Swooning with Austen's Heroes...Part 2

Last time I introduced the 6 Austen-hero-types, but only expounded on the first two. As a refresher, here are the 6 categories:

The Reluctant Hero

The Subtle Servant

The Good Guy

The Best Friend

The Reformed Rogue

The Anti-Hero

Though the last two hero types seem to cause greater swoon-power, I am equally impressed (and enamored) by the next two Austen heroes.

The Good Guy

This hero is good for goodness sake. The heroine meets him within the first chapter or two, and there is an immediate kinship because this hero has the ability to create instant camaraderie. He doesn’t brood, is honest, hopeful, encouraging, and usually has a fantastic sense of humor. Though – I’d have to say most of Austen’s heroes have solid senses of humor, this one may have of the best.

Henry Tilney

Austen describes our first glance at Henry as this: "rather tall, had a pleasing countenance, a very intelligent and lively eye, and, if not quite handsome, was very near it."

Henry Tilney, a second born son and one of the few ‘good’ clergyman in Austen’s novels, stands in contrast to many of her other heroes. He’s open, friendly, honest, has a fine income, quick wit, and teases the conventions of society. Much like Henry Higgins in My Fair Lady, he takes the poor, inexperienced heroine, Catherine, under his wing to guide her in ‘polite’ society – most of the time tongue-in-cheek style. Unlike Henry Higgins, he does not carry the same arrogance or self-importance, but seems genuinely kindhearted and goodnatured. Plus, he’s good to his sister and likes to read novels ;-)

In all honesty, how can you not like a guy who says stuff like this:

Miss Morland, no one can think more highly of the understanding of women than I do. In my opinion, nature has given them so much that they never find it necessary to use more than half.” -Ch 14 of Northanger Abbey

Austen's Mr. Bingley and perhaps Colonel Fitzwilliam might fit in here too.
Justin Wells from Margaret Brownley’s A Lady Like Sarah

Red Dawson from Mary Connealy’s book Montana Rose (FAVORITE Connealy classic)

Harry DeVries from Siri Mitchell’s She Walks in Beauty (FAVORITE Siri historical)

George Bailey from It’s a Wonderful Life

Captain America, Superman

David from my novel, The Thorn Keeper

August from my WIP, The Thorn Healer

Red Shirt from Laura Frantz's novel, Courting Morrow Little

And Jack from While You Were Sleeping

 

The Best Friend

This is the man who not only provides a solid friendship, but is a confidante for the heroine. The difference between him and the Good Guy type is the depth of relationship he already possesses with the heroine. His closeness, many times, fogs up the feelings of love growing between the two, and may become entangled with conflict, irrational behavior, withdrawal, and conflict before the pair realizes what revelation is taking place in their hearts. In my opinion, solid friendship is a prerequisite to true love, and there is rare beauty in a gentle transition of platonic relationship deepening with romance.

Within the uniqueness of this romance is the need the hero might have to 'set the heroine straight'.  Their close relationships encourages the hero to feel a particular need to keep the heroine on the right track and perhaps even reprimand her if she sways off.

Mr. George Knightley – George Knightley seems to possess all the makings of a perfect hero and without the brooding of Mr. Darcy or bitterness of Captain Wentworth (though both of those heroes are fantastic). He is prone to ‘right wrongs’ to the point of being a bit bossy sometimes, but his intentions are to bring Emma back to the woman he knows she truly is on the inside. Their friendship gives him the intimacy of knowledge about her which a shorter acquaintance might not provide. Controlled, even-tempered, and logical, Mr. Knightley only loses ‘his cool’ when he becomes aware of his deepening feelings for Emma, to which he then responds with foreign internal feelings such as jealousy and impulsivity. He is the epitome of kindness, and is quick to assist the needs of the women of his acquaintance. And though he sees clearly Emma’s flaws, he loves her still, perhaps his love even deepens because of the solid foundation of their friendship.

 John Brady in Julie Lessman’s novel A Passion Denied

Gilbert Blythe from the Anne of Green Gables series

Sam from my debut novel, The Thorn Bearer

Harry from When Harry Met Sally

Adrien from Siri Mitchell’s novel Kissing Adrien

What do YOU think of these two Austen hero-types? Have you ever written a Good Guy or a Best Friend? In my current historical romance I have a 'Best Friend' hero. In the third book of that same series, I have a Good Guy.

