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Leads are pivotal to all pieces. If the opening does not grab the reader’s attention then they will not continue reading. Leads are what grabs the audience and drags them into the piece of writing. Children need to understand that the leads to their writing set the tone for what is to follow. If you want people to read your message, you need to lead them into the text.
The purpose of a lead is to involve the reader with what is happening within the text. There are some aspects that need to be established but the essence of the lead is to connect the reader with the piece of writing. Therefore, there needs to be an element of intrigue or emotion in the opening of a text. The reader needs to feel invested and want to discover more and so continue deeper into the story. |
Leads still need to establish aspects of the story. There needs to be an introduction of a character, there needs to be a setting and there needs to be an opportunity for a story to unfold based on what we learn. The key is to create a mood or scene that establishes these aspects to the reader but does so in a manner that is engaging and captivating.
There are many different types of leads and each one can be effective if used appropriately in the correct context. Sometimes, finding the perfect lead can be difficult. It is a good idea to explore a variety of leads when creating a longer text. Focusing on the lead and its impact provides an opportunity to rewrite pieces and give feedback. Sometimes using a combination of different types of leads can be another measure to draw in and engage the audience.
Begin in the Action
This is probably the best piece of advice to start an engaging piece of writing. Begin with action, with characters doing something so that the reader feels like they are automatically a part of what is occurring within the text. There is no slow build up – it is now and the reader is along for the ride. E.g. Tom darted through the shadows; his heart racing, footsteps just behind.
Dialogue (talking)
Beginning a text mid conversation allows the reader to meet characters and wonder what is occurring. It can be a helpful way add intrigue or emotion into a text. E.g. “Quick! Over here!”, “You promise not to tell?”, or “Sammy, look out!”
Onomatopoeia (sound)
A sound is one way to capture a reader’s attention. It is a sound start but can be ineffective if is it not followed by another lead such as action or dialogue. E.g. Crash! Grandma’s china doll was in 1000 pieces and mum would be home any minute.
Description
Setting the scene or zooming in on a character can be an effective method of leading the reader into the text. A description of rich vocabulary that paints a picture or raises intrigue can make the audience feel like they are there in the moment with the story that is unfolding. E.g. The warm rays glistened on the surface of the water as the cool breeze brushed the tears rolling down her face.
One Word
Short sentences are powerful. When used effectively they can build tension or have a profound impact on the reader. One word, or a series of one-word sentences emphasises the pause and creates time for the reader to consider their meaning. It drags the reader into the text. E.g. Pain. All he felt was pain., or Destruction. Devastation. Death
Thought
This lead gives the audience an insight directly into the character’s head. An instant connection is made as the reader is now part of the character’s insight and feelings. When used effectively, this is a very powerful tool. E.g. “I always hated exams.”, “Birthdays are the worst time of the year.”, or “Orange. Who would wear an orange dress to their wedding?”
Question
Asking the audience, a thought-provoking question brings about a connection. By considering what has been asked and formulating their own perception the reader is connecting and investing in the text. E.g. Has time ever stood still?
Fact
A relevant fact preceding the story can ignite a curiosity in the reader. Finding out a new piece of information or seeing it link to the text is an engaging way to connect an audience. E.g. The most devastating volcanic eruption was by Mount Tambora in 1815. And that’s how Mr Tombourn got his nickname.
Quote
A famous or popular quote resonates with audiences. They offer an implied meaning which helps the reader predict where the story may go. It can also provide an avenue of curiosity as the reader will continue to find out how the quote is tied in with the story. E.g. “Rome wasn’t built in a day.”
Flashback
This technique takes the reader back to an earlier place in time. It is a significant event that has not doubt caused change within the character and their future endeavours will be relevant to this time. This gives the audience an understanding to why a character acts in a particular way or is on a particular path. E.g. Last Christmas is when everything changed. It began like any other Christmas until I unwrapped the unnamed gift.
