Write an Attention Getter

Attention-grabbing introductions lie on the edge of a literary knife—they’re a balancing act of the bold, the grounded, and the creative. After all, your introduction is your first impression. It sets the tone, directs the content, and points to the overarching theme of your paper, while also drawing in the reader and keeping their attention. There’s no need to worry, though, because writing a solid, catchy introduction can be made easier by following a few steps.

Steps

  1. Determine the content of your piece.The content of your piece will greatly affect the tone of your piece. For academic work, your attention-grabbing introduction is not your thesis, but it should lead up to it, and draw the reader in by articulating some point of your paper topic in a way that is both coherent, and applicable to the following text. For narrative—whether it’s personal or fictional—the first line is the first impression the reader has on the world of your story and whoever you’ve (re)created within it.
    • Academic paper. If you’re writing a serious, academic article, you’ll want an introduction that is clear, articulate, and intelligent.
    • Creative Nonfiction. What is meant by creative nonfiction is some sort of anecdote; these range from travel writing, to a personal story, to a biographical type of literature. They can be humorous, strictly factual and straightforward, and everything in between. One thing is for certain: at their core, there is a true story.
    • Fiction. The genre of fiction encapsulates everything else; whether it’s a novel about fairy princesses and dragons, or a simple short story about a man walking his dog; although it can be based on fact, at its core, fiction is made up and never actually happened.
  2. Brainstorm. Don't be afraid to try different ways of starting your piece. If you're feeling brave, you can even combine them for an extra-strength, unique feel that's completely your own.

Academic Nonfiction

The introduction to an academic piece is—on top of being the reader’s initial impression of your work—the foundation of your thesis. It must be interesting, substantial, and bold, all while guiding the reader to the main topic of your work. Although a bit daunting, there are several different ways to do craft an effective, inviting, power-packed introduction.

  1. An applicable, intriguing example. This is an excellent choice for academic writing, and is most effectively paired with a counter-example thesis. First, you'll state a common misconception as your topic sentence. Then, after listing examples, you tie this in to your thesis.
    • Example: Shakespeare’s plays are littered with archetype damsels in distress: Ophelia, Juliet, and Hermia all spring to mind. However, this is by no means the case with all of Shakespeare’s Women—in fact, Rosalind in As You Like It holds more power than any other character in the play.
  2. A provocative question. Perhaps, if you’re writing on a war or battle, initially frame the paper in asking the question: “What if this didn’t happen?” It’s an excellent way to examine the effects of the war on both sides. This is by no means the only provocative question to ask, and there are certainly many more depending on the topic of the paper; just make sure to tie the question into the thesis.[1]
    • Example: The American Civil War is a horrific scar that has marred the American past since it’s conclusion in 1865. This begs the question: was it really necessary--would the economy that depended so much on slavery eventually have burnt itself out?
  3. A paradox. Paradoxes are difficult to articulate well. That being said, they are also very effective in conveying contrasting emotions, feelings, or even sides in a very short span of writing. They hold a great amount of gravity, and should be used sparingly to increase their effect.[1]
    • Example: With the explosion of the first atomic bomb came the advent of the greatest weapon of war the world has ever seen—soon, though, it was to be used to bring a new peace to a broken world.
  4. Historical review. Immediately placing your paper in historical context can be very helpful and give a solid, interesting start to the piece. This technique can be applied to a huge variety of situations, ranging from specific people, to current events, to past events, to ongoing cultural change. With this, it’s best to start with a very specific example that can be applied to the topic as a whole.[1]
    • Example: “It was April, 1865, and the air was thick with joy and tension at the Appomattox Courthouse.”
  5. A surprising statement. This is a very similar statement to the intriguing fact example above, and should be used in a similar way. However, instead of starting with the common misconception, you should start with the shocking fact and then tie that into your thesis.[2]
    • Example: Archaeological evidence has recently started to indicate that Native Americans were among the tallest races in history. In fact, their height seems to be roughly the same as Norwegians of the same era, which may be reason to believe that Native Americans were actually the descendants of Norse-Mongoloid relations.
  6. Declarative statement. The purpose of a declarative statement is to come straight out and say what your paper is about. One problem with this is the increased danger of a boring start. However, if the topic of your paper is interesting enough, it may be a good way to go.[2]
    • Example: Einstein’s Theory of Relativity shaped much more than the scientific world of the 20th Century; his work had a great effect of the social structure of pre and post World War Two America as well.

