20 Best Opening Lines in Books + How to Write Your Own

It is a truth universally acknowledged that the best books start with a memorable first sentence. Okay, maybe not everyone would agree with that — but if we look at the best-known books in literature, it certainly seems to be a common factor.

Likewise, as the head of a popular weekly writing competition, I’ve also noticed that our winning and shortlisted stories tend to have really great first lines. My team and I assess hundreds of submissions every week, and we’re much more compelled to read until the end when a story captures us from its very first words!

If you’re seeking examples of famous first lines of books, as well as tips on how to write your own, keep reading. I’ve broken down these opening lines into 4 categories for your convenience, and you’ll find the tips at the very end.

The best opening lines in books

Mysterious and intriguing

“The snow in the mountains was melting and Bunny had been dead for several weeks before we came to understand the gravity of our situation.” — The Secret History by Donna Tartt

💡Why it works: Tartt masterfully drops the reader in mid-aftermath and defies expectations by mentioning the deceased right away. Instead of framing her novel as a whodunit or tense murder mystery, Tartt’s more interested in exploring why Bunny was killed and how guilt consumes everyone who was involved in the murder.

“One morning, when Gregor Samsa woke from troubled dreams, he found himself transformed in his bed into a horrible vermin.” — The Metamorphosis by Franz Kafka

💡Why it works: This beginning is absurd and oddly matter-of-fact, which is exactly what makes it so iconic. (I bet you've encountered this sentence at least once in your life!) With a single line, Kafka throws you into a world where the surreal comes across as ordinary, setting the stage for a sad story that explores both alienation and the cruel reality of feeling unseen.

“I would be lying if I said my mother's misery has never given me pleasure.” — Burnt Sugar by Avni Doshi

💡Why it works: Here, the narrator confesses something raw and uncomfortable. She flips the idea of mother-daughter love on its head and dares you to sit with the tension. You know from the get-go that Doshi’s novel will have a complicated, emotionally messy plot — and that honesty (even the ugly kind) is on the table.

“The funeral is supposed to be a quiet affair, for the deceased had no friends.” — The Miniaturist by Jessie Burton

💡Why it works: Mourning, typically considered to be a communal act (at least when done at a funeral), is not the focus here. Instead, Burton's chosen to write a quietly biting and detached opening line to instantly paint a picture of loneliness and isolation before you even know who “the deceased” is.

“When I think of my wife, I always think of her head.” — Gone Girl by Gillian Flynn

💡Why it works: This sentence is unnerving in its bluntness, exposing the narrator’s detached and strange way of thinking about his wife. Flynn effectively signals that something's off with his psychology: the perfect teaser for the twists ahead, making you question the narrator’s reliability and what other dark thoughts might be lurking around.

“You better not never tell nobody but God.” — The Color Purple by Alice Walker

💡Why it works: This raw, intimate line draws us right in by giving us the unexpected role of secret-keeper. Through colloquial language and a sprinkle of urgent secrecy, Walker shows us that her story is rooted in both trauma and survival.

While first lines should grab us straight away, they don’t always have to lead us down dark or serious paths. Some of the most unforgettable openings catch us off guard and make us smile! Let’s take a look at how humor works as a hook…

Humorous and witty

“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” — Pride and Prejudice by Jane Austen

💡Why it works: In one clever line, Jane Austen exposes a whole social system with a wink. Her witty words set the tone for a story that’s as much about society’s expectations as it is about love.

“Let’s start with the end of the world, why don’t we?” — The Fifth Season by N. K. Jemisin

💡Why it works: The start of this science fantasy novel is dry, bold, and darkly funny — like someone cracking a joke even as their life is falling apart. By suggesting we “start with the end of the world,” Jemisin subverts the linear narrative in traditional storytelling to prepare the reader for something epic.

“There was a boy called Eustace Clarence Scrubb, and he almost deserved it.” — The Voyage of the Dawn Treader by C.S. Lewis

💡Why it works: Many children's stories portray kids as innocent and naïve, but Lewis has no qualms about calling out Eustace's flaws in a playful, slightly wicked way. This tone continues throughout the book, until Eustace gets into trouble and learns his lesson — concluding a memorable character arc that Lewis set in motion with the very first line.

“It was the day my grandmother exploded.” — The Crow Road by Iain Banks

💡Why it works: The casual delivery of such a shocking event is definitely attention-grabbing, drawing you in with its mix of humor and intrigue. The question it leaves hanging — how on earth does a grandmother explode?! — is something you’ll absolutely need to answer by reading on.

“This is my favorite book in all the world, though I have never read it.” — The Princess Bride by William Goldman

💡Why it works: From the start, Goldman lets you know this won’t be a straightforward tale. There’s a whimsical contradiction here to show this story doesn’t take itself too seriously, and that it will be wit, irony, and (my favorite!) a healthy dose of self-aware humor.