The first lines to a text are like a window into the entire work (Graves, 1989). They show the reader what is to come and what they can expect. If the opening lines can engage the audience through a combination of emotion and intrigue, then the author can effectively lead the reader into the story they wish to tell.
Hints to get the reader involved in the action and identifying with the main character straight away:
To help children to discover how to write effective leads, there are numerous strategies that can be implemented. However, in the nature of keeping it simple and using techniques that work, the advice will be to model effective openings and to write, write, and write some more. Below are suggestions of strategies that can be used to help students begin to explore effective leads.
There are many different types of leads and each one can be effective if used appropriately in the correct context. Sometimes, finding the perfect lead can be difficult. It is a good idea to explore a variety of leads when creating a longer text. Focusing on the lead and its impact provides an opportunity to rewrite pieces and give feedback. Sometimes using a combination of different types of leads can be another measure to draw in and engage the audience.
Begin in the Action
This is probably the best piece of advice to start an engaging piece of writing. Begin with action, with characters doing something so that the reader feels like they are automatically a part of what is occurring within the text. There is no slow build up – it is now and the reader is along for the ride. E.g. Tom darted through the shadows; his heart racing, footsteps just behind.
Dialogue (talking)
Beginning a text mid conversation allows the reader to meet characters and wonder what is occurring. It can be a helpful way add intrigue or emotion into a text. E.g. “Quick! Over here!”, “You promise not to tell?”, or “Sammy, look out!”
Onomatopoeia (sound)
A sound is one way to capture a reader’s attention. It is a sound start but can be ineffective if is it not followed by another lead such as action or dialogue. E.g. Crash! Grandma’s china doll was in 1000 pieces and mum would be home any minute.
Description
Setting the scene or zooming in on a character can be an effective method of leading the reader into the text. A description of rich vocabulary that paints a picture or raises intrigue can make the audience feel like they are there in the moment with the story that is unfolding. E.g. The warm rays glistened on the surface of the water as the cool breeze brushed the tears rolling down her face.
One Word
Short sentences are powerful. When used effectively they can build tension or have a profound impact on the reader. One word, or a series of one-word sentences emphasises the pause and creates time for the reader to consider their meaning. It drags the reader into the text. E.g. Pain. All he felt was pain., or Destruction. Devastation. Death
Thought
This lead gives the audience an insight directly into the character’s head. An instant connection is made as the reader is now part of the character’s insight and feelings. When used effectively, this is a very powerful tool. E.g. “I always hated exams.”, “Birthdays are the worst time of the year.”, or “Orange. Who would wear an orange dress to their wedding?”
Question
Asking the audience, a thought-provoking question brings about a connection. By considering what has been asked and formulating their own perception the reader is connecting and investing in the text. E.g. Has time ever stood still?
Fact
A relevant fact preceding the story can ignite a curiosity in the reader. Finding out a new piece of information or seeing it link to the text is an engaging way to connect an audience. E.g. The most devastating volcanic eruption was by Mount Tambora in 1815. And that’s how Mr Tombourn got his nickname.
Quote
A famous or popular quote resonates with audiences. They offer an implied meaning which helps the reader predict where the story may go. It can also provide an avenue of curiosity as the reader will continue to find out how the quote is tied in with the story. E.g. “Rome wasn’t built in a day.”
Flashback
This technique takes the reader back to an earlier place in time. It is a significant event that has not doubt caused change within the character and their future endeavours will be relevant to this time. This gives the audience an understanding to why a character acts in a particular way or is on a particular path. E.g. Last Christmas is when everything changed. It began like any other Christmas until I unwrapped the unnamed gift.
The first lines to a text are like a window into the entire work (Graves, 1989). They show the reader what is to come and what they can expect. If the opening lines can engage the audience through a combination of emotion and intrigue, then the author can effectively lead the reader into the story they wish to tell.
