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The First Five Pages: A Writer'S Guide To Staying Out of the Rejection Pile, by Noah Lukeman
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- Sales Rank: #6562010 in Books
- Published on: 2001
- Binding: Paperback
Most helpful customer reviews
359 of 372 people found the following review helpful.
If you write, you need this book.
By Victoria Tarrani
Readers and editors are over burdened with books, book deals, writers, publicity, and other aspects of their daily routine. They are expected to read manuscripts at home, so it is no wonder that to get through a large slush pile editors use the precedent: find reasons to reject manuscripts in order to go on to the next one.
This book does not teach 'how to write,' but how to avoid the mistakes that send your manuscript to the recycle bin. That is the craft of writing.
To be successful, you have to capture your audience in the first five pages. Noah Lukeman, a prestigious editor turned agent knows the secrets of successful writing. In reality, you must capture your reader in the first five words, sentences, or paragraphs with a strong hook and the good writing.
Lukeman arranged the chapters in The First Five Pages to show each process in rejecting manuscripts. Follow the steps, and if you are lucky, you might get a contract. Do not follow the steps, and the only reason your manuscript will reach the one person who can make a difference is through a fluke.
Each chapter concludes with write and rewrite examples and practices. The Lukeman way is included at the back of the book. The only way to become a better writer is to write. The following is only a brief synopsis of a few chapters.
Presentation: The number one reason aspiring writers get rejections is that the work is inappropriate for the market. Simply put: do not send a bodice-ripper, swashbuckling tale to someone representing coffee table books. Other problems are spelling errors, sloppiness, faded text, and dirty paper; they all indicate carelessness that is generally reflected throughout the book. Research your market, and prepare your manuscript according to the instructions given by the agent, editor, or publisher. If they want Ariel font, give it to them.
Adjectives and Adverbs: The next step to rejection is the overuse or misuse of modifiers. These words tell rather than show your noun. "If a day is described as 'hot, dry, bright and dusty,'" these words are tedious and the image becomes significantly unimportant. Overuse is very easy to spot by a cursory glance.
Sound: If your manuscript has reached this level, it is being read. Pacing, rhythm, meter, or beat is about the way your prose reveals the story. "Prose can be technically correct, but rhythmically unpleasant." Read your work aloud; if it does not sound right to you, pay attention.
Comparison: Analogy, simile, and metaphor can be overdone. I read about 1/3 of a book recommended to me as an excellent thriller. The plot, characters, dialogue, details, and descriptions were good. I could not read the book because everything is not like something else, and every paragraph or three included a simile.
Style: If the writing feels forced or exaggerated, or the writer began to showcase his words rather than the story, the probability of rejection is high. Another nit for me is redundancy; this is a matter of using the same or similar word in close proximity. It is also a reason for rejection.
I recommend two books to my clients or fledgling writers. This is one of them. THe other is Self-Editing for Fiction Writers: How to Edit Yourself into Print, by Renni Browne.
Victoria Tarrani
114 of 116 people found the following review helpful.
A Sharp Bite of Reality
By RoseDog.com
Noah Lukeman's portrayal of overworked editors looking for just one reason to shoot your beloved work into the rejection pile is a sharp bite of reality that some writers won't want to feel. Like it or not, Lukeman is bluntly asserting that most writers are rejected by agents and publishers because they simply can't pass first muster-and that the margin for failure is very narrow.
Lukeman's book is a gutsy reminder that success as a writer is hard won and that writing is a craft like any other and must be learned-the hard way. If (in terms of numbers alone) the odds are stacked against you each time an editor or agent opens your work - then all the more reason you should be as good a writer as you can. The critical, probing exercises found at the end of each chapter are likely to be valuable to writers not only because of the very practical way in which they are presented, but because they also have the virtue of supporting Lukeman's central conviction that writers can train their minds towards critical thought-and through critical thought comes better writing. New writers will pore over his exercises in detail, while more skilled writers will use them to throw new light on specific problem areas.
The glimpses Lukeman offers into the pent-up pressure within agent and editors offices, and the "read to reject" rule that prevails throughout the publishing industry also represent valuable insights into the context in which each writer's work is reviewed. And his frank assessment of some writers' abilities is obviously the result of having been on the receiving end of a lot of poor writing in his time. But while he is sometimes impatient towards writers Lukeman is never scathing, presumably because he seems genuinely to believe that anyone can train her/himself to be a better writer.
For this reason, although his stated objective is to help writers avoid the mistakes that will send them to the rejection pile, Lukeman is in fact offering a much larger opportunity to any writer who wants to seize it. He is offering tools to help train self-critical thought in the minds of those whose solitary activity can so easily steer them towards self-indulgence and uncritical acceptance of their work.
It's an excellent book and at such a reasonable price it's also a great investment.
345 of 387 people found the following review helpful.
Doesn't teach much about writing
By A Customer
If you know much about writing at all--if you've taken courses or published anything or read other good books-- this book probably won't be very useful to you. I was attracted by the title and the fact that it was written by an agent but got very little from it on WRITING--the most interesting aspect was that it was an agent's point of view and it told something about why manuscripts are rejected, but it was mostly obvious stuff I already knew. The whole first two-thirds of the book has pointers like don't have misspellings or a messy manuscript or use too many adverbs or draw on your manuscript or write grammatically incorrect sentences that are hard to follow. As other reviewers have noted, the examples are often blatant and laughable: they illustrate the obvious about melodrama and boring dialogue, for example--like, who wouldn't know, "I can't pay the rent. You must pay the rent" should be avoided?
What I, as a writer, need is more specifics and finer distinctions about what distinguishes good writing from poor,--more substance-- and this book taught me very little about that. Far better is SELF EDITING FOR FICTION WRITERS, by two professional editors who understand good writing and know how to give pointers and lessons on how to achieve it, or HOW TO WRITE A DAMN GOOD NOVEL, for an understanding on structure and drama vs. melodrama, or NARRATIVE FICTION, a classic textbook used in colleges around the country. I notice most the reviewers here who liked the book seem to be non-writers--i.e. the lawyer fraternity brother--or beginners who need to know to double space, use one-inch margins, and not write dialogue that is hard to follow. Unless you fall into one of those groups, you might be better off with another text.
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