In this post, we explore how to write first and last lines – with examples. We’ve created a quick start guide to writing first and last lines.
Read the other posts in our Quick Start series:
- A Quick Start Guide To Creating Characters
- A Quick Start Guide To Writing Fantasy
- A Quick Start Guide For Beating Writer’s Block
- A Quick Start Guide To Writing For Children
- A Quick Start Guide To Writing YA Fiction
- A Quick Start Guide To Writing A Memoir
- A Quick Start Guide To Writing Descriptions
- A Quick Start Guide To Writing Romance
- A Quick Start Guide To Writing Science Fiction
- A Quick Start Guide To Foreshadowing
- A Quick Start Guide To Writing An Inciting Incident
- A Quick Start Guide To Writing Dialogue
- A Quick Start Guide To Writing Crime Fiction
- A Quick Start Guide To Writing Emotions
- A Quick Start Guide To Writing Revenge
- A Quick Start Guide To Writing First & Last Lines
This post is about writing first and last lines.
Before we start – BIG SPOILER ALERT!
Right, now that’s out the way, let’s begin. Your first line, or lines, are the key that unlocks the door to the world of your book. Your last line, or lines, are the ones that keep readers hooked on you as an author. You want readers to remember those lines forever, not just as head knowledge, but with a shiver of emotion, one of delight or unease, or even sorrow. The lines need to be more than good. They need to be legendary. They set the tone of your whole book.
A Quick Start Guide To Writing First & Last Lines
Here are three ways to write legendary first and last lines.
Option 1- Write Emotional Contradiction And Cognitive Dissonance
Writing Tip: Your first line, whether it is a question, a statement, or a description should start by leading the reader in one comforting emotional direction. Add a phrase or a detail that seems to veer off into the opposite emotion. For the last line of the book write a statement of line of dialogue that reveals that the unease the reader felt was justified.
Goal: Your reader needs to feel that shiver of uncertainty at first, and then have it confirmed in the last line, or deepen the doubt the reader has been carrying about the main character or situation.
Example: Peter And Wendy by JM Barrie
First line: ‘All children, except one, grow up.’
Last line: ‘When Margaret grows up she will have a daughter, who is to be Peter’s mother in turn: and thus it will go on, so long as children are gay and innocent and heartless.’
Explanation: The phrase, ‘except one’, gives the reader a sense of unease. Does the author mean physically, emotionally, intellectually, or morally? The last word of the book answers that question. Peter Pan was heartless. Throughout the book – which despite what Disney would have us believe, is not a tale of children having fun and fighting pirates on a magical island – there is this sense of unease when it comes to Peter Pan himself. The real story is about kidnapping, abuse, Stockholm syndrome, murder, misogyny, jealousy, unresolved personal or intergenerational trauma, and violence. And both the first and last lines bracket that story. Peter Pan wasn’t the hero. He was the villain.
Examples: The Hunger Games by Suzanne Collins and White Oleander
by Janet Fitch have beginnings and endings that fit into option 1. Read more here: How To Write A Beginning And An Ending That Readers Will Never Forget
Option 2- Time Disruption Vertigo And Reflection
Writing Tip: Once you’ve written your book, go back and rewrite the opening and closing lines. Play with tenses, mix them up, write future events as if they are in the past. Echo your end at the beginning and your beginning at the end, as well as hinting at your plot in the end. Work on being subtle, rather than on-the-nose.
Goal: You want your reader to feel off-balance. Du Maurier does this by using the dream motif (but please, for the love of Shakespeare, don’t write a whole book that turns out to be one entire dream sequence!) and by moving the reader around in time before settling in the past to tell the story. Keeping your reader off-balance compels them to read more.
Example 1: Rebecca by Daphne Du Maurier
First Lines: ‘Last night I dreamt I went to Manderley again. It seemed to me I stood by the gate leading to the drive, and for a while I could not enter, for the way was barred to me…No smoke came from the chimney.’
Last lines: ‘The road to Manderley lay ahead. There was no moon. The sky above our heads was inky black. But the sky on the horizon was not dark at all. It was shot with crimson, like a splash of blood. And the ashes blew towards us with the salt wind from the sea.’
