it does give you a reason to read the next line.
Doesn't give you much, but it does give you a reason to read the next line.

And like most lines in your story, sometimes that's all you need.
And like most lines in your story, sometimes that's all you need.

In fact, forcing it because you think you have to may actually just make you look pretentious
In fact, forcing it because you think you have to may actually just make you look pretentious

or flamboyant, which could actually have the opposite effect, driving your potential audience
or flamboyant, which could actually have the opposite effect, driving your potential audience

away.
away.

The most important thing is that they read the next line.
The most important thing is that they read the next line.

Get them to do that, and then do it again, and again, until they hit the last line...
Get them to do that, and then do it again, and again, until they hit the last line...

which is where you can finally stop.
which is where you can finally stop.

How... do you get them to read the next line, though?
How... do you get them to read the next line, though?

Well, that question actually takes us to our third and final reason for first-line block:
Well, that question actually takes us to our third and final reason for first-line block:

you might just not know how to make it compelling.
you might just not know how to make it compelling.

And that... is a big topic.
And that... is a big topic.

We'll probably have to save most of it for another video.
We'll probably have to save most of it for another video.

But the short answer is that if you want someone to read the next line, you probably have to
But the short answer is that if you want someone to read the next line, you probably have to

make them curious about it.
make them curious about it.

Get them to ask a question, and they'll read on to find the answer.
Get them to ask a question, and they'll read on to find the answer.

Some easy ways to do this: Use narrative-active language, where things
Some easy ways to do this: Use narrative-active language, where things

are happening.
are happening.

The audience will wonder "what's happening?" or "what will happen next?"
The audience will wonder "what's happening?" or "what will happen next?"

Stephen King does this at the beginning of his book The Stand, which opens with almost
Stephen King does this at the beginning of his book The Stand, which opens with almost

nothing but dialogue as a man wakes his wife up during a disaster.
nothing but dialogue as a man wakes his wife up during a disaster.

You can also use argumentation-logical threads, explicit questions, and reasoning-to make
You can also use argumentation-logical threads, explicit questions, and reasoning-to make

the audience ask "where is this going?" or "what are they getting at?"
the audience ask "where is this going?" or "what are they getting at?"

They'll stick around to see the conclusion as all the lines of rationale tie together.
They'll stick around to see the conclusion as all the lines of rationale tie together.

My favorite example of this is, by far, is the beginning of Jane Austen's Pride and Prejudice:
My favorite example of this is, by far, is the beginning of Jane Austen's Pride and Prejudice:

"It is a truth universally acknowledged, that a single man in possession of a good fortune,
"It is a truth universally acknowledged, that a single man in possession of a good fortune,

must be in want of a wife."
must be in want of a wife."

You can use description to compel your audience, although it's a little harder to generate
You can use description to compel your audience, although it's a little harder to generate

questions that way.
questions that way.

As immersive as sensory details can be, they can also just make an interesting portrait
As immersive as sensory details can be, they can also just make an interesting portrait

without posing any implicit or explicit question at all.
without posing any implicit or explicit question at all.

But entice the audience with the promise of an interesting experience, and they'll chase
But entice the audience with the promise of an interesting experience, and they'll chase

that immersion, wondering "what is it going to be like to see things happening in this
that immersion, wondering "what is it going to be like to see things happening in this

setting?" or "what is the rest of this world look like?"
setting?" or "what is the rest of this world look like?"

William Gibson does this with the famous opening line of his book Neuromancer: "The sky above
William Gibson does this with the famous opening line of his book Neuromancer: "The sky above

the port was the color of television tuned to a dead channel."
the port was the color of television tuned to a dead channel."

Surprisingly, yes, you can even use exposition this way... in rare cases.
Surprisingly, yes, you can even use exposition this way... in rare cases.

Often, information is just information.
Often, information is just information.

The audience will accept it without a question and move on.
The audience will accept it without a question and move on.

But if the information you share should logically lead somewhere and it doesn't, or if there
But if the information you share should logically lead somewhere and it doesn't, or if there

are implicit questions... then you might just have the audience.
are implicit questions... then you might just have the audience.

The book Howl's Moving Castle by Diana Wynne Jones does this beautifully with the opening
The book Howl's Moving Castle by Diana Wynne Jones does this beautifully with the opening

line: "In land of Ingary, where such things as seven-league boots and cloaks of invisibility
line: "In land of Ingary, where such things as seven-league boots and cloaks of invisibility

really exist, it is quite a misfortune to be born the eldest of three."
really exist, it is quite a misfortune to be born the eldest of three."

