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Source: https://writers.stackexchange.com/a/38517
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

Source: https://writers.stackexchange.com/a/38517
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

I am a discovery writer. HERE is my answer to the "How to Open a Novel" Question.

However, I do have a formula. Open with a name. In your case the name of your (real) protagonist (the imprisoned one). Doing something, hearing something, sensing something about to change in his situation. This does not have to be long, it can be less than a page. But it is important to NOT "trick" the reader, as you say you intend to do. It is very difficult to pull off. By opening on your real protagonist, readers assume that person IS the one they should be paying attention to.

Something like the jailed protagonist is having premonitions, troubled dreams in which he is found and freed, hope when he has had none in centuries. Thoughts he has not had since his jailing come to mind again, he's been a waiting machine for so long they feel strange. Something is going to change, he doesn't know what it is. He hopes it is not just him finally losing his sanity.

THEN after this very short chapter, a page or two, Chapter Two opens with the name of your Orc commander. I'll call him Oscar. This is our POV for this chapter. Give Oscar a "throwaway" problem to solve, one that doesn't advance the plot really. An argument to settle, or a shortage of something to solve. A sickness in camp. That gives you a conflict to keep the reader reading, and also a chance to see Oscar walking, talking, and doing something; _action_ for the reader to imagine. Oscar solves his throwaway problem, scouts find the castle, and Oscar makes plans for the raid in the morning.

In Chapter Three, back to the jailed protagonist. It is morning. Readers know Oscar is about to raid. The hero is ready, his premonitions are strong, he waits. Finally he hears noises. Orc language. There has been no noise in this castle in centuries, his premonitions are confirmed. He waits. An Orc enters his hall, rapping the walls with a stick. (I'm naming Oscar's brother Peter).

> The stick rapped the walls. An Orc called out, shouting, "Peter!"
> 
> Finally, the mage spoke. "You will find no Peter here. I am the only prisoner of this castle."
> 
> Silence. He spoke again. "Did you hear me, Orc?"
> 
> "I heard you. Not sure what to make of it. Which cell are you in?"
> 
> "Third down, on the left. I cannot escape, you can come see me."
> 
> "I'll wait on that, until I have others here."
> 
> "Then I suggest you fetch your general, if that is what you still call him."
> 
> "A commander. Yes, I believe I will."
> 
> He heard the Orc begin to walk, then begin to run. His heart raced in elation and anticipation. The plan to silence him had failed.

As for all your world building, it is good to do, but put it aside. Don't succumb to world-builder's disease, feeling like you have to write about this great world you created. You don't, and it is boring, unless it is told **in context** as something important to the story. They have to travel to Mystic Cave, and that is 1000 miles away from King's Bridge, where they stand, and they need a way to get there fast.

Your world-building only **matters** if it **matters** to the actions and decisions the characters take. It is good to be **consistent** in your description of the world when it does matter, and that is the value of maps and notes. But don't recite a bunch of history and dead heroes that you could excise from the story without changing a thing about how the heroes behave and decide what to do.

Original score: 4