What I learned about writing – Introduction: Why Your Choice of Software Matters

Writing isn’t just about putting words on a page; it’s a craft that demands focus, organisation, and the right set of tools to bring ideas to life. The software you choose can:

  • Boost productivity – by cutting down on manual formatting and navigation.
  • Protect your creative flow – by offering distraction‑free modes and version control.
  • Scale with your project – from a single‑page article to a 500‑page novel or a multi‑chapter research thesis.

With a flood of options on the market, two camps dominate the conversation:

  1. Dedicated writing software (think Scrivener, Ulysses, yWriter).
  2. Run‑of‑the‑mill word processors (Microsoft Word, Google Docs, Apple Pages).

Let’s dive deep into the strengths, weaknesses, and ideal use‑cases for each, so you can make an informed decision that aligns with your workflow.


1. Dedicated Writing Software – The Specialist’s Toolkit

1.1 What Makes a “Dedicated” App Different?

Dedicated writing apps are built from the ground up for long‑form, project‑based writing. They go beyond the classic “type‑and‑print” paradigm and provide:

FeatureWhy It Matters
Project‑level organisation (folders, corkboards, outline view)Keeps chapters, scenes, research, and notes in one place without endless scrolling.
Distraction‑free modesFull‑screen or “typewriter” view clears the screen of UI clutter, helping you stay in the zone.
Version control & snapshotsCapture a “snapshot” of a chapter at any point and revert without losing later edits.
Export versatilityExport to ePub, Kindle, PDF, Word, plain text, and even manuscript‑ready formats with a single click.
Metadata & taggingAttach custom fields (e.g., POV, status, word count) for advanced sorting and filtering.

1.2 Scrivener – The Industry Standard

“If you write a novel, a screenplay, or a dissertation, Scrivener is the Swiss Army knife you never knew you needed.” — John H., bestselling author

Pros

✔️Scrivener Highlights
Robust BinderDrag‑and‑drop chapters, scenes, and research PDFs into a hierarchical tree.
Corkboard & OutlinerVisualise story arcs with index cards; rearrange with a mouse swipe.
Split‑Screen EditingView two documents side‑by‑side (e.g., manuscript + notes).
Built‑in TemplatesPre‑made templates for novels, scripts, non‑fiction, and academic papers.
Cross‑PlatformmacOS, Windows, iOS (sync via Dropbox).

Cons

❌Potential Drawbacks
Learning CurveThe sheer number of features can overwhelm newcomers.
Price$49 (Mac/Windows) + $29 (iOS) – a one‑time purchase, but higher than a free Google account.
CollaborationNot designed for real‑time co‑authoring (though you can share exported files).

1.3 Other Notable Dedicated Apps

AppIdeal ForStandout Feature
Ulysses (macOS/iOS)Bloggers, journalists, Apple‑centric writersSeamless iCloud sync + Markdown simplicity
yWriter (Windows)Screenwriters & novelists on a budgetFree, robust scene‑based organisation
Storyist (macOS/iOS)Fiction & script writersIntegrated storyboard & script formatting

2. Run‑of‑the‑Mill Word Processors – The Everyday Workhorse

2.1 Microsoft Word – The Classic Giant

Word has been the default for decades, and its capabilities have expanded far beyond a simple text editor.

Pros

✔️Word Strengths
Universal CompatibilityAlmost every publisher, editor, and academic institution expects a .docx file.
Advanced FormattingStyles, footnotes, cross‑references, tables of contents – all built‑in.
Track Changes & CommentsIdeal for collaborative editing with editors or co‑authors.
Add‑ins & MacrosCustomize with VBA scripts for repetitive tasks.
Desktop & Online VersionsUse the full‑featured desktop app or the cloud‑based Word Online.

Cons

❌Word Weaknesses
Project Management LacksNo native folder‑like binder; you’ll need to open multiple files or use a master document (which can be unstable).
Distraction‑Heavy UIRibbon, sidebars, and toolbars can pull focus away from writing.
Limited Export OptionsNot as straightforward to output to ePub or Kindle format without third‑party plugins.

2.2 Google Docs – The Cloud‑Centric Contender

Google Docs is the go‑to for real‑time collaboration, especially in remote teams or classrooms.

Pros

✔️Google Docs Benefits
Real‑Time CollaborationMultiple users can edit simultaneously with live cursors.
Automatic Cloud SavesNo risk of losing work due to hardware failure.
Add‑Ons MarketplaceExtend functionality (e.g., citation managers, grammar checkers).
Access AnywhereBrowser‑based; works on any OS with internet.
Free TierGenerous storage via Google Drive.

Cons

❌Google Docs Limitations
Limited Formatting & StylesComplex manuscript formatting (e.g., long TOCs) can be clunky.
No Built‑In Project ViewYou’ll need to manage individual files manually in Drive.
Offline ModeWorks, but requires setup; performance can be slower offline.
Export FormatsPrimarily PDF, Word, plain text; no native ePub/KDP export.

