Have you ever been told to “stick with a book and it’ll get better?” Sometimes, we discover that chapter one is a little slow, but once the story starts moving it’s well worth the read. 

Not all readers are willing to stick around past page one though. Our lives are busy and our time is valuable. We shouldn’t expect our readers to bear with us through the exposition as we “set up the story.” 

This is why we must learn to drop our characters into the middle of the action and hook our readers with a pivotal moment at the beginning.

In medias res is the Latin phrase meaning “in the middle of things.” Many of us may have encountered this saying in school, often while studying Greek mythology.

These myths are notoriously known for dropping the reader immediately into the action. In Homer’s The Iliad, for example, we find ourselves amid the Trojan War without prelude. 

This technique captures your readers’ attention from the outset. The reader doesn’t have to flip through pages of exposition where they are introduced to characters’ backgrounds before the “real story” begins.

Instead, starting your story in the middle of the action provides a dynamic storytelling experience.  Readers encounter characters whose past is evident. The “how they got here?” question is answered as the reader moves through the journey with the characters themselves.

Today’s blog post will focus on the “why” and the “how.” 

Why start your story in the middle of the action? 

How can you successfully incorporate this technique to engage your readers from start to finish?

Use this blog post to captivate your readers from page one!

Yes, starting your story in the middle of the action hooks readers immediately, but this technique does so much more than that!

Your character arrives on the page already developed. Their story doesn’t start once you’ve begun writing. Multi-faceted, authentic characters are individuals with a past- a past that the reader doesn’t know about yet.

Starting your story in the middle of the action speaks to your characters as living and breathing humans who are actively influencing their circumstances. 

This technique creates immediate intrigue for the audience who wonders how the characters reached this current point. The writer will strive to answer this question through the trail of breadcrumbs placed throughout the narrative. 

Your beginning can touch on the theme or message of the story.

Like, creating your personal brand, the thematic undertone will provide a certain flavour to your narrative.

Considering how to capture this theme right from the start allows you to write a cohesive story.

Action isn’t limited to the physical events in the story- fight scenes, war, crime, and chase scenes can only hold so much interest for the reader.

The stakes are high when they reflect the turmoil of your characters or speak to the thematic backdrop of your story.

Action can be found in all genres if you’re willing to think beyond physical action-packed scenes.

Your narrative may incorporate emotional turmoil for your characters.

Have you ever read a book where the depths of emotional pain that your character is put through leave you unable to breathe? That’s a form of action.

Alternatively, your narrative may incorporate heated arguments or revelations so startling to the characters and/or the audience that your heart is racing.

Stories can be just as thrilling without the fight scenes.

Your story and the genre you write in will help you determine the appropriate types of action that feel authentic to the world you’re creating. 

Whatever type of action you incorporate, ensure that it will reveal something important about the main characters (their fears, desires, conflicts, or misbeliefs).

Your action should serve your character development, not be a dressing to make the story more appealing.

How do you start your narrative in the middle of the action so that it seems believable and relevant? 

Below you will find some strategies to use while writing that captivating introductory scene.

Before drafting your novel, you should have an idea of the journey that you plan to take your main character(s) on. Some preliminary outlining of your story will allow you to develop a cohesive and connected narrative.

Thus, you will already know the driving force in your novel- the clash between your character’s internal desires and the internal/ external struggles that will lead them to growth. 

If your character were to remain in the same space- dreaming of their desires but never making moves toward them- then there wouldn’t be a story to tell. 

The beginning of your story will be a moment that drives your character forward. They might not make the best decision, they might even run in the opposite direction right now but they are actively putting future events into motion. 

Use your introduction to choose a pivotal scene that is crucial to the plot and will make readers want to know more.

Readers will then be flipping pages, searching for the answers to their questions, and wondering how the character is going to resolve this conflict.

Throughout your narrative, there are a lot of scenes that will move your plot forward or answer questions your readers are burning to learn, but not all of these scenes deserve the spotlight at the beginning of your story. 

This scene needs to majorly influence or affect your main character. A story is only of interest to readers if they connect with your MC.

No matter how action-packed, mysterious, or adventurous your narrative is, the external influences on your character will not keep your readers engaged on their own. 

Connecting with the character, recognizing depth and authenticity within them, and witnessing how the event will shape the backbone of your character’s growth are what keep your audience reading.  

Ensure the scene that you choose is significant enough to warrant starting the story there.

Think back on some of your favourite novels. Did any of them have an impactful first sentence that left the reader wanting more? 

For example, Celeste Ng’s “Little Fires Everywhere,” begins with the statement… “Sometimes you need to scorch everything to the ground and start over.” 

