At long last (the delay: I had to make my way back to my office shelves and all of their wonderful books, old and new), here are some of my favorite first lines from PB, MG and YA books. Some of these you’ve heard me read live. Others are recent releases or old favorites. Without any further ado, here’s an analysis of first lines from published works and why they pull the reader in so well.
On the outside Bernadette was mostly monsterly.
This super cute beginning to MOSTLY MONSTERLY by Tammi Sauer, illo. Scott Magoon (Paula Wiseman Books, 2010) sets up the expectation that Bernadette (a monster) doesn’t quite fit in. There’s the old internal conflict established: I don’t match people’s expectations for me.
Little Mabel blew a bubble, and it caused a lot of trouble.
So begins BUBBLE TROUBLE by Margaret Mahy, illo. Polly Dunbar (Clarion Books, 2008). And, no, you don’t have to work the book’s title into your first line, though both of these examples have. This is a very simple statement of conflict that, in picture books, at least, works very, very well to launch us into the story.
On her birthday, Eva was given a very special present.
This is from MAGIC BOX by Katie Cleminson (Hyperion, 2009). It’s a whimsical PB tale and the first line isn’t a statement of conflict as much as it is a call to adventure (see my choice from FROM THE MIXED UP FILES… below for a MG example). The question raised here, of course, is: What was in the box?
Once upon a time, fairy tales were awesome.
From A TALE DARK AND GRIMM by Adam Gidwitz (Dutton, 2010). This is a book of twisted fairy tales where the author basically runs amok with the story of Hansel and Gretel. The whole thesis of the book is expressed in the opening line: “They were awesome, sure, but then they got lame, so here’s a truly awesome retelling.” It also plays with the familiar “once upon a time” and introduces the voice (“awesome” is a certain term spoken by a certain type of person…me, for example).
I was raised in a gaunt house with a garden; my earliest recollections are of floating lights in the apple-trees.
Since you were probably expecting me to quote from the M.T. Anderson canon with FEED (the first line of which most of us children’s publishing professionals have memorized), I decided to change it up a bit with THE ASTONISHING LIFE OF OCTAVIAN NOTHING, TRAITOR TO THE NATION, VOLUME 1 (Candlewick, 2006). There’s some lovely writing here, and a ghostly image of lights in the trees that recurs. We can also sense, right away, Octavian’s loneliness. The house is “gaunt,” which doesn’t seem very nourishing to a child, and his first memories aren’t people, they’re faraway twinkles in the treetops. A haunting first line.
Claudia knew that she could never pull off the old-fashioned kind of running away.
This is from the old favorite, FROM THE MIXED-UP FILES OF MRS. BASIL E. FRANKWEILER by E.L. Konigsburg (Aladdin, 1967). It plunges us into a) action and b) the narrator’s matter-of fact voice right away. We know that Claudia is running away, but also that she’s craving an adventure that’s much more epic than just, say, what I used to do when I mock ran away as a kid (went down the street to Kepler’s bookstore). Lots of action and momentum here. (And boy does Claudia ever pull off her goal of adventure!)
There is no lake at Camp Green Lake.
Louis Sachar and his Newbery-winning HOLES (Random House, 1998) hit us with trademark humor right away. No matter what happens from here, we know that we’re in for a zany ride. But rather than just being funny, this first line introduces us to the kind of contrarian narrator who would point out such a delicious detail, too.
Ms. McMartin was definitely dead.
This is from THE BOOKS OF ELSEWHERE by Jacqueline West (Dial, 2010) and it plunges us into action right away, too. Who is this woman? How did she die? Did the characters have anything to do with it? It doesn’t really hint at the fantasy nature of the novel and doesn’t really pass the vague test, but I like this book and it starts with a bang!
In these dungeons the darkness was complete, but Katsa had a map in her mind.
This is, of course, from GRACELING by Kristin Cashore (Harcourt, 2008). What is Katsa doing in prison? What did she do to get there? Better yet, it seems like she has a plan to get out. And how come she knows the dungeon layout so well? This plunges us into action and raises stakes immediately. Pay attention to all the questions each of these lines has been raising. They’re intense and urgent.
They took me in my nightgown.
This is from the beautiful BETWEEN SHADES OF GRAY by Ruta Sepetys (Philomel, 2011), about a girl deported with her family to Siberia during WWII. Not only does it give us action, but it also conveys a crucial mood for the events: helplessness. By emphasizing that it was night, that she was in her nightgown and vulnerable, we really lock in on an emotional connection right away.
The first thing you find out when yer dog learns to talk is that dogs don’t got nothing much to say.
Ha! I love this first line from THE KNIFE OF NEVER LETTING GO by Patrick Ness (Candlewick, 2008). And Manchee (the dog) is one of my favorite characters in anything I’ve read in the past ten years. This line introduces the core relationship of the story, the dialect, and the odd fact that, in this world, at least, dogs talk (in terms of world-building, this lets us know there’s a fantasy element). The humor can’t be beat, either.
There you have some of my favorite first lines, grabbed at random from my shelves. Enjoy and discuss! Tell me some of your published favorites in the comments.