Things to Avoid in Academic Nonfiction

  1. The “place holder.” Essentially, the “place holder” introduction is a vague allusion to the topic of your paper. It’s a good place to start, but after you’ve written your piece, you should come back and revise it.[1]
    • Example: Women have fought for their rights for hundreds of thousands of years.
    • Example: Painting is an expression of the human soul.
    • Example: World War One was a horrific period in human history.
  2. Over repetition. Here, repetition of the main point of the paper is used in (close to) every sentence. While repetition has a very powerful rhetorical role, it can be overdone, especially in the introduction. That being said, don’t be afraid to keep the central idea apparent in the introduction, but do come up with more ways to state your point.[1]
    • Example: Salt built the Roman Empire. While salt’s importance may seem trivial today, salt was one of the most important goods used by the Romans. Salt's importance came from its many uses, and it was also very prominent indicator of status, and was even used as a tool for rebellion. Salt was important because it linked the classes together.
  3. The Webster’s Dictionary definition. This is pretty self-explanatory: beginning your paper with “Webster’s Dictionary defines….” It’s a bit of a cliché, and looking up a dictionary definition is something anyone can do. A better idea is to define the central topic of your essay within the context of your class, or even from an original viewpoint, and then tie that into your thesis.[1]
    • Example: Webster’s Dictionary defines diversity as “the condition of having or being composed of differing elements : variety; especially : the inclusion of different types of people (as people of different races or cultures) in a group or organization.” Therefore, it is easy to see why diversity is so important to society.
  4. The “Since the beginning of time….” Like the Webster’s definition, this too is self-explanatory. Starting a paper with “Since the dawn of humanity…,” or something similar, is a bit generic and often overdone. It also is very difficult to forge a meaningful link to your thesis. A better way to start is to draw a similarity between a well-known historical figure, or even bring up an interesting ancient historical fact that you could draw the reader in with, and eventually tie into your thesis.[1]
    • Example: Mankind has always strived to create.
  5. The book report. Although a comfortable classic, the book report introduction is no way to hook a reader. Even though beginning a paper with a straightforward, logical statement may seem look like a good place to begin, it’s usually very bland.[1]
    • Example: Queen Victoria came to power in 1837, and her reign lasted more than 60 years.
    • Example: Thomas Jefferson wrote the Declaration of Independence in 1776.

Creative Nonfiction

  1. Surprising Statement. Sometimes, especially for travel writing or personal storytelling, catching the reader off guard can be a good way to start a piece—especially if you’re writing about an embarrassing situation.
    • Example: The curry had not been kind to me the night before.
    • Example: It was a muggy Madrid day, and I’d just been pooped on by a sparrow.
    • Example: Just before a date with the most beautiful woman I’d ever seen, I forgot to brush my teeth—and there was no gum in sight.
  2. Declarative Statement. If surprising your reader at the onset of your piece isn’t your aim, then a simple declarative statement may be a better way to go. This isn’t to say that it holds less literary merit or power than a surprising statement, though; declarative statements, when used correctly, can be very effective in establishing a relationship with your reader and the qualities of your main character as well.
    • Example: I never intended to like Paris.
    • Example: As it turns out, on a bus ride around the desert, air conditioning is optional.
    • Example: From the moment I saw rusted bumper sticking out under the tarp, I knew it had to be mine—and I didn’t even know what kind of car it was.
  3. Paradox. Paradoxes are powerful rhetorical tools and should be used sparingly to maximize effectiveness. They’re also pretty tricky to articulate. That being said, if you’ve got a good one, use it.
    • Example: There I was, a Christian learning about God from an Atheist.
    • Example: In the sweltering, death-ray heat of the Atacama Desert—the most lifeless place on earth—I learned how to live, and live well.
    • Example: I never learned to listen until I lost my hearing.
  4. Historical Review. Placing your location (or yourself) in history is an effective way to draw in the reader and generate heaping amounts of relatability and context at the same time. These are particularly effective in a biographical-type piece.
    • Example: It was the Summer of Love, and I was a nineteen-year-old kid with a crew cut who’d stumbled his way onto Haight-Ashbury.
    • Example: Fredrick Douglass was his own man—a man who fled the tyranny of slavery in 1838 at the age of 20.
    • Example: The aqueduct dated back some 2,000 years, and as soon as I pressed my 20th-century hand against its stone, I was flooded with the weight of history.
  5. Memorable, Poignant Dialogue. Dialogue is a great way to start a piece because it establishes a relationship between characters in the story, and therefore creates a creates a relationship with the reader. You can also tell a great deal about a person by how they speak.
    • Example: “Marty, don’t forget your lunch,” Mom yelled out the window of her blue station wagon. “Oh, and have a great first day at school.”
    • Example: “No,” she said. “I don’t think you understand.”
    • Example: “Wait,” I said. “We needed to bring our passport?”
  6. Imagery. Another excellent way to set the tone of your story—and give setting as well—is to describe the story’s location. The key, though, is to be specific. The one problem with opening with an image (especially in travel writing) is the use of a cliché. Don’t be afraid to give some thought to what you’re saying and put your own spin on it.
    • Example: The woman’s dress—white as flame, and garnished with mountains of rhinestones—ripped through the hot afternoon air.
    • Example: In the autumn of 1994, I somehow managed to eek out beyond the reach of the herds of New Yorkers, and found myself drowning in a sea of leaves, which burned hot against the cool clouds of Maine.
    • Example: Both sides gathered on the massive battleship USS Missouri, which hovered prominently over the depths of Tokyo Bay.

