The two takeaways at the end of this post are such great advice. Ultimately the reader either cares about your protagonist or they won't from the very first chapter and it's always a toss-up. But if the writer just thinks it over, often they will be moving more towards better odds that the reader will care (even a little). There are different ways to figure it out. Some writers think about it, get the right answer and they're off to the races. Seat of the pants writers might ask the question in their heads and nothing pops up. Later on the way to the post office sacre bleu, something pops up. But what is it? Your brain is trying to help you. Look it over. It may be a tiny detail. It may be a fragment of an opening scene or some sort of something. The way it captured you on the way to the post office might be how it captures the reader in the first two paragraphs of your book. So thank you. I think these two takeaways are golden.
The two takeaways at the end of this post are such great advice. Ultimately the reader either cares about your protagonist or they won't from the very first chapter and it's always a toss-up. But if the writer just thinks it over, often they will be moving more towards better odds that the reader will care (even a little). There are different ways to figure it out. Some writers think about it, get the right answer and they're off to the races. Seat of the pants writers might ask the question in their heads and nothing pops up. Later on the way to the post office sacre bleu, something pops up. But what is it? Your brain is trying to help you. Look it over. It may be a tiny detail. It may be a fragment of an opening scene or some sort of something. The way it captured you on the way to the post office might be how it captures the reader in the first two paragraphs of your book. So thank you. I think these two takeaways are golden.