Heroes of Austen - Part 3

It's my third and final post about the Heroes of Austen.  Yes, so very sad to say 'goodbye', but you can read posts one and two here (and come back just to look at the pictures :-)

Today, we discuss the two most intriguing Austen heroes (or literary heroes in general) - The Reformed Rogue and the Anti-Hero.

Let's check them out.

The Reformed Rogue

Here we come to the most swoon-worthy of Austen’s heroes, particularly Pride and Prejudice’s, Fitzwilliam Darcy.

- A reformed rogue is a man who begins the story quite flawed and (usually) aloof. His somewhat serious disposition or reserve is one of his attractions.

- The heroine has a distinct desire to change him or find the ‘softness’ underneath the impenetrable expression.

- He is also a character of massive emotional growth, and usually possesses dry wit to go along with his outlook on the world.

- Though many of the other heroes show change from beginning to end, The Reformed Rogue has a clear character arc – from bad boy to good; from hardened heart to soft, from rogue to…redeemed? all because of love.

Mr. Darcy- is Jane Austen’s most recognized hero. He is the tall, dark, and handsome fellow who sends off the wrong (but oh so interesting) vibes in the beginning and then, as he grows and we see more of his real character, he transforms into the amazing hero we love.

Captain Frederick Wentworth would also fit into this category.

 Julie Lessman’s fabulous rogues Cluny (Luke) McGee and Collin McGuire. Whew…

Marc DeHollander from Ruth Logan Herne’s debut Winter’s End

Cassius McLinn from Laura Frantz’s novel The Colonel’s Daughter

John Thornton from North and South

Han Solo from Star Wars

The Anti-Hero

As defined by writersdigest.com: http://www.writersdigest.com/qp7-migration-books/bullies_excerpt

An anti-hero is a protagonist who is as flawed or more flawed than most characters; he is someone who disturbs the reader with his weaknesses yet is sympathetically portrayed, and who magnifies the frailties of humanity.

While an anti-hero cannot slip into a white hat, he will always:

·         have the reader’s sympathies, although sometimes his methods will make this difficult.

·         have easily identified imperfections.

·         be made understandable by the story events, meaning that the reader will come to know his motivations and likely will be privy to his inner demons.

·         have a starring role in the story.

 THIS is the ultimate play boy, the lady’s man, the rebel. He may exude charm or have a certain dark magnetism, but underneath  we discover he can go one of two ways – good or bad, and many times…we’re not quite certain which way that will be. If too the good side, he transforms into a faithful hero. If to the bad? A villain.

John Willoughby - Though I see a little bit of anti-hero in The Reformed Rogue and the Reluctant Hero, Austen portrays the true heart of the Anti-Hero in Sense and Sensibility’s John Willoughby.

- He is the epitome of the Anti-Hero in the fact that we see some true virtues within him, but his self-interests win over his virtue.

- He has a past of poor choices led by selfishness and we get the ‘hint’ that he’s been fairly spoiled throughout his life, but always with the awareness of being a dependent (which can be quite tough on a guy’s self-confidence)

-Unlike Wickham in Pride and Prejudice, Willoughby develops true feelings for Marianne and has every intention to marry her – “had it not been for the money” of which Marianne has almost none.

- John Willougby is essential to the plot of Sense and Sensibility and helps Marianne recognize her ‘perfect’ man isn’t realistic, even if Willougby’s first scene is of him riding forward on a white horse, no less :-)

Some popular Anti-Heroes are:

Artemis Fowl – (my 15 year old thought of this one)

Jay Gatsby from The Great Gatsby

Severus Snape from Harry Potter

Robin Hood

Dirty Harry

Mr. Rochester from Jane Eyre

Have you ever written an Anti-Hero? I bet you can think of a few Reformed Rogues ;-) Hollywood is great at portraying them for the swoon-value. Are you writing one in your novels?

Heroes According to Jane Austen - Part 1



http://thesecretunderstandingofthehearts.blogspot.com/2011/04/guestblog-juliet-archer-tampering-with.html

Oh! What are men compared to rocks and mountains?  - Pride and Prejudice       

 In honor of the bicentennial of Pride and Prejudice’s publication this year, I thought I’d talk about heroes. I know...SUCH a hardship, right? :-)

And from who better to draw inspiration, than the witty word-weaver, Jane Austen?