2.3 When Word Processors Shine

ScenarioRecommended Tool
Academic Papers (APA/MLA/Chicago)Word (styles, citations, footnotes)
Team Reports or Shared DocsGoogle Docs (real‑time editing)
Short‑Form Content (blog posts, newsletters)Either – choose based on collaboration needs
Final Manuscript Formatting for PublishersWord (industry standard)

3. Decision Matrix – Matching Tool to Writer Type

Writer ProfilePrimary NeedsBest Fit
Novelist (300‑500+ pages, heavy outlining)Project organisation, scene tracking, flexible exportScrivener (or Ulysses for Mac/iOS)
ScreenwriterScript formatting, beat boards, quick revisionsFinal Draft (industry) or Scrivener (script template)
Academic ResearcherCitation management, footnotes, large reference libraryWord (with EndNote/Zotero) or Google Docs + add‑on
Freelance BloggerFast drafting, SEO collaboration, easy publishingGoogle Docs (collab) or Word (if you prefer offline)
Non‑fiction Author (multiple chapters, interviews, PDFs)Mixed media integration, flexible export, version snapshotsScrivener
Team of EditorsReal‑time comments, change tracking, simultaneous editingGoogle Docs (or Word Online)

4. Practical Tips to Get the Most Out of Your Chosen Software

  1. Start with a Template – Most dedicated apps ship with ready‑made templates that handle margins, headers, and chapter styles. Save time by customising once and reusing.
  2. Leverage Cloud Sync – Even if you love Scrivener, store your project folder in Dropbox or OneDrive to protect against hardware loss.
  3. Combine Tools – Write first drafts in a distraction‑free environment (Scrivener, Ulysses, or even a plain‑text editor), then import into Word for final formatting and submission.
  4. Use Keyboard Shortcuts – Learn the top 10 shortcuts for your platform; they shave seconds off every page.
  5. Backup Regularly – Set up an automatic backup schedule (e.g., weekly zip of your project folder) regardless of cloud storage.

5. Bottom Line: There Is No One‑Size‑Fits‑All Answer

  • If your writing is project‑heavy, non‑linear, and you need robust organisation, dedicated software like Scrivener (or its Mac‑centric cousins) is the clear winner.
  • If you work primarily in teams, need instant collaboration, or are delivering polished documents to publishers or academia, Microsoft Word or Google Docs will serve you better.

My personal recommendation? Use a hybrid workflow: draft and outline in Scrivener for its unrivalled project management, then export your manuscript to Word for final polishing, formatting, and sharing. For collaborative pieces, switch to Google Docs during the editing phase, then bring the clean version back into Word.


Bonus: Quick Comparison Chart

FeatureScrivenerUlyssesMicrosoft WordGoogle Docs
Project Binder✅✅❌❌
Distraction‑Free Mode✅✅❌❌
Real‑Time Collaboration❌❌✅ (online)✅
Advanced Export (ePub, Kindle)✅✅❌ (needs add‑on)❌
Citation ManagementLimitedLimited✅ (via add‑ins)✅ (via add‑ons)
Price (as of 2026)$49 (one‑time)$49.99/yr$149.99 (Microsoft 365)Free (Google Workspace)
Learning CurveModerateLowLowLow

Take Action Today

  1. Identify your primary writing goal (novel, article, thesis, team report).
  2. Match the goal to the software using the matrix above.
  3. Download a free trial (Scrivener offers a 30‑day trial; Word has a 60‑day Microsoft 365 trial).
  4. Test a small project—write a single chapter or a 1,000‑word article. Observe how the tool fits your workflow.
  5. Commit to the software that feels like an extension of your creative mind, not a barrier.

Happy writing! 🚀

365 Days of Writing, 2026 – 217

Day 217 – What constitutes a strong first line

Hook, Line, and Sinker: What Makes a Masterpiece First Line (And Why Readers Can’t Look Away)

You have about three seconds.

In the age of endless scrolling, infinite browser tabs, and shrinking attention spans, a reader’s finger hovers constantly over the back button or the swipe-up gesture. Whether you’re writing a sprawling epic fantasy, a punchy B2B blog post, or a gripping journalistic exposé, your opening line is your one and only bouncer. It either opens the velvet rope or tells the reader to move along.

So, what constitutes a strong first line—one that makes it utterly impossible for the reader not to know more?

Let’s break down the psychology of the irresistible hook, analyse some of the greatest opening lines in literature and non-fiction, and look at how you can weaponise your own introductions.


The Anatomy of an Irresistible First Line

A great first line doesn’t just sound pretty (though rhythm and cadence certainly help). It performs specific psychological heavy-lifting. It usually achieves at least one—if not all—of the following:

  1. It creates an “Information Gap”: Coined by economist George Loewenstein, the “information gap theory” states that curiosity happens when we feel a gap between what we know and what we want to know. A great opening line introduces a puzzle, a paradox, or an abrupt shift in reality that demands resolution.
  2. It establishes an unmistakable voice: Tone is the personality of your writing. A strong first line immediately signals who is speaking and how they see the world, whether that voice is cynical, lyrical, urgent, or darkly comedic.
  3. It drops the reader in media res: Great openers rarely start with throat-clearing, weather reports, or background exposition. They throw the reader into the deep end of the pool and let them figure out how to swim.

5 Types of Powerful First Lines (With Examples)

To understand how to craft your own magnetic openers, let’s look at five distinct archetypes of killer first lines and dissect why they work.

1. The Audacious Declaration

This type of opening makes a bold, sometimes shocking claim that forces the reader to sit up straight. It challenges conventional wisdom or immediately stakes out a controversial stance.

  • The Example: “Happy families are all alike; every unhappy family is unhappy in its own way.” — Leo Tolstoy, Anna Karenina
  • Why it works: Tolstoy doesn’t ease you into 19th-century Russian aristocracy; he drops a sweeping, absolute philosophical maxim. It immediately prompts the reader’s brain to object: Are all happy families really alike? Let me read on to see what he means. It frames the entire novel as an exploration of human misery and complexity.

2. The Unsettling Fact or Paradox

Nothing halts a scroll faster than a statement that defies logic or makes you slightly uncomfortable. It creates an instant cognitive itch that only reading the next sentence can scratch.