Explanation: The author drops the reader into three different time zones in the first line. We don’t really know where we are in the story to begin with. ‘Last night’ is the recent past, ‘dream’ is timeless, ‘again’ is the distant past, but the speaker is in the present. Chapter 1 continues in the timeless dream that occurred in the recent past. Chapter 2 is the present. Chapter 3 onwards is the past. This time disruption leaves the reader wanting to know more. What is Manderley? Why was the gate locked against her? Why was the place uninhabited. You want to read more. The first lines set up the sense of being off-balance, and of the narrator always being on the outside. Which is her experience throughout the book. She may be married to Maxim de Winter but she never seems to quite unlock his heart, his secrets, or Mrs Danvers’ approval etc.
The book begins in darkness and ends in darkness. In the start there is no smoke, in the end there is smoke, fire, and ash. At first, she is locked out and the place is abandoned, in the end it is destroyed and uninhabitable ever again. All her dreams for her future have turned to ash. The description of the sky is a reflection of one of the most important two scenes in the book; the shot, the crimson splash of blood, and the salt wind from the sea that reveals the boat in which Rebecca’s body is found. The plot hinges on these.
Example 2: Titus Groan by Meryn Peake.
First line: ‘Gormenghast, that is the main massing of the original stone, taken by itself would have displayed a certain ponderous architectural quality were it possible to have ignored the circumfusion of those mean dwellings that swarmed like an epidemic around its outer walls.’
Last lines: ‘Through honeycombs of stone would now be wandering the passions in their clay. There would be tears and there would be strange laughter. Fierce births and deaths beneath umbrageous ceilings. And dreams, and violence, and disenchantment. And there shall be a flame-green daybreak soon. And love itself will cry for insurrection! For tomorrow is also a day – and Titus has entered his stronghold.’
Explanation: In this case, the messing with time, especially in terms of the plot that has already happened and will happen again, takes place in the last line. These two lines also reveal that inanimate objects have just as much power as people if you write it well.
Option 3 – A Universal Personal
Writing Tip: Find that one emotion or experience that your main character has that is a universal one and write it as if it’s a personal confession from your main character. Think of things such as an event like a birth, death, first date, first day on the job, first rejection, a habit, a failing, a dream unfulfilled, a character flaw. It could be something as simple as your character once again forgetting to take shopping bags with her to the store.
Goal: If you want your reader to immediately identify with your main character, writing a line like, ‘I met Karl Marx when I was sixteen in Paris’, isn’t going to do that.
Example 1: Back When We Were Grownups by Anne Tyler
First Line: ‘Once upon a time, there was a woman who discovered she had turned into the wrong person.’
Last Line: ‘There is no true life. Your true life is the one you end up with, whatever it may be. You just do the best you can with what you’ve got.’
Explanation: Don’t we all, at some point, feel as if we were meant to be someone else? Someone better, different, rich, famous? Or maybe we feel we ‘coulda been a contender’ if only someone, something etc., had or hadn’t happened. Don’t we all make plans and then fail at them?
Example 2: Bridget Jones’s Diary by Helen Fielding
First line: ‘1. Stop smoking. 2. Develop a mature relationship with an adult man. 3. Go to the gym. 4. Be kinder and help others more. Sunday 1 January Weight 9st 3, alcohol units 14, cigarettes 22, calories 5424.’
Last line: ‘An excellent year’s progress.’ (Whited out)
Explanation: This is what is known as a ‘universal personal’. It’s utterly relatable experience, or emotion to nearly everyone on the planet. Your reader will immediately feel as if they know your main character personally. In a sense they do.
The Last Word
Additional Reading:
- How To Write A Beginning And An Ending That Readers Will Never Forget
- How To Write Epic Beginnings
- 5 Incredible Story Beginnings & Endings
Writing first and last lines often need more thought and care than the rest of the book – if you want them to be legendary. If you’d like to learn how to write a great book, sign up for one of the rich and in-depth courses that Writers Write offers and get your writing career off to a great start.

by Elaine Dodge. Author of The Harcourts of Canada series and The Device Hunter, Elaine trained as a graphic designer, then worked in design, advertising, and broadcast television. She now creates content, mostly in written form, including ghost writing business books, for clients across the globe, but would much rather be drafting her books and short stories.
More Posts From Elaine
- What Is A Character Bible & Why Do I Need One?
- A Quick Start Guide To Writing Revenge
- A Quick Start Guide To Writing Emotions
- Why A Good Vocabulary Is Important For Writers
- What Is Cozy Fiction? & How To Write It
- What Is A Cozy Fantasy?
- What is Romantasy & Why Is It So Popular?
- How Much Personal Experience You Need To Write Fiction
- A Quick Start Guide To Writing Crime Fiction
- What Can Jane Austen Teach Writers Today?
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