Your Story
Every month, WritersINK presents a creative challenge for fun and prizes. We'll provide a short, open-ended prompt. In turn, you'll submit a short story of 750 words or fewer based on that prompt. You can be funny, poignant, witty, etc.; it is, after all, your story. The winner will receive publication in an upcoming issue of WritersINK.
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Your Story
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What Agents Hate
Michelle Clair | On Staff Agent
Ask any literary agent what they’re looking for in a novel’s first chapter and they’ll all say the same thing: “Good writing that hooks me in.” So then the next question is what hooks an agent in. The idea is find out what most people want, what there is a need for, and what story still needs to be told and then do it with a little bit of sparkle.
Here, dozens of established literary agents vent about everything they can’t stand to see in your all-important first chapter.
DESCRIPTION
“I dislike endless ‘laundry list’ character descriptions. For example: ‘She had eyes the color of a summer sky and long blonde hair that fell in ringlets past her shoulders. Her petite nose was the perfect size for her heart-shaped face. Her azure dress—with the empire waist and long, tight sleeves—sported tiny pearl buttons down the bodice. Ivory lace peeked out of the hem in front, blah, blah.’ Who cares! Work it into the story.”
—Laurie McLean, Larsen-Pomada Literary Agents
“Slow writing with a lot of description puts me off very quickly. I like a first chapter that moves quickly and draws me in so I’m immediately hooked.”
—Andrea Hurst, Andrea Hurst Literary Management
“Avoid any description of the weather.”
—Denise Marcil, Denise Marcil Literary Agency
“In romance, I can’t stand this scenario: A woman is awakened to find a strange man in her bedroom—and then automatically finds him attractive. I’m sorry, but if I awoke to a strange man in my bedroom, I’d be reaching for a weapon—not admiring the view.”
—Kristin Nelson, Nelson Literary Agency
VOICE AND POINT OF VIEW
“A pet peeve of mine is ragged, fuzzy point of view. How can a reader follow what’s happening? I also dislike beginning with a killer’s POV. Who would want to be in such an ugly place? I feel like a nasty voyeur.”
—Cricket Freeman, The August Agency
“An opening that’s predictable won’t hook me in. If the average person could have come up with the characters and situations, I’ll pass. I’m looking for a unique outlook, voice, or character and situation.”
—Debbie Carter, Muse Literary Management
“Avoid the opening line: ‘My name is … .’ ”
—Michelle Andelman, Andrea Brown Literary Agency
CLICHÉS AND FALSE BEGINNINGS
“I hate it when a book begins with an adventure that turns out to be a dream at the end of the chapter.”
—Mollie Glick, Jean V. Naggar Literary Agency
“I don’t want to read about anyone sleeping, dreaming, waking up or staring at anything.”
—Ellen Pepus, Ellen Pepus Literary Agency
“I don’t like it when the main character dies at the end of Chapter 1. Why did I just spend all this time with this character? I feel cheated.”
—Cricket Freeman, The August Agency
CHARACTERS AND BACKSTORY
“I don’t like descriptions of the characters where writers make them too perfect. Heroines (and heroes) who are described physically as being virtually unflawed come across as unrelatable and boring. No ‘flowing, wind-swept golden locks’; no ‘eyes as blue as the sky’; no ‘willowy, perfect figures.’ ”
—Laura Bradford, Bradford Literary Agency
“[I dislike] inauthentic dialogue to tell the reader who the characters are, instead of showing who the characters are.”
—Jennifer Cayea, Avenue A Literary
“Many writers express the character’s backstory before they get to the plot. Good writers will go back and cut that stuff out and get right to the plot. The character’s backstory stays with them—it’s in their DNA. To paraphrase Bruno Bettelheim: ‘The more the character in a fairy tale is described, the less the audience will identify with him. … The less the character is characterized and described, the more likely the reader is to identify with him."
—Adam Chromy, Artists and Artisans
“I’m turned off when a writer feels the need to fill in all the backstory before starting the story; a story that opens on the protagonist’s mental reflection of their situation is a red flag.”
—Stephany Evans, FinePrint Literary Management
“One of the biggest problems is the ‘information dump’ in the first few pages, where the author is trying to tell us everything we supposedly need to know to understand the story. Getting to know characters in a story is like getting to know people in real life. You find out their personality and details of their life over time.”
—Rachelle Gardner, WordServe Literary