A writer asked me this week, “Can I start my novel contest submission from a place other than the beginning chapter of my book?” You can start anywhere. The challenge you meet with any beginning other than the beginning is knowing who is who and where your story stands.
Using a mid-book entry, you must establish character and underscore the theme of a book at an incredible pace. The judges will determine your ability to create characters as part of their scoring. This can be a challenge while starting mid-book. Not necessarily, of course. An author can always color outside the lines of accepted practices.
Think for a little bit, however, about why it’s important to start the sample someplace other than the start. The samples of film stories, trailers, illustrate the distinction in showing your audience your story.
First, a movie trailer may be a cousin to the book sample, but the trailer is edited so you get the essence of the story. If you can do this for a book “writing sample” (the phrase for a passage of a book sent to agents, contests, and editors) then good for you. But movie editing and novel writing have great differences. The phrases that apply here are collages and medleys for movies, and guidebooks and maps for novels. In a book you have to know where you’re at when you begin. You have a legend for a map. It’s not easy to carry a judge’s or reader’s imagination across half the story without a legend up front.
Second, visual storytelling is not the same craft as creating fiction on a page. A movie lets your eyes see settings and your ears hear actors to establish your place in the story. On talk shows, the actors are asked to “set up the clip” we watch. This takes up words to do in a writing sample, words that might help more if they’re used in dramatic, descriptive, evocative writing.
Third, you get more time to establish the magic when you’re writing a movie. Music, colors and lighting, the spoken word: they all splash over your screen in a trailer in a matter of seconds. The theme of the movie, its main questions, often roll toward you in phrases that float across the screen. “What would you do,” it might ask, “when salvation costs you everything?” In books you get this with your jacket-flap or back cover writing. A writing contest gives you a shot at this with a synopsis, if they accept one as part of your entry.
When you’re tempted to start a writing sample in mid-book for a contest, look over the categories on the scoresheet and ask yourself if you can demonstrate competence in each section. If you can see the way, go for it. You’ll probably not be the only person to so this. A judge must understand who is who and where the desires and motives lay in this new land, however.
Although you get about 300 words of synopsis to set up your clip, in the Writers League of Texas Manuscript contest, you’ll work with 2,450 words at most to show your drama. It’s not an impossible constraint to overcome. But choosing first steps in a writing sample is like crossing a stream using steps upon rocks. You find your path starting from the bank where it’s dry. Beginnings give book samples better traction.