  • The Example: “It was a bright cold day in April, and the clocks were striking thirteen.” — George Orwell, 1984
  • Why it works: Notice the sleight of hand. Orwell lulls you into a sense of normalcy with “a bright cold day in April”—and then shatters reality with “the clocks were striking thirteen.” Without a single word of exposition, you instantly understand that something is deeply, chillingly wrong with this world. You must read on to find out what kind of society operates on a thirteen-hour clock.

3. The Confession or Secret

We are hardwired to lean in when someone whispers a secret. Starting a piece with a deeply personal confession—or an implication of guilt—creates instant intimacy and urgency.

  • The Example: “Caller ID does not adequately protect us from the people we already know.” — Lionel Shriver, We Need to Talk About Kevin
  • Why it works: This line is brilliant because it takes a mundane, modern technology (Caller ID) and twists it into a source of dread. It implies violence, domestic tension, and inescapable trauma right out of the gate. We know immediately that the narrator is hiding from someone, and the suspense is instantly palpable.

4. The Action-Packed Drop (In Media Res)

Instead of starting at the beginning, start in the middle of the chaos. This forces the reader to play catch-up, assembling the puzzle pieces in real-time.

  • The Example: “The man in black fled across the desert, and the gunslinger followed.” — Stephen King, The Dark Tower: The Gunslinger
  • Why it works: With just twelve words, King establishes pursuit, high stakes, stark geography, and two opposing forces. Who is the man in black? Why is he fleeing? Who is the gunslinger? You don’t know yet, but the kinetic energy of the sentence drags you across the desert sand behind them.

5. The Deadpan Absurdity

Humor and shock value are close cousins. When a narrator states something wildly bizarre with complete, deadpan seriousness, the reader is hooked by sheer curiosity and dark delight.

  • The Example: “You better not never tell nobody but God.” — Alice Walker, The Colour Purple
  • Why it works: This line is devastatingly intimate. Written in vernacular, it instantly establishes the protagonist’s youth, vulnerability, and the immense weight of the secret she is about to share. It feels illicit to read it, which makes looking away impossible.

How to Write Your Own Killer First Line

Knowing what a great first line looks like is one thing; reverse-engineering one for your own piece is another. When you are editing your introduction, run your opening sentence through this checklist:

  • Cut the throat-clearing: Delete any introductory phrases like “In today’s fast-paced world…” or “It has often been said that…” Start with the noun or the action.
  • Check the rhythm: Read your first line aloud. Does it have a musicality to it? Does it land with a punch, or does it trail off?
  • Ask: “So what?”: If your first line is “Content marketing is important for businesses,” your reader will yawn. If it is “Your content strategy is actively repelling your best customers,” your reader will panic—and keep reading.
  • Save it for last: Often, you won’t find your killer first line until you’ve finished writing the entire piece. Once you know what your story or article is actually about, go back to the top and write an opening that serves as the ultimate gateway.

The Bottom Line

A great first line is a promise. It’s a pact between you and the reader that says: If you give me your time, I will reward you with something extraordinary.

Master the art of the hook, and you’ll never have to worry about losing your audience before the journey has even begun.

Top 5 sights on the road less travelled – La Paz

Discovering La Paz: Five Hidden Gems Off the Beaten Path

Introduction
Nestled amidst the towering peaks of the Andes, La Paz is a city of vibrant cultures and breathtaking landscapes. While many travellers flock to its iconic Witches Market and the Death Road, the Bolivian capital holds countless secrets for the curious. For those seeking an authentic, less-travelled journey, here are five extraordinary experiences that redefine what La Paz has to offer.


1. Cholitas Licking: A Celebration of Andean Identity
Step into the striking world of the cholitas, traditional Aymara women, and immerse yourself in their fearless blend of style, resilience, and heritage. This unique cultural encounter, often described as “Cholitas Licking,” features fashion shows, workshops, and artisan markets where cholitas showcase their vibrant polleras (dresses) and colonial-era masks. More than a spectacle, this experience challenges stereotypes and honours indigenous identity. Visit their community centres in El Alto for a deeper understanding of their role as cultural ambassadors.

Tip: Respect cultural significance—ask for permission before photographing participants.


2. Kallawaya School of Traditional Healing: Ancient Wisdom in Modern Medicine
Journey to the outskirts of La Paz to explore the Kallawaya School of Traditional Healing, a living archive of pre-Columbian medicinal knowledge. The Kallawaya people, renowned for their healing practices, offer workshops on herbal remedies, music therapy, and shamanic rituals. Wander their medicinal garden, where over 200 plant species are catalogued, and learn how to craft teas or tinctures for common ailments. This is a rare chance to connect with Bolivia’s spiritual and ecological heritage.

Tip: Book workshops in advance—offerings (regalos) to the mountain (apacheta) are customary.


3. Wuli Qhapaq Cable Car to Chimehua: Sky-High Serenity
Traverse the urban sprawl of La Paz aboard the Wuli Qhapaq (Red) cable car network. While most travellers stick to the main routes, venture to the Chimehua line, a golden cable car that extends into the Illimani Valley. This lesser-known route offers panoramic views of the Illimani volcano and descends into the lush, remote countryside. Alight at a local farm for a chicha (corn beer) tasting or a guided hike through cloud forests teeming with orchids.

Tip: Bring a reusable bottle for coca tea from the local market—perfect for altitude adjustment.


4. Sopocachi Caves: Earth’s Hidden Art Gallery
Just 20 minutes from downtown La Paz, the Sopocachi Cave System reveals a subterranean wonderland of stalactites, stalagmites, and ancient rock art. These caves, once inhabited by pre-Columbian communities, are adorned with mysterious symbols and animal carvings. The self-guided tour is affordable (£16-£20) and led by local guides who share tales of the caves’ role in ancestral rituals.

Tip: Visit early in the day to avoid crowds and bring a headlamp for optimal visibility.


