The First Line

The first line in Chapter One of The Brezas of Carifa is: “The most beautiful breza of all was named Andrema.” Though short and simple, I put some thought into it. From the very beginning, I wanted to pull readers into a new and unfamiliar world. That single sentence is designed to spark questions: What is a breza? A person, a creature, a spirit? What defines beauty among brezas? Where do they live? What makes them special?

Using a term like “breza” right away signals that the story will introduce something unique. Its unfamiliarity creates a gentle mystery, prompting readers to think, What is a breza? and encouraging them to keep reading. Naming Andrema adds another layer—her name isn’t common, suggesting an otherworldly setting and raising more questions. Is this fantasy, science fiction, or something entirely new?

I wanted that first line to act like a doorway. Not something loud or jarring, but like the quiet opening of a garden gate—an invitation instead of a harsh command.

I wanted that first line to act like a doorway. Not something loud or jarring, but like the quiet opening of a garden gate—an invitation instead of a harsh command. The goal was to ease readers into a world of imagination and wonder, not plunge them into chaos.

I think back to middle school writing lessons, where we were taught to begin stories with something dramatic. One example I still remember was, “The bloody knife dropped from her hand!” It’s a gripping line that works well for thrillers or mysteries, but I knew that wasn’t the tone I wanted for The Brezas of Carifa. I wasn’t aiming to shock. I wanted to create curiosity and a sense of beauty.

This story introduces an entirely new world and beings, so a softer tone felt more fitting. The idea of beauty—especially the beauty of Andrema—is central to the story’s creation of a new land. That first sentence had to reflect both the subject and the tone of the novel.

First lines matter. They set the mood and often determine whether a reader continues. My advice to young writers —is to think about how they want their story to feel. A powerful opening doesn’t need to be loud. Sometimes, the quietest lines can leave the strongest impression.