Hints to get the reader involved in the action and identifying with the main character straight away:
- Present a brief dialogue related to a conflict.
- Action: begin in the midst of conflict or drama.
- Change: describe something changing from the norm.
- Describe a setting combined with unfolding action related to mystery or conflict.
- Introduce an element of suspense or mystery to make the reader wonder.
- A zoomed in identification of the main character.
- Begin with an unconventional character E.g. a villain.
To help children to discover how to write effective leads, there are numerous strategies that can be implemented. However, in the nature of keeping it simple and using techniques that work, the advice will be to model effective openings and to write, write, and write some more. Below are suggestions of strategies that can be used to help students begin to explore effective leads.
DeconstructION
Deconstruction is an important step in understanding new strategies. Exploring and unpacking models shows students how the method works.
When exploring leads with older students, it can be beneficial for them to determine the type of lead used and evaluate its effectiveness. Using this evaluative thought process, helps children to become self-reflective when using this strategy.
When exploring leads with older students, it can be beneficial for them to determine the type of lead used and evaluate its effectiveness. Using this evaluative thought process, helps children to become self-reflective when using this strategy.
Scenarios
Scenarios is a simple planning exercise. Students are given a setting as a scenario and then can plan around the location the text is set. Students are provided with a check list or success criteria to check off once their writing is complete; this check list includes elements that children should be trying to incorporate in to their writing to capture their audience’s imagination. It should be engaging and leave clues that keeps the reader guessing. Children can do this by using the show, don’t tell technique. The opening should also introduce the main character and the setting so that the reader can picture it in their mind. Finally, a good lead will leave a simple call to action; a way the opening can build into a story with a plot and further complications.
The brainstorming element of this task is pivotal. Students draw on their 6 senses to create ideas around the setting and characters in the text. The “why?” box provides an opportunity for students to think of different reasons as to why the characters are in this location and what they might be doing while the “Problems” box enables students with the chance to list possible conflicts that could arise at this particular location.
The brainstorming element of this task is pivotal. Students draw on their 6 senses to create ideas around the setting and characters in the text. The “why?” box provides an opportunity for students to think of different reasons as to why the characters are in this location and what they might be doing while the “Problems” box enables students with the chance to list possible conflicts that could arise at this particular location.
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Students can select the different type of lead they will be attempting to use in their writing. They could write using just one lead or could look to combine a number of leads to captivate their audience. Students could write just one lead or attempt to write a variety of first lines using the different techniques.
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Hidden, deep in the forest, lies a cave where a lone figure lurks. She lives in isolation; shunned by the world around her. As the light of day drifts off behind the mountain ranges the darkness offers her an opportunity. A chance to leave her cave and safely explore the world around her. Without the fear of being hunted, within the freedom of the shadows she emerges and treks through the dense covering of trees. Trudging along hidden paths she shivers as her golden locket dangles from her neck. Using the glow of the stars, she winds between the trunks towards the quiet village below.
There, bathed in moonlight, she sees a glimmer of hope. From her lookout, she can see a window where the candle light flickers. Her heart beats. She longs for the treasure within those walls. Slowly she approaches, deep, powdery footsteps left behind as she nears the farmhouse. The frozen pane glows from within and it draws her forwards. The deep void in her chest is lifted as she peers into the frosted window. She clutches the locket and remembers. Memories from a lifetime ago flood her body while warmth fills her heart; she smiles.
There, bathed in moonlight, she sees a glimmer of hope. From her lookout, she can see a window where the candle light flickers. Her heart beats. She longs for the treasure within those walls. Slowly she approaches, deep, powdery footsteps left behind as she nears the farmhouse. The frozen pane glows from within and it draws her forwards. The deep void in her chest is lifted as she peers into the frosted window. She clutches the locket and remembers. Memories from a lifetime ago flood her body while warmth fills her heart; she smiles.