I love a well-written heroine, but not even the best heroine can outshine the perfect hero (for me), so I thought I’d start off our Valentine’s week with PART1  of  3 swoon-worthy posts ;-).

As we think of Austen's men, one thing to keep in mind is their very ‘humanness’. They are not perfect, sometimes their character flaws are quite obvious – but throughout the stories their imperfections are met with the perfect match in their heroines.
They are vulnerable and fallible - which makes them realistic.
That’s why we end up liking…or loving them. That's also why they are memorable.

Though there are more Austen heroes, for time’s sake I have chosen one example under each of the six categories. People may or may not agree with these categories, but I believe they cover most hero-types in novels or movies out there. (and some heroes are nice combos of two different types)

The Six Categories I've discovered are:

The Reluctant Hero

The Subtle Servant

The Good Guy

The Best Friend

The Reformed Rogue

The Anti-Hero

 Though many of you will prefer the latter two hero-types, I’m going to save those for Part 3 and discuss the ‘less popular’ two today. Please remember, less popular does not mean less important. In fact, The Subtle Servant is one of the most quietly beautiful hero-types out there. Our dear, Casey Herringshaw, has a beautiful example of one in her current WIP and my hero in book 3 of my Mitchell's Crossroads series is a Subtle Servant too.

So, let’s get on with the first two, shall we?

The Reluctant Hero

This is not to say these men do not want to be heroic. This type of character has the heart of a hero, but doesn’t always show those characteristics until situations or circumstances (or the right woman) force them into the fray. Unfortunately, this is often viewed as indecision or weakness of character. He doesn’t truly realize his ‘hero potential’ until he must become the lead man in the situation, or in the heart of the woman he loves. Insecurities may cloak his awareness of his own heroism, but he will rise to the occassion.

Edward Ferrars – The wrong thing for the right reason

One of Sense & Sensibilities quiet heroes is Edward Ferrars. Our first impression of him in the novel is this:

"He was too diffident to do justice to himself; but when his natural shyness was overcome, his behaviour gave every indication of an open, affectionate heart. His understanding was good, and his education had given it solid improvement.”

Everyone makes mistakes, right? But not everyone stands by their poor choices to honor their own promises. Though Edward's character appears weaker than his romantic counterpart, Eilnor Dashwood – and certainly less constant than his fellow hero, Colonel Brandon, Edward’s compassionate nature and anchor-to-duty becomes apparent when he is forced to take a stand – even against his supercilious mother and sister. And he does exhibit character growth. In the beginning of the novel, he has NO control over his life –and has allowed his mother and sister to make choices for him. By the end – and through poor choices and convenient circumstances- he becomes the owner and creator of his life. Elinor sees him as a hero - and he's a great match for her, because doesn't long for a raging romance, but a steady flame. She gets it in her perfect hero.

Not dark or dashing, but a good heart and someone who will choose to do the RIGHT thing, even if it hurts.

(Edmund Bertram from Mansfield Park would fit within this type, IMO)

Some movie and book examples of this type of hero are:

Mary Connealy’s heroes: Alex and Logan in the Sophie’s Daughters series.

Patrick O’Connor strikes me as a reluctant hero in Julie Lessman’s Christmas novel, A Light in the Window.

Ryan Reynolds’ character in The Proposal and maybe even Aragorn in The Lord of the Rings. Mr. Fantastic from The Fantastic 4 could fall into this category too.

The Subtle Servant  

This hero is also one that obtains less glory from ladies who prefer dark-and-brooding. This type of hero usually makes himself known in the subtle, small, and quiet ways – being available, observant, and faithful. In fact, being noticed is the furthest thing from his mind.

He may not charge onto the field on his steed, but he will seek out a heart-sore woman and carry her through the rain to shelter. He will rescue a ‘fallen’ woman from a life of destitution, he will provide a means of income for a ‘good’ man who has lost his inheritance, and he will hold on to love in an unassuming, yet strong-as-steel, sort of way.

I absolutely LOVE this type of hero – even though he’s not as popular. There is a quiet strength about him and an undeniable sense of faithfulness.