5. Trek to the Valley of the Moon: A Martian Landscape
While Salar de Uyuni is Bolivia’s most famous attraction, venture toward the Valley of the Moon (Valle de la Luna) for a quieter, equally dramatic experience. Located near Salar de Cotapata, this surreal red and orange badlands, sculpted by wind and erosion, feels like another planet. Guided day tours from La Paz (lasting 8-10 hours) include a detour to this hidden gem, where photography and hiking are unspoiled by crowds.

Tip: Visit during dry seasons (April–September) for the best colour contrasts without mud.


Conclusion: La Paz, Redefined
La Paz is more than its skyline—it’s a gateway to the extraordinary. By stepping beyond the cobbled streets of the city, travellers can uncover traditions, landscapes, and communities that epitomise Bolivia’s soul. Whether you’re sipping chicha at a cloud forest farm or tracing your fingers along ancient rock art, these hidden adventures promise memories that linger long after your boots return to solid ground. So, pack your sense of curiosity and let La Paz surprise you.

Final Tip: Learn a few Aymara phrases—Suma qhapaq kama (Beautiful is the life well lived) is a poetic way to end your journey. 🌄

In a word: Bug

Being a computer programmer, this word had a particular meaning for me, where a part of the programme did something other than expected.

Like unexpectedly stopping and freezing the screen.  Some very famous programs and operating systems used to have a lot of these ‘bugs’.

More familiarly for all of us, a bug is an unwanted insect pest like a fly, or an ant, though there’s a host of those pesky ‘bugs’.

You could bug someone by hanging around and asking inane questions.

You could also bug someone by surreptitiously planting a microphone on them, or somewhere in their house, car, or office.

A person could have a bug, meaning there’s some germ or bacteria they’ve picked up that makes them very ill, like a cold, or pneumonia.  Or, more than likely, it’s a bug going around.  School children are particularly susceptible.

And if you like reading books you might have caught the reading bug.

You could tell someone to bug off, that is, to go away.

I might want to bug out, as in disappear, especially if there was someone I didn’t want to see.

Skeletons in the closet, and doppelgangers

A story called “Mistaken Identity”

How many of us have skeletons in the closet that we know nothing about? The skeletons we know about generally stay there, but those we do not, well, they have a habit of coming out of left field when we least expect them.

In this case, when you see your photo on a TV screen with the accompanying text that says you are wanted by every law enforcement agency in Europe, you’re in a state of shock, only to be compounded by those same police, armed and menacing, kicking the door down.

I’d been thinking about this premise for a while after I discovered my mother had a boyfriend before she married my father, a boyfriend who was, by all accounts, the man who was the love of her life.

Then, in terms of coming up with an idea for a story, what if she had a child by him that we didn’t know about, which might mean I had a half-brother or sister I knew nothing about. It’s not an uncommon occurrence from what I’ve been researching.

There are many ways of putting a spin on this story.

Then, in the back of my mind, I remembered a story an acquaintance at work was once telling us over morning tea, that a friend of a friend had a mother who had a twin sister and that each of the sisters had a son by the same father, without each knowing of the father’s actions, both growing up without the other having any knowledge of their half brother, only to meet by accident on the other side of the world.

It was an encounter that in the scheme of things might never have happened, and each would have remained oblivious of the other.

For one sister, the relationship was over before she discovered she was pregnant, and therefore had not told the man he was a father. It was no surprise the relationship foundered when she discovered he was also having a relationship with her sister, a discovery that caused her to cut all ties with both of them and never speak to either from that day.

It’s a story with more twists and turns than a country lane!

And a great idea for a story.

That story is called ‘Mistaken Identity’.

Top 5 sights on the road less travelled – Santiago

Discover Santiago’s Hidden Treasures: 5 Off-the-Beaten-Path Adventures

Santiago, Chile’s vibrant capital, is often associated with its iconic landmarks like Cerro San Cristóbal and the Central Cathedral. But for travellers eager to uncover the city’s soul, there’s a world of hidden gems waiting to be explored. Let’s venture beyond the guidebooks and dive into Santiago’s lesser-known treasures that promise unforgettable experiences. Grab your sense of curiosity and join us on this journey!


1. Barrio Lastarria: A Cultural Escape

Tucked just north of downtown, Barrio Lastarria is a bohemian enclave where cobblestone streets, ivy-clad buildings, and creative energy reign. This neighbourhood is a haven for artists, intellectuals, and foodies. Stroll through its tree-lined avenues to discover cozy cafés, indie bookstores, and art galleries like Galería Gabriela Mistral. Don’t miss the Cine Lastarria, a beloved 19th-century cinema that hosts independent films and cultural events. For lunch, try El Rincón de Mafalda, a charming parrilla where locals gather for juicy empanadas and artisanal wines. Weekends are best spent exploring its bustling outdoor markets and hidden patios that buzz with live music.


Visit the heart of Santiago, see the Metropolitan Cathedral, the Presidential Palace (La Moneda), and soak in the atmosphere with street performers at the main square, Plaza de Armas. Historic Downtown Santiago, centred around the lively Plaza de Armas, is Chile’s historical heart, featuring iconic buildings like the Metropolitan Cathedral, Central Post Office, and National History Museum, all surrounding the leafy square with its monuments, street performers, and vibrant local atmosphere, offering a perfect starting point for exploring the city’s rich heritage and culture. Visitors can enjoy free entry to the square and surrounding museums, observe local life, and easily access it via the Metro.