First Lines
The first lines strategy requires students to use an unengaging opening sentence and rewrite it as a lead. The planning is the same as scenario planning with an exploration of the scene taken before engaging in the writing. The aim of this task is to take a simple everyday start and build it into an engaging opening paragraph that establishes the main parts of the story but introduces some emotion or conflict into the text.
E.g. One day I went to the beach with my family.
"Make sure you keep an eye on your brother." mum called as we ran towards the waves.
or
Hot. Crowded. Sandy. I knew we shouldn't have come, but dad insisted. This was going to be the worst day of the holidays.
E.g. One day I went to the beach with my family.
"Make sure you keep an eye on your brother." mum called as we ran towards the waves.
or
Hot. Crowded. Sandy. I knew we shouldn't have come, but dad insisted. This was going to be the worst day of the holidays.
Rewrite
The rewrite strategy involves students being provided with an opening lead to a text. The lead could be a good or poor example of an effective lead. Students read the text and pull out the main parts of the story. Then, using the same core story elements, students brainstorm extra ideas and problems that could be used to improve the quality of the lead. Students combine the ideas with their own thoughts to rewrite an effective opening lead.
E.g. Bill and Sarah lived in a quiet town by the edge of a river. They had a large property on the edge of town that backed on to the forest. Every afternoon, after school, they would run and play among the trees. They especially enjoyed playing in the treehouse they had built down by the creek. The treehouse was made from old pieces of wood, bark and vines. Late one afternoon, there was a terrible storm. Bill was trying to run for shelter but the lightning hit a nearby tree. The tree collapsed and fell on the treehouse where Sarah was waiting.
"Look out!" shouted Sarah from above.
Bill ducked and weaved between the large hail stones that fell from the dark sky above. Sarah clung tightly to a branch of the old oak as the strong winds rocked the tree-house from side to side. Rumbling, the sky seemed to enclose in on them.
"We need to get out of here!" Sarah's heart raced and her grip tightened. Bill looked up but could barely make out the frame of the tree-house that they built last summer through the driving rain. He scampered along the ground as trees bent forwards and back.
Boom! Crash! Bang! Lightning struck the oak.
"Sarah!" Bill collapsed to the ground in front of the rubble. They were deep in the forest. Isolated. Alone.
E.g. Bill and Sarah lived in a quiet town by the edge of a river. They had a large property on the edge of town that backed on to the forest. Every afternoon, after school, they would run and play among the trees. They especially enjoyed playing in the treehouse they had built down by the creek. The treehouse was made from old pieces of wood, bark and vines. Late one afternoon, there was a terrible storm. Bill was trying to run for shelter but the lightning hit a nearby tree. The tree collapsed and fell on the treehouse where Sarah was waiting.
"Look out!" shouted Sarah from above.
Bill ducked and weaved between the large hail stones that fell from the dark sky above. Sarah clung tightly to a branch of the old oak as the strong winds rocked the tree-house from side to side. Rumbling, the sky seemed to enclose in on them.
"We need to get out of here!" Sarah's heart raced and her grip tightened. Bill looked up but could barely make out the frame of the tree-house that they built last summer through the driving rain. He scampered along the ground as trees bent forwards and back.
Boom! Crash! Bang! Lightning struck the oak.
"Sarah!" Bill collapsed to the ground in front of the rubble. They were deep in the forest. Isolated. Alone.
Fluency
Writing fluency tasks provide the perfect opportunity for students to practice their leads. A range of topics, scenarios or images could be used in a short, sharp time period to have the students attempt to engage the reader with an effective lead. Being short and sharp, these tasks will provide many samples that can be explored, reviewed and rewritten to develop continual improvement.
The key to ensuring development in all areas is effective feedback. Providing time for students to reread, share, discuss and evaluate their work will help them to continue to improve. Using leads as a starting point and referring to the requirements of an effective lead is a great pathway into rewriting in the sense of actually reworking and reshaping written text for a student.