Or, Markus Zusak’s not-so-small, punch-you-in-the-gut revelation at the beginning of “The Book Thief,” which reads: “Here is a small fact: You are going to die.”

Both of the above statements reel you in for a few reasons:

• They state a belief that many have in a not-so-subtle way
• They immediately jar you out of the cozy expectations of easing into the story
• They leave you wondering who is telling the story and why they have such a thought

Whether you decide to begin with a sweeping truth or a mystery waiting to be unravelled will depend on the narrative that you are writing.

Either way, within the first few sentences of your story, you have an opportunity to pack an unforgettable punch with just a few words. 

Craft a compelling opening statement that speaks to the truths or misbeliefs in your narrative.

When you think of “high stakes,” you may immediately picture world-saving adventures or tragic crimes. Yet, not all stories encompass these physically dramatic worlds. 

Your high stakes may be personal to the main character, hinging on the outcome of their future, romantic connections, or emotional turbulence.

The high stakes that you implement should foreshadow the plot of the narrative, giving readers a taste of what is to come. 

Your story does not need to start on a “typical day” in the life of your main character. The atypical can be closer than expected. 

Start in the middle of the action to highlight the conflict or situation that demands your readers’ attention.

You may only implement one of these strategies at the beginning of your manuscript.

Attempting to cram everything into your beginning might just backfire, leaving your readers feeling overstimulated and confused. 

Consider what makes the most sense for your plot. Play around with different introductions. Try combining strategies and get a feel for what works best. 

Every novel will begin differently. There is no cookie-cutter solution to captivating readers right from the start.

Let’s use a sample from my own WIP. This comes from the second novel in a fantasy series. 

As you read this excerpt, consider which of the above strategies I’ve used. 

Have I accomplished the task of starting in the middle of the action? Will my readers be craving to learn more? Or, do I still need to fine-tune this beginning? 

Feel free to share your thoughts in the comments below. 

Critiquing your own work is great, but taking opportunities to practice your critical analysis skills on others’ work can help you see the areas for growth in your manuscripts.

So, let’s see how unbiased I can be!

“Months had passed – perhaps, just days. Life in the Wildlands was nothing if not unremarkable, although Kimala would see it differently. 

Tessa lived among the Vulgari now. She’d left Aria. She’d left all of it behind her, but even then, she’d known that wasn’t true. The seven kingdoms weren’t yet done with her. How could they be, when she carried a ghost from the past around her neck?”

~ Julia Malone

Without giving too much away… I’d say this leads into a pivotal scene for the first chapter.

The MC (Tessa) is running away from the present, reliving the past, and searching to connect with that ghost. Her emotional turmoil and desire for what she has lost drives her journey forward as she heals and grows.

I could have started this sequel right from where we left off at the end of book one, but that would have been slow-paced, featuring a grieving woman, whose hiding from the world and doing much of nothing other than ruminating. 

Instead, by fast-forwarding a few months, I can jump the readers right into the action. They know from that first sentence and the conclusion to book one what’s occurred. They don’t need to read about it.

While I see a gem hidden in this beginning, I wouldn’t say that I’ve hooked the audience with the first sentence, certainly not to the likes of great writers like Jane Austen.

Although the “ghost around her neck,” may seem mysterious without the context of book one, readers would know exactly what she was referring to.

So, perhaps during the revision stage, I’ll want to reconsider the use of this particular strategy.

The high stakes here would be Tessa’s current inability to move beyond her losses. We see the depiction of a woman who is broken, who must choose between remaining less than she was or moving on and forging a new path for herself. 

Rebirth is a high stake that can’t be accomplished without the main character’s willingness to wade through this uncomfortable and painful process.

Overall, I think I’m on my way to starting in the middle of the action.

What do you think? Strong points? Weak points? Next steps for improvement? 

Take this reflection as an opportunity to reread the introduction of your Work in Progress. Circle, highlight or write in the margins your thoughts. Keep reworking it until it shines!

Beginning your story in the middle of the action has real benefits for you and your audience.

Readers are engaged from the beginning, wondering how your characters got to this place of high stakes and are curious to know about their backstory. 

At times, it may appear difficult to start this way, but I promise that if you spend time reflecting on which technique will serve your story best and work to connect your in medias res moment to the major thematic and plot points of your narrative, you’ll discover that your writing is tighter because of it.

I encourage you to experiment with the above strategies!

Try rewriting the opening scene of your current work-in-progress. Compare it to your original introduction.

Discover how these strategies can enhance your storytelling!

Share your favourite examples of in medias res in the comments below.

What narratives have drawn you in from page one?

Talk soon!

Julia