This isn't an argument about the true nature of the world, this is exposition about the
This isn't an argument about the true nature of the world, this is exposition about the

nature of this fictional world-and it makes us wonder where the story is going.
nature of this fictional world-and it makes us wonder where the story is going.

Why is it unfortunate to be the eldest of three in such a world?
Why is it unfortunate to be the eldest of three in such a world?

So there you have it, Green.
So there you have it, Green.

Get deeply familiar with your story by writing it, understand that the appeal of your product
Get deeply familiar with your story by writing it, understand that the appeal of your product

doesn't weigh entirely on your first line, put a lot of energy into learning how to make
doesn't weigh entirely on your first line, put a lot of energy into learning how to make

a compelling sentence... and this should be no problem.
a compelling sentence... and this should be no problem.

Hopefully you'll come away from this video just a touch more confident...
Hopefully you'll come away from this video just a touch more confident...

But if not, there is a way to get even closer to your story.
But if not, there is a way to get even closer to your story.

Something that'll help you visualize and coordinate it in a way you may have never thought possible.
Something that'll help you visualize and coordinate it in a way you may have never thought possible.

I'm talking, of course, about Campfire Blaze.
I'm talking, of course, about Campfire Blaze.

Campfire Blaze is a browser-based suite of tools to help you keep your writing organized.
Campfire Blaze is a browser-based suite of tools to help you keep your writing organized.

Collaborate with friends in real-time or work by yourself to flesh out every facet of your
Collaborate with friends in real-time or work by yourself to flesh out every facet of your

story.
story.

Develop your manuscript in Blaze's word processor, create characters, design your plot, and worldbuild
Develop your manuscript in Blaze's word processor, create characters, design your plot, and worldbuild

without restrictions.
without restrictions.

When you're done, share your story with your friends and fans easily.
When you're done, share your story with your friends and fans easily.

Expand Blaze's free version by purchasing the tools you need, and then keep those tools
Expand Blaze's free version by purchasing the tools you need, and then keep those tools

forever.
forever.

Alternatively, build your own subscription so you're only paying for the features you
Alternatively, build your own subscription so you're only paying for the features you

need.
need.

Add features for as little as fifty cents, or unlock everything for a few dollars per
Add features for as little as fifty cents, or unlock everything for a few dollars per

month.
month.

And if you're on the fence, no risk-there's a 30-day return policy.
And if you're on the fence, no risk-there's a 30-day return policy.

It is an incredible answer for any writer frustrated with how difficult it is to keep
It is an incredible answer for any writer frustrated with how difficult it is to keep

track of everything they've come up with.
track of everything they've come up with.

Upgrade to Campfire Blaze, and find a place where you can visually organize the most complex
Upgrade to Campfire Blaze, and find a place where you can visually organize the most complex

things you can dream up.
things you can dream up.

Follow the link in the description to learn more.
Follow the link in the description to learn more.

Write better stories faster with Campfire Blaze.
Write better stories faster with Campfire Blaze.

And finally, before we wrap up, I'd like to give a quick thanks to all the helpful humans
And finally, before we wrap up, I'd like to give a quick thanks to all the helpful humans

who support the show on Patreon.
who support the show on Patreon.

All those words you see scrolling in the background of these videos?
All those words you see scrolling in the background of these videos?

Those are actually the names of our Patreon maintenance crew, without whom this show would
Those are actually the names of our Patreon maintenance crew, without whom this show would

be impossible.
be impossible.

And a special word to all of our top patrons: Excelsius, Lord_Gatte, RPGgrenade, Puzzling
And a special word to all of our top patrons: Excelsius, Lord_Gatte, RPGgrenade, Puzzling

Shutterbug, and TheAutumnWriter - thank you so much!
Shutterbug, and TheAutumnWriter - thank you so much!

We release a new Tale Tips video every month, so be sure to subscribe to the channel, like
We release a new Tale Tips video every month, so be sure to subscribe to the channel, like

this video, and leave a question of your own in the comments below!
this video, and leave a question of your own in the comments below!

Who knows?
Who knows?

Maybe I'll even end up answering it!
Maybe I'll even end up answering it!

Until then, thanks for watching, and keep making stuff up!
Until then, thanks for watching, and keep making stuff up!

I'll see you...
I'll see you...

next time!
next time!

Bye!
Bye!