First Sentence of a Story

The first sentence of a story

This first movement stages the text - whether long or short - and refers to the "narrative vehicle" with which the author drives the book forward. [ C]ontext is important, as is style. Aim of these write requests is to kindle a short story. A lot of short stories are really about an idea or a situation, and that's what the opening movements set. Originally I had only planned to browse a few pages, but the first line was attached to me.

cfiction - How can one deduce a first sentence from a story?

As soon as we realize that all beginnings of all fiction are hypotheses that then put the novel to the test, we begin to grasp the similarities between the first theorems. Tolstoy hypothesises that all unfortunate backgrounds are different and then tells the tales of three backgrounds to show us that his theory is tru.

She hypothesises that her derelisation and her psychological issues have nothing to do with the social and political life of her age. So, if you want to deduce your opening sentence from your story, you just need to comprehend what the assumption is that your story is to be used to verify or refut.

The first sentence must contain this assumption. Commenting on this response, @ChrisSunami noted that when he tries to put my ideas (that the first sentence is a theory that is testing the book) on real textbooks, he finds it hard to find any that actually match the sample.

The Neverending Story[L'histoire sans fin] de Michael Ende commence : The Neverending Story begins with the motive of the reflection, more precisely with the motive of looking at the "real world" from the other side of the reflection. He has talked in detail about the mirrors and reflection and even devoted a volume to them, Der Spiegel im Spiegel, a compilation of surrealist stories that, as he said, is concerned with the question:

"Why is a reflection in a looking glass? A never-ending game of reflexions that mutually reflects each other: an never-ending story. Endless history itself is such a reflection that is mirrored in a one. In fact, the story says that the story that the reader reads is the story that the main character Bastian reads after he finds it in the bookshop whose windows we see at the beginning of the text.

Later, he finds himself as a personality in the story he writes and adds another, more profound layer, and the story's author is able to manipulate what the people in the story he writes do. As Michael Ende said (in a memo in his estate): "If two writers have the same story, they don't have the same one.

All of them bring themselves into the readings, their thoughts and association, their experience, their imagination, their intellects. One could say that the volume is a magazine in which the readers see their own reflections. "And that is the hypothesis: The Neverending Story Ende shows that a novel is a looking glass in which the readers see their own reflections and whether and to what degree this concept could be truth.

This is a novel about how to read a novel that also narrates your own story. Kid (d) finds a notepad that begins with the same words as Dhalgren, but the story that Kid (d) will read differs from the story we read (and he experiences), so Kid (d) begins to rework the text until his reworking literally reflects the end of Dhalgren.

Wikipedia says, "Delany has often talked and wrote about seeing burnt-out parts of large US towns that most Americans haven't seen or don't even know", and that "Dhalgren is a literature exhibition of all these experience for the "normal" readers. "Dhalgren's first sentence - "to twist the autumn city."

"and hermetically, as the initial rows are, clearly shows the story's circle shape to the viewer (even if only in retrospect, when he comes to the end). He mentions the delusions his writer was suffering from (the "burnt-out parts of large US cities"), and together with the end of the novel ("I have come") this sentence ("I have come to twist the autumn town ") says that the writer Delany/Kid(d), by rewriting about how he is experiencing the real, is rewriting the real also for his readership.

He is a novel about the writer, and his theory is that living is something similar to rewriting: you take the story that's already there (the universe you were reborn into) and re-write it to make it your own. Or in the words of the first sentence of the novel: You' ve wounded the whole wide open.

Lolita's theme is paedophilia, but the first sentence outlines the assumption that if the possessed man is not able to fulfill his wish, he will die (or live on). I would like to say that I did not say that the assumption was necessarily clear. If you look at my reply, please remember that my query was: "How do you deduce a first sentence from a novel?

" I would like to know that in order to deduce a first sentence from a novel, you might find the assumption - and I think you should find it - that your text is trying to respond. This means that the assumption is something the writer is (or should be) familiar with and, if he is so disposed, can use if he wants to deduce a first sentence from his story.

I' m not saying that the assumption is something that a readership will always readily grasp, and indeed I believe that what stops a readership is that they don't grasp, but believe that there is more to this sentence than what they say on the screen. All of you who argue that you cannot find this notion in the textbooks you have been reading are losing track of what this page and this issue are about.

Look at the volume you are working on, see what assumption you are trying to test, and type a sentence that illustrates this topic. You will have a fascinating opening sentence that matches your work.

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