Cliches to Avoid in Creative Nonfiction

  1. “The most beautiful…in the world.” Superlatives should be avoided at all costs; it makes you come across as ignorant, and therefore creates a large amount of distance between you and your reader.
  2. “A trip back in time.” While nostalgia is a powerful tool when writing creative nonfiction, almost any location can be used as a place to “look into the past.”
  3. “There’s something for everyone.” While this may very well be true, using this in your description—especially in the introduction—is a good way to immediately lose your specific angle on the destination.
  4. “Nestled in the….” Although a decent enough image, almost any location can have something about it that’s nestled somewhere. Instead of using this cliché, work words like burrowed, bundled, engulfed, situated, or surrounded into your introduction. They will create a more authentic and original take on the location.
  5. “…is a place of contrasts.” On top of this phrase being used constantly, it also could be applied to any location. While focusing on contrast is a very good way to go, openly stating it makes the piece loose power.
  6. “…is colorful/vibrant.” This opener makes the reader want to know what the colors were, so you should describe them in the first place. Colors—be it colors of buildings, clothing, or cars, or even races of people—are powerful images; don’t be afraid to expound on them.
  7. “…’s rich history.” This is makes the reader ask themselves “what happened?” Because of this, if you want to focus on the history of your location, begin with an interesting fact about wherever it is you’re writing about—it’s much more engaging, and it immediately creates intimacy with the reader.
  8. “Crystal clear water.” Comparing jewels to water, although a fairly effective image, is way overdone. Try to think of anything else that’s shiny, bright, or transparent, and go from there.
  9. “Panoramic Views.” Sometimes, there are places that do offer panoramic views, but describing a view of the Himalayas as "panoramic" isn’t going to do most people very much good at all. Describe what you can see, it’s much more engaging.
  10. “Breathtaking.” The problem with this word is that it’s often used in an over-exaggerated way; chances are, the author’s breath wasn’t actually taken away by what they saw, and if it was, chances the reader won’t believe them. So, think about what else happened to you when you first saw what you’re describing, and create an image from there.

Fiction[3]