Colonel Brandon – is a sensitive and subdued man who suffered the loss of his lady-love when his parents refused the match – then his lady fell into the life of promiscuity and finally died, so he took her illegitimate child into his care. Now, after years in the army and unmarried, this sensitive man finds a ‘kindred’ spirit in the young Marianne Dashwood. Due to Marianne’s indifference to him, and the apparent age-gap, Colonel Brandon maintains a friendship with the family, and ready service to them, but does not pursue Marianne. Brandon’s acts of kindness are sprinkled throughout the story in quiet, and finally, grand ways – until Marianne sees him for the hero he truly is.

I think he is a reserved romantic, whereas Marianne is an overt one. The nice comparison between Colonel Brandon and his counterpart, Willoughby, is to show that the true test of love is in trial and time. Colonel Brandon succeeds on both counts.

Some examples of a Subtle Servant in movies and books are:

Red Shirt in Laura Frantz’s fantastic novel, Courting Morrow Little.

Wade Sawyer and Grant Cooper in Mary Connealy’s Montana Marriages series.

I think Griff from Laurie Alice Eakes novel Choices of the Heart might fit here too

Maybe Jack Buchanan from Liz Curtis Higgs amazing novel, Mine is the Light, might fall into this mix too.

  Okay - it's your turn.

Can you think of a book you’ve read…or one you are writing, where the hero matches either of these descriptions?

What about all you Austen fans out there? Do you have a soft-spot in your heart for any of the ‘quieter’ Austen heroes?

******************************************************************

Pepper Basham writes Blue Ridge Romances peppered with grace and humor. Though she dabbles in all types of genres, she enjoys focusing on historical and contemporary romances for now. She's a pastor's wife, mom of five, speech-language pathologist, and lover of jazz. She also remains in awe of God's kindness in providing His amazing love for her life, His unending mercy for her sins, and His awesome creation of chocolate for her mental health. You can find out more about Pepper at her personal blog Words Seasoned With Salt www.pepperbasham.com

Romance Through the Ages

Romance isn't the genre for everyone, but for those it appeals to, we love it! What's better than that first sight of a potential love, that first kiss, or a happily ever after? And that's part of the reason romances are so successful and endure the ages. From Jane Austen's Pride and Prejudice to some of the contemporary romance authors of our time (some of my personal favorites, too) like Denise Hunter and Jenny B. Jones, these writers and their books follow a bit of a formula--a successful way of presenting a love story to a reader that fulfills what they're looking for.

The Connection

This is the moment the hero and heroine get their first sight of each other. It's either the first time they've seen each other at all, the first time their interaction is introduced to the reader, or a reunion of a hero and heroine who knew each other from the past somehow. Either way, it's that first moment the reader is waiting for. When the two people we root for to find love with each other and land on the page together. Sometimes there is breathlessness, sometimes there is a funny quip or humorous interaction like in Just Between You and Me by Jenny B. Jones, but no matter how it plays out, it's clear the hero and heroine feel something for each other and will be meeting again.

Physical Interaction

This can be anything from the touch of a hand or arm, to a hug or kiss. This is the moment the hero and heroine move into a new stage of their relationship. Where it's taken to another level and made clear that they are falling in love. The moment Elizabeth and Mr. Darcy touch is just as powerful as contemporary stories that express interaction with a passionate kiss. The story builds toward this moment and readers expect it.

The Conflict

Ahh...well, of course we want the characters to fall in love and live happily ever after but we don't want it to come easy. Where's the fun in that? No, we want to see the characters grow and change, to struggle and overcome. So there's conflict, something that keeps the characters apart--Denise Hunter is a master at this. These conflicts consume the characters and make it believable that to them, they truly cannot be together. Whether it's an internal, external, or spiritual conflict, or all three, we expect as romance readers that there will be something to keep the hero and heroine from expressing their love or making it to that happy ending.

The Resolution & Happily Ever After

And just as surely as we know the characters will be pulled or pushed apart, we know they will come back together. There will be a reconciliation and a happily ever after. Sometimes this is a kiss, an apology, a declaration of love or a marriage proposal, but no matter which, it's the ahhh or awww moment of the book. The point we've been waiting for that all is well and the hero and heroine will be able to move forward with the love and life we've been rooting for.

If you haven't read any of the authors above, I recommend it. But you know from the last several posts we've had here on The Writer's Alley that most of us are fans of these authors and they're excellent writers. So, if you read romance or have read a romance, what do you think? Has this genre endured the ages because it follows a certain kind of formula? When you pick up a romance novel, do you expect these aspects to be present in a story or would you rather see something different?

