The First Five Pages: A Writer's Guide to Staying Out of the Rejection Pile

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

I bought this book to help me figure out how I can stop getting rejected so often. I wish I would have read it before I started writing.As clear and concise as Strunk & White, this little book is an important addition to any writer's toolbox. It covers all the bases on how to make bad writing good, and good writing great.If I had a complaint, it would be that the examples of what not to do are so horribly written. Then again, they get the point across without a lot of time-consuming study!

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.

I have been writing for over four years now and have read and attended countless books and seminars. I HATE how most books and such make promises they don't keep such as - Write a Blockbuster, etc. I found that this book keeps its word. I read and studied it like crazy, made intense revisions to my book, and resubmitted it to agents. IT WORKED! Thanks to The First Five Pages I NOW HAVE MY FIRST AGENT!I advise that all writers read it. Even those who already have an agent. It gives great advise and really helped me critique and focus on work own work.

Noah asked me, as the "Critters.org guy," to read a galley of TFFP; I was terribly impressed (and no, I don't know him beyond a few emails, nor am I in any way involved in this). The book neatly describes the majority of what I personally find wrong with beginners' (even much pro :-) writing. Yet it's not particularly a book about how to write -- it's a book about *How not to get rejected*.The title is from the widely practiced, but perhaps not as widely known, concept that you only have the first few pages to make an impression. (He said he'd have called it "The First Five Sentences" -- but he didn't think people would believe him.)What he's done is categorized the kinds of things that he as an agent and editor sees so much of in slush reading that they earn a manuscript a near instant rejection. If you want to sell stuff, you need to know how editors look at your work. This is the book to read.I agree with him so much, and like it so well, my only regret is that I didn't write it myself. :-)