3. Mapocho Valley: A Modern Cultural Oasis

Once an industrial hub, the Mapocho Valley has been transformed into Santiago’s hippest cultural destination. Home to the Gabriela Mistral Park, this riverside haven offers jogging trails, art installations, and the striking Biomuseo, a modern art space with rotating exhibitions. Nearby, the Pabellón 5 hosts innovative food and craft fairs, while the Museo del Banco Central showcases Chilean art and history. Arrive in the evening to witness the glow of the Mapocho Wharf, a perfect spot to sip a chicha morada (purple corn drink) and watch the city skyline shimmer.


4. Mercado de las Pulgas: Time-Travel at the Flea Market

Every Saturday and Sunday, the Mercado de las Pulgas (Flea Market) resurrects Santiago’s colonial past in the Mansión Villarrica. Spread over 30 blocks, this open-air bazaar is a treasure hunt for antiques, handicrafts, and vintage clothing. Haggling is part of the fun—pick up a handwoven poncho or a pre-Columbian artifact at stalls owned by passionate vendors. The surrounding Parque Forestal is perfect for a post-shopping stroll, where street performers and food trucks add to the lively atmosphere.


5. Fundo Balmaceda: A Botanical Sanctuary

Tucked away in the leafy suburb of Ñuñoa, Fundo Balmaceda is a hidden garden paradise. This historic estate features lush botanical gardens, tranquil ponds, and a small museum of pre-Columbian art. It’s a peaceful retreat from the city’s hustle, where you can picnic, bird-watch, or simply lose yourself in the beauty of over 1,500 species of plants. The best part? Admission is free, and the site’s blend of nature and history makes it a local favourite. Tip: Visit during the day (it’s closed at night) and bring a camera for those Insta-worthy moments.


Local Tips for the Best Experience

  • Getting Around: Use Santiago’s efficient metro system or bike-share program (Bicentenario) to reach these spots.
  • Timing: Plan your visits around local events—check out the Santiago a Mil theatre festival or Ciclo del Terror horror film season for added flair.
  • Safety: Stay in well-populated areas, especially in neighbourhoods like Barrio Lastarria and La Vega Central.

Conclusion: Santiago Beyond the Surface
Santiago’s magic isn’t just in its skyline or its museums—it’s in the whispered stories of its hidden corners. From the depths of the catacombs to the blooms of Fundo Balmaceda, these experiences offer a deeper connection to Chile’s heritage and creativity. So, step off the main road; the most rewarding adventures lie where few tourists tread. ¡Buen viaje!


Final Note: Ready to explore? Share your favourite hidden spots in Santiago in the comments—let’s keep the road less travelled ever-evolving! 🌿

365 Days of Writing, 2026 – 217

Day 217 – What constitutes a strong first line

Hook, Line, and Sinker: What Makes a Masterpiece First Line (And Why Readers Can’t Look Away)

You have about three seconds.

In the age of endless scrolling, infinite browser tabs, and shrinking attention spans, a reader’s finger hovers constantly over the back button or the swipe-up gesture. Whether you’re writing a sprawling epic fantasy, a punchy B2B blog post, or a gripping journalistic exposé, your opening line is your one and only bouncer. It either opens the velvet rope or tells the reader to move along.

So, what constitutes a strong first line—one that makes it utterly impossible for the reader not to know more?

Let’s break down the psychology of the irresistible hook, analyse some of the greatest opening lines in literature and non-fiction, and look at how you can weaponise your own introductions.


The Anatomy of an Irresistible First Line

A great first line doesn’t just sound pretty (though rhythm and cadence certainly help). It performs specific psychological heavy-lifting. It usually achieves at least one—if not all—of the following:

  1. It creates an “Information Gap”: Coined by economist George Loewenstein, the “information gap theory” states that curiosity happens when we feel a gap between what we know and what we want to know. A great opening line introduces a puzzle, a paradox, or an abrupt shift in reality that demands resolution.
  2. It establishes an unmistakable voice: Tone is the personality of your writing. A strong first line immediately signals who is speaking and how they see the world, whether that voice is cynical, lyrical, urgent, or darkly comedic.
  3. It drops the reader in media res: Great openers rarely start with throat-clearing, weather reports, or background exposition. They throw the reader into the deep end of the pool and let them figure out how to swim.

5 Types of Powerful First Lines (With Examples)

To understand how to craft your own magnetic openers, let’s look at five distinct archetypes of killer first lines and dissect why they work.

1. The Audacious Declaration

This type of opening makes a bold, sometimes shocking claim that forces the reader to sit up straight. It challenges conventional wisdom or immediately stakes out a controversial stance.

  • The Example: “Happy families are all alike; every unhappy family is unhappy in its own way.” — Leo Tolstoy, Anna Karenina
  • Why it works: Tolstoy doesn’t ease you into 19th-century Russian aristocracy; he drops a sweeping, absolute philosophical maxim. It immediately prompts the reader’s brain to object: Are all happy families really alike? Let me read on to see what he means. It frames the entire novel as an exploration of human misery and complexity.

2. The Unsettling Fact or Paradox

Nothing halts a scroll faster than a statement that defies logic or makes you slightly uncomfortable. It creates an instant cognitive itch that only reading the next sentence can scratch.

  • The Example: “It was a bright cold day in April, and the clocks were striking thirteen.” — George Orwell, 1984
  • Why it works: Notice the sleight of hand. Orwell lulls you into a sense of normalcy with “a bright cold day in April”—and then shatters reality with “the clocks were striking thirteen.” Without a single word of exposition, you instantly understand that something is deeply, chillingly wrong with this world. You must read on to find out what kind of society operates on a thirteen-hour clock.

3. The Confession or Secret

We are hardwired to lean in when someone whispers a secret. Starting a piece with a deeply personal confession—or an implication of guilt—creates instant intimacy and urgency.

