From James Patterson's MasterClass

First Lines

Grab your reader's attention quickly and make them hold on for dear life. James shares his tips for getting your reader hooked from the very first line.

Topics include: Favorite first lines • Keep pulling the reader in • Get your reader invested • Involve the reader quickly • Don’t be afraid to rewrite


Grab your reader's attention quickly and make them hold on for dear life. James shares his tips for getting your reader hooked from the very first line.

Topics include: Favorite first lines • Keep pulling the reader in • Get your reader invested • Involve the reader quickly • Don’t be afraid to rewrite

James Patterson

Teaches Writing

Learn More


I don't want to over stress the importance of first lines. It's just that they can really give you an advantage. You're reaching out from that book, grabbing a hold of that reader, and sucking them right into your book-- or not. And if you pull them right in, you've got them. You've got that agent. You've got that editor. You've got your reader. Suck them right in, and insofar as if they're staying right there and you haven't pulled them at all, you probably lost them. If you get them this far, that's probably good too. OK, there now, I'm leaning. I'm leaning with you. You know, so far, so good. So far, so good works. That's OK. If the reader is going, OK, yeah, what happens next? I'm cool with it. And sometimes it is just like, boom, I am in hook, line, and sinker. And that's the best. Especially trying to sell that first novel. Here we are again. The dreaded first page-- what to do about it. A really terrific sportswriter name Red Smith, and he said writing is easy. All you do is stare at a blank piece of paper until drops of blood form on your forehead. So that's kind of what that first page is about. Obviously one of the keys is just the first line. Along Came A Spider-- first Alex Cross book-- starts, "Early on the morning of December 21, 1992, I was the picture of contentment on the sun porch of our house on 5th Street in Washington, D.C." That was my first line. Yeah, it gives you a lot of information. Not a great first line, but, you know, I'm-- so far, I'm OK. I'm getting into it. You've Been Warned, which was a horror book, the first line there in the prologue, "It's way too early in the morning for dead people." Once again, give me an idea of what kind of book it is. Private series about a private investigation company and a relatively young guy that runs it. And the first line is, "To the best of my understandably shaky recollection, the first time I died, it went something like this." That's a pretty cool first line actually if I do give myself some credit. In Kiss The Girls, the first line is, "For three weeks, the young killer actually lived inside the walls of an extraordinary 15 room beach house." For me, I'm there. The idea of somebody living in my house-- a killer inside the walls-- and what you'll find out in the next couple of chapters is the people are in the house while he's living inside the walls. That's very dramatic. It's very scary. It would scare the pants out of most readers. And if it happened in real life, it'd really scared the hell out of you. I always feel that if I haven't given them something in the first chapter, it's bad news. I have to have grabbed them a bit. Maximum Ride-- once again, in terms of what you can do in a scene. We open up with children, and they range from seven years old to 14 or 15. They're running like banshees, they're esca...

Set out to write a best-selling book

James Patterson, the author of 19 consecutive No. 1 New York Times bestsellers, reveals his tricks of the trade. In his first online writing class, he guides you from the start to the finish of your book.


Students give MasterClass an average rating of 4.7 out of 5 stars.

I have completed 2.5 lessons; still working on my three ideas. The sessions are engaging and inspiring. I feel more committed to writing.

Your introduction to the MASTERCLASS is definitely a good "book hook". I know this because it is 2 in the morning for me and all I want to do is write

I have had two novels on the backburner for ten years. I have made a leap of faith and self-published both of them. This is a direct result of Mr. Patterson's class. Thank You sir.

I've learned some secrets to writing effective commercial fiction. I'm definitely going to start outlining!!! Also, Patterson seems like a great guy.



I can't download the PDF. I get a white page that says: This XML file does not appear to have any style information associated with it.

Diane D.

I like this class so far. I'm starting my second draft of my novel and this is a very interesting class. My first line is really good as he says "Draws the reader in." Mine does just that. I'm very happy I signed up with this course.

Mia M.

I'm having to do one first line/paragraph a day. I find that once I've written one version, I simply can't immediately contemplate a different approach. I think that's a good thing -- I'm invested in what I write when I write it. When I come back the next day I don't re-read the previous versions, I imagine the scene and start afresh. I like the challenge of this exercise, it's really making me refine these very first events of this novel.

Edita P.

My first line in first book was: “All women lie. “ 🙄😆 book about lies, relationships, dates, love, affairs. I didn’t get rejected, but publisher wanted me to change the End. Now I’m struggling with second book, because I don’t want to write anything like in first book.

Paul A.

I understand the importance of the first sentence and the first chapter, but I wonder how many great books have been set aside by not reading the first three or four chapters. In a perfect world, you would want an exciting start. However, is this always possible or necessary?

Leah M.

Three attempts at first lines of the same opening scene. I would love some feedback on what works and what doesn't. 1. I can see the lies. Grown-ups think that a smile and soft voice can disguise the hard look in the eyes of someone hiding bad things. But I see it and now I know. Nothing here is real. 2. She was afraid, but she couldn't explain why. Noone moved faster than normal or said anything to her that indicated something had gone wrong, and everyone kept smiling, but something unidentifiable to her had changed. 3. She was there and yet she wasn't. She was the focus of the poorly disguised sense of urgency everyone seemed to feel and she saw the failed attempts at secret discussions, and yet she was completely ignored. Because of that, she saw what they didn't want her to see. Because of that, she knew.

Lorraine A.

This is the first two lines of my book "Return of the Serpent Bearer". An invisible voice called out, "All aboard," announcing the departure of Amtrak's Southwest Chief. Clare Creighton looked at her watch. She had six minutes to board her train, unaware she was about to have a brief encounter with a stranger that would change her life forever. Question: Did I reveal too soon that she was about to have an encounter that would change her life? Thank you.

Catherine M.

I wrote this just for fun after listening to this lesson. Comments welcome! I'm just a beginner when it comes to writing fiction or suspense but I'm really excited to get going. *** It was hot; sweat dripped down the middle of her back and off the tips of her elbows where she sat at the formica table. Under her hair was a damp, gluey mess. Thick hair should have been a gift but in this weather it was a heavy, unwieldy burden that made her head ache. She wished she could shave her head but her father would have none of that. A fan creaked in the corner of the broken room they called a living room. So funny—it was a pretentious name for a crackerbox heat box with imitation wood paneling and stained, sagging ceiling tiles. The drooping blankets that covered the windows, the dirt in every corner and a carpet that had seen better days many, many years ago. All served to remind her she was trash. White trash. And now he was dead.

Patt S.

Here are the first few lines of my opening chapter. I'd love some honest feedback: There was nothing Galen could do to save her. He tried everything he could think of: prayer, bringing her bowls of soup, telling her over and over how much he loved her - how much everyone loved her, but his mother still died. He was ten years old at the time, so of course he didn't understand that someone dying form cancer needs more than wishful thinking from you. They need an actual medical cure. Galen made it his mission to find one; which he did one sunny day in August, thirty-two years too late for the mother he cherished.

Tyra M.

Hello, I'd love some honest feedback. I'm not sure if this is working. Here is the first three lines of my WIP, The Family Man: "You. Can. Do. This." The face looking back from the mirror didn't want to be here. Spreading his hands on the bathroom counter, being careful not to touch the gun, Andrew leaned forward. He tried to ignore the sweat that appeared on his face and his pounding heart. "It's eight hundred dollars."