The Two Pearls of Wisdom is a fantasy novel by Alison Goodman. It follows the story of Eon who has potential to become a Dragoneye, being It was rereleased under the two different titles of Eon: Dragoneye Reborn and Eon: Rise of. The Paperback of the Eon: Dragoneye Reborn (Eon Duology Series #1) by Alison Goodman at Barnes & Noble. FREE Shipping on $ or. Alison Goodman is the author of The Two Pearls of Wisdom (HarperCollins also published in the USA as Eon:Dragoneye Reborn (Penguin US) and in the UK.

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Writing a Great Beginning by Alison Goodman. A short while back, in preparation for a writing workshop I was about dragonege run, I asked a few international publishers and literary agents what they looked for in the first two pages of a novel.

Alison Goodman Eona

Here are a few highlights of their advice:. Great answers, and every one of them is essentially about emotion. How the writing is making the reader feel: And that is the key to a great opening: As writers, our trade is to create a journey of emotion for our readers whether it is the peaks and troughs of joy dragonrye grief, the thrill of suspense, or the intrigue of brilliant worlds and ideas.

But how do you actually achieve this emotional engagement, particularly in the first few pages of your novel? First, let me just say that I write genre novels — fantasy, science fiction, crime — and that my advice about openings is tuned to that kind of book.

In my novels the main protagonist makes decisions in response to large external events that usually have life and death stakes plot arcand every one of those decisions contribute to an irretrievable change within that protagonist character arc.

Having said that, I believe the same basic requirement of emotional engagement is important in any kind of storytelling. When I read, I want to be emotionally engaged and that is what I aim to achieve in my writing.

It is also what I teach, so the following strategies are geared towards creating maximum reader engagement. This, of course, assumes you are writing the whole novel through the point of view POV of one main character. So, if you have one main character in your novel, then it makes sense to have him or her up front in that very first scene to establish who the reader is expected to bond with and follow.

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If the protagonist does not appear in the first scene, then there should be a good story structure reason behind that decision. An example of this would be the crime or horror story that starts with a victim who is killed by the end of the first chapter, and then in the second chapter the sympathetic detective character appears to track down the killer.

Back to that main protagonist on page one.

First anchor the protagonist and thus the reader in time and place. That starts to give the writing that elusive quality of authority mentioned in the first quote. Readers want to be placed in a time and setting, although not laboriously.

Nearly all of the agents and publishers I contacted cited info dumping as a sure fire way of losing their interest. Info dumping is tedious to read, distances the reader from the action, and in most cases the majority of it is not absorbed because there are too many details in one dense lump. Of course every reborj has background and world information that must be supplied to the reader, but it needs to be dragoneeye and carefully placed in the goodman for maximum effect.

Does it work better as an opening paragraph? Which is my next point; introduce your protagonist and their world through action. Show your protagonist dealing with some kind of conflict using dialogue, actions, and thoughts.

Conflict draogneye the cornerstone of drama and for a compelling read, most of your scenes should be built around some type of conflict, whether it be the inner conflict of your character e.

Eon: Dragoneye Reborn

I would also say it is preferable that this first scene conflict is external as that gives an opportunity to introduce other characters, and with them can come deftly shown information about the world and the place of your protagonist within it. The way your protagonist deals with the conflict should show some sign to the reader that he or she is interesting enough to want to follow through a whole novel.

The protagonist does not have to be victorious — in fact it is probably more effective if they are not think Harry and giodman Dursleys — but they do have to show some quality that makes us warm towards them or identify with them, or aspire to be like them.

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Personally, I always feel warm deborn the indomitable character I reside with a Jack Russell terrierbut other qualities are forbearance, kindness, self-sacrifice, and defense of the weak. You get the idea. And again, by plunging the reader straight into the immediacy of a scene, you are asking them to build up a picture of your world for themselves through the dynamic mode of dramatic action — which in itself creates reader engagement.

It also shows that you are confident enough to let your scenes develop your story, and that is about as authoritative as you can get. So now we have a protagonist who is in the middle of a conflict and dealing with it as best they can.

Now comes the most important part; building in the questions that will ultimately be answered throughout the novel. However, in your opening you will at least want to start seeding in the information eoon will create some of that driving need to know more.

Construct your opening scene as a micro version of the conflicts to come with the big question embedded within it.

Eon (Eon , book 1) by Alison Goodman

For example, in the first scene of my novel EON aka The Two Pearls of Wisdomthe main character Eon is bullied by a sword instructor who pronounces our hero a disgrace with no chance of becoming a dragoneye.

And embedded within that humiliation scene is the first big question of the novel — will Eon become a dragoneye? Nevertheless, the above is a good starting point. Just remember, your first scene is your calling card.

It not only sets up your novel, it will go a long way goodmsn your carefully prepared three chapter submission shifting from a slush pile to that other exciting stack: Copyright Alison Goodman Here are a few highlights of their advice: I need to feel immediate engagement with a character and be given a reason to turn the pages.