  • The Example: “Caller ID does not adequately protect us from the people we already know.” — Lionel Shriver, We Need to Talk About Kevin
  • Why it works: This line is brilliant because it takes a mundane, modern technology (Caller ID) and twists it into a source of dread. It implies violence, domestic tension, and inescapable trauma right out of the gate. We know immediately that the narrator is hiding from someone, and the suspense is instantly palpable.

4. The Action-Packed Drop (In Media Res)

Instead of starting at the beginning, start in the middle of the chaos. This forces the reader to play catch-up, assembling the puzzle pieces in real-time.

  • The Example: “The man in black fled across the desert, and the gunslinger followed.” — Stephen King, The Dark Tower: The Gunslinger
  • Why it works: With just twelve words, King establishes pursuit, high stakes, stark geography, and two opposing forces. Who is the man in black? Why is he fleeing? Who is the gunslinger? You don’t know yet, but the kinetic energy of the sentence drags you across the desert sand behind them.

5. The Deadpan Absurdity

Humor and shock value are close cousins. When a narrator states something wildly bizarre with complete, deadpan seriousness, the reader is hooked by sheer curiosity and dark delight.

  • The Example: “You better not never tell nobody but God.” — Alice Walker, The Colour Purple
  • Why it works: This line is devastatingly intimate. Written in vernacular, it instantly establishes the protagonist’s youth, vulnerability, and the immense weight of the secret she is about to share. It feels illicit to read it, which makes looking away impossible.

How to Write Your Own Killer First Line

Knowing what a great first line looks like is one thing; reverse-engineering one for your own piece is another. When you are editing your introduction, run your opening sentence through this checklist:

  • Cut the throat-clearing: Delete any introductory phrases like “In today’s fast-paced world…” or “It has often been said that…” Start with the noun or the action.
  • Check the rhythm: Read your first line aloud. Does it have a musicality to it? Does it land with a punch, or does it trail off?
  • Ask: “So what?”: If your first line is “Content marketing is important for businesses,” your reader will yawn. If it is “Your content strategy is actively repelling your best customers,” your reader will panic—and keep reading.
  • Save it for last: Often, you won’t find your killer first line until you’ve finished writing the entire piece. Once you know what your story or article is actually about, go back to the top and write an opening that serves as the ultimate gateway.

The Bottom Line

A great first line is a promise. It’s a pact between you and the reader that says: If you give me your time, I will reward you with something extraordinary.

Master the art of the hook, and you’ll never have to worry about losing your audience before the journey has even begun.

“The Devil You Don’t”, she was the girl you would not take home to your mother!

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John Pennington’s life is in the doldrums. Looking for new opportunities and prevaricating about getting married, the only joy on the horizon was an upcoming visit to his grandmother in Sorrento, Italy.

Suddenly, he is left at the check-in counter with a message on his phone telling him the marriage is off, and the relationship is over.

If only he hadn’t promised a friend he would do a favour for him in Rome.

At the first stop, Geneva, he has a chance encounter with Zoe, an intriguing woman who captures his imagination from the moment she boards the Savoire, and his life ventures into uncharted territory in more ways than one.

That ‘favour’ for his friend suddenly becomes a life-changing event, and when Zoe, the woman who he knows is too good to be true, reappears, danger and death follow.

Shot at, lied to, seduced, and drawn into a world where nothing is what it seems, John is dragged into an adrenaline-charged undertaking, where he may have been wiser to stay with the ‘devil you know’ rather than opt for the ‘devil you don’t’.

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The cinema of my dreams – Was it just another surveillance job? – Episode 6

I’m back home and this story has been sitting on a back burner for a few months, waiting for some more to be written.

The trouble is, there are also other stories to write, and I’m not very good at prioritising.

But, here we are, a few minutes opened up and it didn’t take long to get back into the groove.

Did he just witness an execution?

I could see the cogs in his mind turning over.  Calculating what it would take to get past me.

Running would only help me.

Walking, well, he wasn’t going to get far.

A fight?  He might be more experienced, but I was angrier, now controlled anger aided by rational thinking.  There would be no blindly lashing out.

Reconnaissance, Surveillance, and Self-defence.

We were ten yards apart when he stopped, moving to one side near the wall.  I’d seen him looking for a weapon, but luckily none were on offer.  Someone kept this laneway very clean.

A car had been parked at the end, and I’d seen him try the doors.  Locked.  It would not be available for his escape.

He glared at me.  “You’re Jackson, right?”

A brief moment of shock.  How did he know my name?

“Who I am is irrelevant.”

“So you say.  But I can assure you this is all wrong.”

Rule number seventy, or something like that, the target will say anything to get you offside.

“You harmed my friends.”

“Then, you’re in big trouble if you regard them as friends.  In this business, we don’t have friends.”

He was right in one respect.  Having friends gave our enemies leverage.  But without friends, the loneliness of the job could break you.

But, right then I wasn’t interested in his opinion.

When I didn’t answer he said, “This is a setup.  I’m not the enemy; I’m one of you.  I made a mistake, and now they’ve set the dogs on me.”

I didn’t ask why we were following him, that was above my pay grade, added to the fact I didn’t want to know.  Knowing the perfidy of the target could compromise how I treated him.

“You’re the target, why I don’t care.”

“Look, I haven’t got much time.  Find a man called Alfred Nobbin.  I work for him.  I found something I shouldn’t, which is why you are here, now.  Tell him the evidence is ….”

I didn’t hear the bullet that killed him, but it came from behind me, hit him in the chest, its force sending him backwards, and he was dead before he hit the ground.”

I turned but there was no one there.