Truths Universally Acknowledged?...Jane Austen on Love

“I can comprehend your going on charmingly once you had made a beginning; but what could set you off in the first place?”

“I cannot fix the hour, the spot, or the look, or the words, which laid the foundation.  It is too long ago.  I was in the middle before I knew I had begun.”

“My beauty you had early withstood, and as for my manners—my behavior to you was at least always bordering on uncivil, and I never spoke to you without rather wishing to give you pain than not.  Now be sincere; Did you admire me for my impertinence?”

“For the liveliness of your mind, I did.”

(Pride and Prejudice)

If I must choose one literary mentor in the school of romance it is without a doubt the inimitable Miss Austen.

Jane Austen's romances are lively, full of wit.  Fitzwilliam Darcy in fact falls in love with Elizabeth because of her "liveliness of mind."

Benedick in Shakespeare's Much Ado About Nothing, says of his romance with Beatrice, "Thou and I are too wise to woo peaceably."

My romance with my husband did (and does) contain a great deal of wit.  I love the fact that Austen's characters fall deeply in love yet it is often with eyes wide open. 

Jane sets the pattern here for the independent woman and she is appealing to those of us less fortunate in the appearance department.

We must learn to love is another truth seen in the romance between Henry Tilney and Catherine Moreland in Northanger Abbey:

"What beautiful hyacinths!-I have just learnt to love a hyacinth.".....

"But now you love a hyacinth.  So much the better.  You have gained a new source of enjoyment, and it is well to have as many holds upon happiness as possible.  Besides, a taste for flowers is always desirable in your sex, as a means of getting you out of doors, and tempting you to take more frequent exercise than you would otherwise take: and though the love of a hyacinth may be rather domestic, who can tell the sentiment once raised, but you may in time come to love a rose?....I am pleased that you have learned to love a hyacinth.  The mere habit of learning to love is the thing; and a teachableness of disposition in a young lady is a great blessing." (Northanger Abbey)

Emma shows the reader the romance present in the small moments.  The picnic scene on Box Hill is lavishly beautiful as portrayed in the film versions and is also a pivotal scene for the character formation of Emma. When Mr. Knightley confronts Emma about her rude comments towards Miss Bates, Emma realizes not only how much she cares for his opinion of her but is also determined to change her character.  Love is willing to change, often at great cost to self. 

Edmund is a frustratingly slow learner in the school of romance as shown in Mansfield Park.  The ending wraps up their story perhaps a bit too quickly and neatly, however, brings the reader satisfaction nonethless. Fanny has a strong respect for Edmund and the two have a beautiful friendship beginning in the childhood years.

"With such a regard for her, indeed, as his had long been, a regard founded on the most endearing claims of innocence and helplessness, and completed by every recommendation of growing worth, what could be more natural than the change? Loving, guiding, protecting her, as he had been doing ever since her being ten years old, her mind in so great a degree formed by his care, and her comfort depending on his kindness, an object to him of such close and peculiar interest, dearer by all his own importance with her than any one else at Mansfield, what was there now to add, but that he should learn to prefer soft light eyes to sparkling dark ones. And being always with her, and always talking confidentially, and his feelings exactly in that favourable state which a recent disappointment gives, those soft light eyes could not be very long in obtaining the pre-eminence."

Jane Austen is sometimes accused of failing to describe her character's most passionate moments yet the scene preceding Emma's proposal is romantic with Emma's hand pressed to Mr. Knightley's heart, Mr. Knightley comforting Emma is perhaps one of Jane Austen's most beautiful romantic scenes:

For a moment or two nothing was said, and she was unsuspicious of having excited any particular interest, till she found her arm drawn within his, and pressed against his heart, and heard him thus saying, in a tone of great sensibility, speaking low, "Time, my dearest Emma, time will heal the wound. -- Your own excellent sense -- your exertions for your father's sake -- I know you will not allow yourself. --" Her arm was pressed again, as he added, in a more broken and subdued accent, "The feelings of the warmest friendship -- Indignation -- Abominable scoundrel!" -- And in a louder, steadier tone, he concluded with, "He will soon be gone. They will soon be in Yorkshire. I am sorry for her. She deserves a better fate."
Emma understood him; and as soon as she could recover from the flutter of pleasure excited by such tender consideration, replied, "You are very kind -- but you are mistaken -- and I must set you right. -- I am not in want of that sort of compassion." ...