  1. Surprising Statement. The element of surprise is key to many subgenres of fiction (thrillers, crime novels, etc.), and it can be employed to all fictional pieces if the author believes it is appropriate. It’s an excellent way to grab the reader’s attention and establish traits of a character.
    • Example: “I am an invisible man.” (Ralph Ellison, The Invisible Man)
    • Example: It was a cold day in April, and all the clocks were striking thirteen.” (George Orwell, 1984)
    • Example: “It was the day my grandmother exploded.” (Iain Banks, The Crow Road)
  2. Declarative Statement. If shock and awe aren’t the best way to open your story, you can always tone it down with a simple declarative; oftentimes declaratives hold a great deal of power in creating characters and a relationship with your reader.
    • Example: “All this happened, more or less.” (Kurt Vonnegut, Slaughterhouse Five)
    • Example: “There was a boy called Eustace Clarence Scrubb, and he almost deserved it. (C. S. Lewis, Voyage of the Dawn Treader).
    • Example: “The sun shone, having no alternative, on the nothing new.” (Samuel Beckett, Murphy)
  3. Paradox. Paradoxes are powerful pieces of rhetoric; they encapsulate dichotomy and enlightening the reader to the struggles of the character and/or the plight that faces them.
    • Example: “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness…” (Charles Dickens, A Tale of Two Cities)
    • Example: “It was like so, but wasn’t.” (Richard Powers, Galatea 2.2)
    • Example: “The moment one learns English, complications set in.” (Felipe Alfau, Chromos)
  4. Historical Review. Placing your character within a historical context can allow the reader to be instantly cued into the struggles, appearances, and even dialect of the era. It’ a powerful way to create a great deal of context without having to initially explain very much.
    • Example: “I was born in the Year 1632, in the City of York, of a good Family, tho' not of that Country, my Father being a Foreigner of Bremen, who settled first at Hull…” (Daniel Defoe, Robinson Crusoe)
    • Example: “High, high above the North Pole, on the first day of 1969, two professors of English Literature approached each other at a combined velocity of {{safesubst:#invoke:convert|convert}}.” (David Lodge, Changing Places)
    • Example: “It was a queer, sultry summer, the summer they electrocuted the Rosenbergs, and I didn’t know what I was doing in New York.” (Sylvia Plath, The Bell Jar)
  5. Vivid Image. Images capture your reader’s imagination, and if the image is of your character doing something, it can convey a great deal about who they are as a person—remember actions do speak louder than words. However, even if your image describes the scene where your story begins, the atmospherics it creates can greatly impact the how the story and its characters are perceived.
    • Example: "He—for there could be no doubt of his sex, though the fashion of the time did something to disguise it—was in the act of slicing at the head of a Moor which swung from the rafters.” (Jerrell H Schofner, Orlando)
    • Example: “It was a pleasure to burn.” (Ray Bradbury, Fahrenheit 451)
    • Example: "The cold passed reluctantly from the earth, and the retiring fogs revealed an army stretched out on the hills, resting.” (Stephen Crane, The Red Badge of Courage)
  6. Relationship-Establishing Dialogue/Thoughts. Dialogue can be an excellent way to start a piece because it establishes a relationship between characters in your story, which also creates a relationship with your reader. Through dialogue, plot is reinforced, and the story and its characters have a more solid base upon which to develop.
    • Example: “If I am out of my mind, it’s all right with me, thought Moses Herzog.” (Saul Bellow, Herzog)
    • Example: "Take my camel, dear," said my Aunt Dot, as she climbed down from this animal on her return from High Mass.” (Rose Macaulay, The Towers of Trebizond)
    • Example: “To be born again,” sang Gibreel Farishta tumbling from the heavens, “first you have to die." (Salman Rushdie, The Satanic Verses )
  7. Address to the Reader. Addressing the reader is a tricky way to start a piece of fiction. However, if done correctly, it creates a lasting bond between your work and the reader.
    • Example: “Call me Ishmael.” (Herman Melville, Moby Dick).
    • Example: You don't know about me without you have read a book by the name of The Adventures of Tom Sawyer; but that ain't no matter. (Mark Twain, Adventures of Huckleberry Finn)
    • Example: “This is the saddest story I have ever heard.” (Ford Madox Ford, The Good Soldier)

Tips

  • Show, don’t tell. This is one of the trickiest parts of writing fiction, but it’s key in crafting your skills as a writer. Avoiding unnecessary adverbs and adjectives, will make your descriptions more vivid (and less cliché), your dialogue more believable, and will tighten the prose of your story as a whole.
  • Try writing your introduction last. It’s a scary prospect, but sometimes it can be the most effective. Write your thesis and go straight into the body of your essay, and when you finish, go back up and figure out an introduction. If you need something there to get the momentum started, feel free to use the “place holder” or “since the beginning” introductions.
  • Read the introduction to your favorite works of fiction. Sometimes all you need is a little inspiration from the giants of literature. Even if you don’t like the specific introduction, following in the footsteps of the literary greats is a great way to begin crafting your own voice as a writer.
  • Remember: the introduction is the first impression the reader has of your character and story; not only is it the first time the reader meets the character, but it’s the first time they experience the world that you have created.

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Sources and Citations

  1. ↑ 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 http://writingcenter.unc.edu/handouts/introductions/
  2. ↑ 2.0 2.1 http://grammar.ccc.commnet.edu/grammar/intros.htm
  3. ↑ http://americanbookreview.org/100bestlines.asp

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