© Charles Heath 2019-2025

Another excerpt from “Strangers We’ve Become” – A sequel to ‘What Sets Us Apart’

It was the first time in almost a week that I made the short walk to the cafe alone.  It was early, and the chill of the morning was still in the air.  In summer, it was the best time of the day.  When Susan came with me, it was usually much later, when the day was much warmer and less tolerable.

On the morning of the third day of her visit, Susan said she was missing the hustle and bustle of London, and by the end of the fourth she said, in not so many words, she was over being away from ‘civilisation’.  This was a side of her I had not seen before, and it surprised me.

She hadn’t complained, but it was making her irritable.  The Susan that morning was vastly different to the Susan on the first day.  So much, I thought, for her wanting to ‘reconnect’, the word she had used as the reason for coming to Greve unannounced.

It was also the first morning I had time to reflect on her visit and what my feelings were towards her.  It was the reason I’d come to Greve: to soak up the peace and quiet and think about what I was going to do with the rest of my life.

I sat in my usual corner.  Maria, one of two waitresses, came out, stopped, and there was no mistaking the relief in her manner.  There was an air of tension between Susan and Maria I didn’t understand, and it seemed to emanate from Susan rather than the other way around.  I could understand her attitude if it was towards Alisha, but not Maria.  All she did was serve coffee and cake.

When Maria recovered from the momentary surprise, she said, smiling, “You are by yourself?”  She gave a quick glance in the direction of my villa, just to be sure.

“I am this morning.  I’m afraid the heat, for one who is not used to it, can be quite debilitating.  I’m also afraid it has had a bad effect on her manners, for which I apologise.  I cannot explain why she has been so rude to you.”

“You do not have to apologise for her, David, but it is of no consequence to me.  I have had a lot worse.  I think she is simply jealous.”

It had crossed my mind, but there was no reason for her to be.  “Why?”

“She is a woman, I am a woman, she thinks because you and I are friends, there is something between us.”

It made sense, even if it was not true.  “Perhaps if I explained…”

Maria shook her head.  “If there is a hole in the boat, you should not keep bailing but try to plug the hole.  My grandfather had many expressions, David.  If I may give you one piece of advice, as much as it is none of my business, you need to make your feelings known, and if they are not as they once were, and I think they are not, you need to tell her.  Before she goes home.”

Interesting advice.  Not only a purveyor of excellent coffee, but Maria was also a psychiatrist who had astutely worked out my dilemma.  What was that expression, ‘not just a pretty face’?

“Is she leaving soon?” I asked, thinking Maria knew more about Susan’s movements than I did.

“You would disappoint me if you had not suspected as much.  Susan was having coffee and talking to someone in her office on a cell phone.  It was an intense conversation.  I should not eavesdrop, but she said being here was like being stuck in hell.  It is a pity she does not share your love for our little piece of paradise, is it not?”

“It is indeed.  And you’re right.  She said she didn’t have a phone, but I know she has one.  She just doesn’t value the idea of getting away from the office.  Perhaps her role doesn’t afford her that luxury.”

And perhaps Alisha was right about Maria, that I should be more careful.  She had liked Maria the moment she saw her.  We had sat at this very table, the first day I arrived.  I would have travelled alone, but Prendergast, my old boss, liked to know where ex-employees of the Department were, and what they were doing.

She sighed.  “I am glad I am just a waitress.  Your usual coffee and cake?”

“Yes, please.”

Several months had passed since we had rescued Susan from her despotic father; she had recovered faster than we had thought, and settled into her role as the new Lady Featherington, though she preferred not to use that title, but go by the name of Lady Susan Cheney.

I didn’t get to be a Lord, or have any title, not that I was expecting one.  What I had expected was that Susan, once she found her footing as head of what seemed to be a commercial empire, would not have time for details like husbands, particularly when our agreement made before the wedding gave either of us the right to end it.

There was a moment when I visited her recovering in the hospital, where I was going to give her the out, but I didn’t, and she had not invoked it.  We were still married, just not living together.

This visit was one where she wanted to ‘reconnect’ as she called it, and invite me to come home with her.  She saw no reason why we could not resume our relationship, conveniently forgetting she indirectly had me arrested for her murder, charges both her mother and Lucy vigorously pursued, and had the clone not returned to save me, I might still be in jail.

It was not something I would forgive or forget any time soon.

There were other reasons why I was reluctant to stay with her, like forgetting small details, an irregularity in her character I found odd.  She looked the same, she sounded the same, she basically acted the same, but my mind was telling me something was not right.  It was not the Susan I first met, even allowing for the ordeal she had been subjected to.

But, despite those misgivings, there was no question in my mind that I still loved her, and her clandestine arrival had brought back all those feelings.  But as the days passed, I began to get the impression my feelings were one-sided and she was just going through the motions.

Which brought me to the last argument, earlier, where I said if I went with her, it would be business meetings, social obligations, and quite simply her ‘celebrity’ status that would keep us apart.  I reminded her that I had said from the outset I didn’t like the idea of being in the spotlight, and when I reiterated it, she simply brushed it off as just part of the job, adding rather strangely that I always looked good in a suit.  The flippancy of that comment was the last straw, and I left before I said something I would regret.

I knew I was not a priority.  Maybe somewhere inside me, I had wanted to be a priority, and I was disappointed when I was not.

And finally, there was Alisha.  Susan, at the height of the argument, had intimated she believed I had an affair with her, but that elephant was always in the room whenever Alisha was around.  It was no surprise when I learned Susan had asked Prendergast to reassign her to other duties. 

At least I knew what my feelings for Alisha were, and there were times when I had to remember she was persona non grata.  Perhaps that was why Susan had her banished, but, again, a small detail; jealousy was not one of Susan’s traits when I first knew her.

Perhaps it was time to set Susan free.