Are you a "Jane-ite"?  What is your favorite scene from a Jane Austen movie or book?

Catch A Reader By The Hook

You’re standing in front of a shelve of deliciously tempting books inside Barnes and Noble or Books a Million…or even the library. The smell of imagination cooking between fresh print pricks your curiosity and you scan the rows looking for a title or cover to push you from temptation to commitment. Finally, something snags your attention and you draw the book from the shelf, the promise of a tantalizing visit to otherworlds tingling through your body. (okay, maybe I’m the only one who gets this feeling, but I also write fantasy so it works for me.


You slide your hand across the silken cover dancing with brilliant colors and a magical picture, finally flipping to the first page.

Once upon a time….


It was a dark and stormy night…


It is a truth universally acknowledged….

Either the book grips you in the first paragraph and delivers on its’ promises from the back cover, or you realize…this book is not for you.

So what makes a gripping first line…a first paragraph even?

Part of it has to do with personal preference, I know, but first lines have a tendency to draw us in, catch us, and then hook us like a fish in the water.

With this thought in mind, I’ve listed a few ‘first lines’ in books (old and new) as an example. See what you think.

“Scarlet O’Hara was not beautiful, but men seldom realized it when caught by her charm, as the Tarleton twins were.” – Gone With the Wind

“Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show.” David Copperfield

“I have just returned from a visit to my landlord – the solitary neighbour that I shall be troubled with.” – Wuthering Heights by Emily Bronte

“A gentle breeze from the north-east after a night of rain, and the washed sky over Malta had a particular quality in its light that sharpened the lines of the noble buildings, bringing out all the virtue of the stone; the air too was a delight to breathe, and the city of Valletta was as cheerful as though it were fortunate in love or as though it had suddenly heard good news.” – Treason’s Harbor by Patrick O’Brian

“Mr. and Mrs. Dursley, of number four, Privet Drive, were proud to say that they were perfectly normal, thank you very much.” – Harry Potter and the Sorcerer’s Stone by J.K. Rowling

“A long time ago, when all the grandfathers and grandmothers of today were little boys and little girls or very small babies, or perhaps not even born, Pa and Ma and Mary and Laura and Baby Carrie left their little house in the Big Woods of Wisconsin. They drove away and left it lonely and empty in the clearing among the big trees, and they never saw that little house again.” Little House on the Prairie by Laura Ingals Wilder

“There is no lake at Camp Green Lake.” Holes by Louis Sachar

Now for some Christian Fiction examples How do they compete?


“Oh, to be a calculating woman!” Julie Lessman’s A Passion Denied

“Nice girl gone bad. That’s me: Claire Le Noyer.” Kissing Adrien by Siri Mitchell

“Nothing like running late to make a wonderful first impression.” Stand-In Groom by Kaye Dacus

“The day was gray and cold, mildly damp. Perfect for magic.” The Book of Names by D. Barkley Briggs

“Breathe not a word of my visit, Jean. not to a soul.” Thorn in my Heart by Liz Curtis Higgs

“Bran!” The shout rattled through the stone-flagged yard. “Bran! Get your sorry tail out here! We’re leaving!” Hood by Stephen Lawhead

“Dragon riding isn’t all it’s cracked up to be,” Ashley grumbled. Enoch’s Ghost by Bryan Davis.

“Belle Tanner pitched dirt right on Anthony’s handsome, worthless face.” The Husband Tree by Mary Connealy

“They were coming. They were coming! Christophe shoves his little sister, twelve-year old Emile, through a hidden door in the wall, quickly following her.” Love’s First Light by Jamie Carie

Now, interestingly enough, these examples have something in common: They are out to get your attention BUT they use different means to get it.

_ Some draw in the reader with ACTION. You enter the story in motion and are swept into the pages.

-  Some use INTRIGUE…something’s ‘not quite right’, so your curiousity is peaked.

- Some use HUMOR and brings you in with a smile.

- Others use the UNEXPECTED – something is stated (kind of like intrigue) which is out of the ordinary so to keep from teetering on the brink of confusion, the reader must read on.

-Finally some capture you with WORDS, magically descriptive, palpable words which ensnare the senses.

Any way you choose to write it, SOMETHING has to happen in that first paragraph which captures the readers attention to keep them reading…wanting more, inescapably attracted…

and then -

hopefully

You’ve caught yourself a reader.