aadler: (Skyline)
[personal profile] aadler
 
I picked this up from [livejournal.com profile] sunnyd_lite, though it had been running for some time:

20.  It’s a fairly widespread notion: to categorize human interactions as a series of contests, competitions, even battles. (“Zero-Sum Game”, 2008: BtVS)
 
19.  She spotted him coming up the street, and knew while he was still little more than a moving silhouette that she had found her mark. (“Jasmine Tears”, 2008: BtVS)
 
18.  Tito has a pickup truck. (“Precious Cargo”, 2007: BtVS)
 
17.  They were not city-dwellers, for the seething press of numbers was unwelcome to them, jangling against the more meaningful communion they shared with one another. (“X-Factorial”, 2007: BtVS)
 
16.  Doomed. (“An’ Foolish Notion”, 2007: BtVS/Angel)
 
15.  Basically, it was just that kind of night. (“Walking After Midnight”, 2007: BtVS)
 
14.  Once upon a time, there was a princess. (“God Save the Queen”, with [livejournal.com profile] sroni, 2006: BtVS)
 
13.  She hadn’t expected ever to use this particular trick again; it had been formulated to meet a specific situation, of a type that didn’t come often. (“Spur of the Moment”, with [livejournal.com profile] sroni, 2006: MacGyver/Modesty Blaise)
 
12.  He was outside her window again, hundreds of feet above the street. (“Icarus”, 2006: Superman)
 
11.  Some things never changed. (“Fish and Visitors”, with [livejournal.com profile] vastid87, 2006: BtVS)
 
10.  Her chest aches, lungs heaving to expel foreign breath. (“Quatrain”, 2006: BtVS)
 
9.  “I can’t believe they did this,” the man said. (“Learning Curve”, 2006: BtVS)
 
8.  Ethan normally scorns petty revenge, preferring to think more grandly. (“Parting Shot”, 2006: BtVS)
 
7.  The halls are a familiar haven, welcoming and comfortable, and Marcie keeps close to the wall more from custom than necessity or wariness. (“Yet to Be Seen”, 2006: BtVS)
 
6.  She stood in the pools of light from the street lamps, slim and blonde and pretty, hands on her hips and her mouth set in a pout. (“First Do No Harm”, 2006: BtVS)
 
5.  Marshall Flinkman is an untestable genius. (“Savant”, 2006: Alias)
 
4.  Allie was cranky this evening, which was hardly unusual, but just because Will was accustomed to it didn’t mean that he had much patience for it. (“Beg to Differ”, 2006: BtVS)
 
3.  Personality Integration Profile on Subject WM (“Rorschach”, 2005: BtVS)
 
2.  On Cordelia Chase’s twelfth birthday, something important happened, something of such deep and significant meaning to her that she never forgot it:
 
Nothing. (“Glass Ceiling”, 2005: BtVS)
 
1.  “When did you know?” she asked, her gaze focused inside the oversized coffee mug she held. (“Dusk Over Pompeii”, 2005: BtVS)

So, what do I see when I look over this list?
  • Shortest opening: 1 word
  • Longest opening: 27 words
  • Average: 14 words
     
  • Nine opening sentences are less than 10 words.
  • Four opening sentences run from 10 to 20 words.
  • Seven opening sentences run more than 20 words.
     
  • One opening ‘sentence’ is the header of a (fictional) psychological study.
  • Two opening sentences contain quotes.
  • Seven opening sentences consist of internal observations; i.e., from the POV of a character.
  • Ten opening sentences are straightforward statements.
     
  • Thirteen opening sentences are past-tense.
  • Six opening sentences are present-tense.
  • One opening sentence — the header — is non-tensed.
     
  • Three stories are drabbles, and all three have shorter opening sentences (average 8 words) than the overall average (14 words).
     
  • Three stories are set in non-BtVS fandoms, but the opening sentences show no stylistic differences from the others.
  • One opening sentence contains a semicolon.
  • Two opening sentences contain full colons.
  • One opening sentence contains a question mark.
  • Five opening sentences contain no commas.
  • Nine opening sentences contain one comma.
  • Six opening sentences contain two commas.

Overall, the analysis told me little new, and most of what I learned was from what wasn’t there. Considering how much I love semicolons, it surprised me a bit that I used so few in my openings. Likewise, I tend to long, involved sentences, and again there wasn’t much of that. So apparently I like to start things off somewhat crisply.

Though it doesn’t necessarily show from those first lines, I also like to take up the narrative at a point when events are already in motion. Rather than build a situation, I’m more likely to join it in progress.

One last thing: I note that none of the opening lines were first-person. That isn’t representative; close to 25% of all my stories have been told from a first-person perspective, they just came before the 20 most recent. Which tells me something in itself: I’ve been moving away from that perspective recently, though at least three of the ideas I have in planning will return to it.

So, that’s that.