Bringing the Dead to Life Notes on Twilight by Bill Johnson

A Story is a Promise

I'm always curious when a book becomes a phenomena. Twilight, by Stephenie Meyer, is such a novel. So I bought it to see how the story 'works' to draw in its audience. In these notes I'll begin by breaking down the novel's opening preface line by line.

First line,

I'd never given much thought to how I would die--though I'd had reason enough in the last few months--but even if I had, I would not have imagined it like this.

This is pure drama, which I define as an anticipation of an outcome. There are many dramatic questions here.

Why did the narrator have reasons to imagine his or her death?
What kind of death is the narrator facing, that he or she couldn't have imagined it?
What situation does the narrator find him or herself in?
Where is the narrator?

To get the answer to these questions, the reader has to read the next sentence. That is the prime responsibility of the first sentence of a novel, that a reader be compelled to read a second sentence. That's why this kind of mysterious first sentence is often seen in popular novels. A first sentence that is not compelling becomes a first step in a reader disengaging from a novel. I teach that it's three steps and the reader is gone.

There's a difference between a dramatic question and a question....

A Story is a Promise

Bill Johnson (Story Is Promise) on "Twilight" Prologue and More

Notes on the Preface of Twilight by Stephenie Meyer

"I saw the film before reading the books, and my first idea--in reading the Prologue--was that it was film editing.

"The brief tantalizing teaser at the beginning to get you to realize, oh, it's not just some teen whining about her devastatingly cute boyfriend; but something that is life and death and even spiritual.

"I was glad for it.

"Mushy stuff--and dear Bella is a mushy, mis-thinking lover, who is at her best when she BRAVELY FEELS, not thinks.

"The prologue immediate says this. Great hook. "

--Neale Sourna


Story is Promise Deep Characterization

"Writers do often write THEIR lives and fears to the detriment of their characters, no matter age, gender, or expertise.

"Woman author, 50+, who should've known better with NY editors to correct her error--and didn't.

" 'The Witching Hour' takes about 90 or so pages to get to the main characters who can actually do anything. Why the previous bits weren't cut or moved deeper in is painful to read.

"My first Rice. And a slight insult/compliment, as I was told my "Frames" script reminded them of her.

--Neale Sourna