When I swung around to look in the direction of the lane where my villa was, I saw Susan.  She was formally dressed, not in her ‘tourist’ clothes, which she had bought from one of the local clothing stores.  We had fun that day, shopping for clothes, a chore I’d always hated.  It had been followed by a leisurely lunch, lots of wine and soul searching.

It was the reason why I sat in this corner; old habits die hard.  I could see trouble coming from all directions, not that Susan was trouble or at least I hoped not, but it allowed me the time to watch her walking towards the cafe in what appeared to be short, angry steps; perhaps the culmination of the heat wave and our last argument.

She glared at me as she sat, dropping her bag beside her on the ground, where I could see the cell phone sitting on top.  She followed my glance down, and then she looked unrepentant back at me.

Maria came back at the exact moment she was going to speak.  I noticed Maria hesitate for a second when she saw Susan, then put her smile in place to deliver my coffee.

Neither spoke nor looked at each other.  I said, “Susan will have what I’m having, thanks.”

Maria nodded and left.

“Now,” I said, leaning back in my seat, “I’m sure there’s a perfectly good explanation as to why you didn’t tell me about the phone, but that first time you disappeared, I’d guessed you needed to keep in touch with your business interests.  I thought it somewhat unwisethat you should come out when the board of one of your companies was trying to remove you, because of what was it, an unexplained absence?  All you had to do was tell me there were problems and you needed to remain at home to resolve them.”

My comment elicited a sideways look, with a touch of surprise.

“It was unfortunate timing on their behalf, and I didn’t want you to think everything else was more important than us.  There were issues before I came, and I thought the people at home would be able to manage without me for at least a week, but I was wrong.”

“Why come at all.  A phone call would have sufficed.”

“I had to see you, talk to you.  At least we have had a chance to do that.  I’m sorry about yesterday.  I once told you I would not become my mother, but I’m afraid I sounded just like her.  I misjudged just how much this role would affect me, and truly, I’m sorry.”

An apology was the last thing I expected.

“You have a lot of work to do catching up after being away, and of course, in replacing your mother and gaining the requisite respect as the new Lady Featherington.  I think it would be for the best if I were not another distraction.  We have plenty of time to reacquaint ourselves when you get past all these teething issues.”

“You’re not coming with me?”  She sounded disappointed.

“I think it would be for the best if I didn’t.”

“Why?”

“It should come as no surprise to you that I’ve been keeping an eye on your progress.  You are so much better doing your job without me.  I told your mother once that when the time came I would not like the responsibilities of being your husband.  Now that I have seen what it could possibly entail, I like it even less.  You might also want to reconsider our arrangement, after all, we only had a marriage of convenience, and now that those obligations have been fulfilled, we both have the option of terminating it.  I won’t make things difficult for you if that’s what you want.”

It was yet another anomaly, I thought; she should look distressed, and I would raise the matter of that arrangement.  Perhaps she had forgotten the finer points.  I, on the other hand, had always known we would not last forever.  The perplexed expression, to me, was a sign she might have forgotten.

Then, her expression changed.  “Is that what you want?”

“I wasn’t madly in love with you when we made that arrangement, so it was easy to agree to your terms, but inexplicably, since then, my feelings for you changed, and I would be sad if we parted ways.  But the truth is, I can’t see how this is going to work.”

“In saying that, do you think I don’t care for you?”

That was exactly what I was thinking, but I wasn’t going to voice that opinion out loud.  “You spent a lot of time finding new ways to make my life miserable, Susan.  You and that wretched friend of yours, Lucy.  While your attitude improved after we were married, that was because you were going to use me when you went to see your father, and then almost let me go to prison for your murder.”

“I had nothing to do with that, other than to leave, and I didn’t agree with Lucy that you should be made responsible for my disappearance.  I cannot be held responsible for the actions of my mother.  She hated you; Lucy didn’t understand you, and Millie told me I was stupid for not loving you in return, and she was right.  Why do you think I gave you such a hard time?  You made it impossible not to fall in love with you, and it nearly changed my mind about everything I’d been planning so meticulously.  But perhaps there was a more subliminal reason why I did because after I left, I wanted to believe, if anything went wrong, you would come and find me.”

“How could you possibly know that I’d even consider doing something like that, given what you knew about me?”

“Prendergast made a passing comment when my mother asked him about you; he told us you were very good at finding people and even better at fixing problems.”

“And yet here we are, one argument away from ending it.”

I could see Maria hovering, waiting for the right moment to deliver her coffee, then go back and find Gianna, the café owner, instead.  Gianna was more abrupt and, for that reason, was rarely seen serving the customers.  Today, she was particularly cantankerous, banging the cake dish on the table and frowning at Susan before returning to her kitchen.  Gianna didn’t like Susan either.

Behind me, I heard a car stop, and when she looked up, I knew it was for her.  She had arrived with nothing, and she was leaving with nothing.

She stood.  “Last chance.”

“Forever?”

She hesitated and then shook away the look of annoyance on her face.  “Of course not.  I wanted you to come back with me so we could continue working on our relationship.  I agree there are problems, but it’s nothing we can’t resolve if we try.”

I had been trying.  “It’s too soon for both of us, Susan.  I need to be able to trust you, and given the circumstances, and all that water under the bridge, I’m not sure if I can yet.”

She frowned at me.  “As you wish.”  She took an envelope out of her bag and put it on the table.  “When you are ready, it’s an open ticket home.  Please make it sooner rather than later.  Despite what you think of me, I have missed you, and I have no intention of ending it between us.”

That said, she glared at me for a minute, shook her head, then walked to the car.  I watched her get in and the car drive slowly away.

No kiss, no touch, no looking back. 

© Charles Heath 2018-2025

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