Next, let’s dive into a world of setting and mood.

Atmospheric and descriptive

“It was a bright cold day in April, and the clocks were striking thirteen.” — 1984 by George Orwell

💡Why it works: The pairing of “bright” and “cold” here creates an unusual, jarring contrast, as if the day itself is a paradox. Orwell pushes the feeling of a harsh environment further by mentioning it is “thirteen” o’clock, which immediately has the reader feeling suspicious and on edge.. It’s the perfect hook for a dystopian story where control over reality is the ultimate weapon.

“A convenience store is a world of sound.” — Convenience Store Woman by Sayaka Murata

💡Why it works: With this simple yet immersive line, Murata transforms a familiar, everyday place into something almost foreign — a kind of sensory ecosystem, humming with life. We realize through these seven words that this novel is all about finding meaning in things that are constantly overlooked.

“124 was spiteful." — Beloved by Toni Morrison

💡Why it works: Here, Morrison presents an eerie, supernatural vibe right away. This three-word sentence personifies the protagonist’s house, making it feel like a living entity filled with malevolent energy. You just have to keep on reading to find out what exactly makes this place — and its history — so bitter and vengeful.

“Rotating about the earth in their spacecraft they are so together, and so alone, that even their thoughts, their internal mythologies, at times convene.” — Orbital by Samantha Harvey

💡Why it works: This sentence, though a bit long, beautifully captures a stunning contrast: vast outer space and intimate inner lives. Harvey’s language flows with poetic rhythm, swiftly placing you in a suspended, reflective atmosphere where isolation and connection orbit each other in quiet tension.

“The sky above the port was the color of television, tuned to a dead channel.” — Neuromancer by William Gibson

💡Why it works: Gibson’s opening line subverts the usual picturesque imagery of the sky — instead presenting a stark mechanical description that immerses readers in his dystopian, tech-heavy world. By likening the sky to a “dead channel,” Gibson signals a future defined by disconnection and artificiality… and we love the clever figurative language!

"Last night I dreamt I went to Manderley again." — Rebecca by Daphne du Maurier

💡Why it works: Du Maurier draws you in here with a mix of nostalgia and note of something haunting. By choosing the verb “dreamt,” she blurs the lines between memory and reality, suggesting that Manderley feels more like a place in the mind than an actual estate. This leaves the reader guessing at what’s real and what’s not — just like the second Mrs. de Winter must throughout the book.

Finally, some of the most compelling opening lines are the ones that prompt deep reflection. These lines are not just about setting the scene — they also make us question and ponder. Let’s see how reflective openings can leave a lasting impact right from the start.

Philosophical and thought-provoking

“History has failed us, but no matter.” — Pachinko by Min Jin Lee

💡Why it works: This line is as bold as it is quiet. The starkness of “history has failed us” gives a sense of collective struggle, but the nonchalant “but no matter” flips the script, showing that this isn’t about defeat — it’s about resilience. Its calm, almost defiant tone makes you want to know who “us” is and what they've been through.

“All happy families are alike; each unhappy family is unhappy in its own way.” — Anna Karenina by Leo Tolstoy

💡Why it works: Tolstoy starts with an audacious statement that makes you think about whether it’s really true. The first half feels like an unattainable ideal, a family model that’s too neat and predictable to be real. But the second part suggests that unhappiness — with all its messy, unique forms — is the true reality of human experience. It’s a brilliant way to begin a story about the tangled, often painful nature of family dynamics.

“When I was born, the name for what I was did not exist.” — Circe by Madeline Miller

💡Why it works: This line packs an existential punch that makes you contemplate what “identity” really is. Miller powerfully sets up her story that’s all about figuring out who you are, even when the world doesn’t have the words for you.

And there you have it: 20 opening lines that show just how powerful a first sentence can be. If you’re feeling inspired to come up with your own, stick around — I’ve got some tips to help you write a beginning that’ll hook readers from the very first word.

How to write a great first line

With so much riding on a strong beginning, how do you come up with something that actually works?

One thing you might have noticed about many of the examples above is how much they lean on tension or surprise. So, ask yourself: Is there something a little strange, contradictory, or unexpected about my first line? Does it raise questions and create immediate friction? If the answer is yes, you’re probably on the right track.

Let’s break down some practical ways to get there:

Lead with the character’s voice

In first-person stories especially, the opening line is your first chance to show who your narrator really is. You can achieve this through not just what they say, but how they say it. Are they sarcastic? Blunt? Naive? The more specific the voice, the more intrigued your reader will be.

Good: I was shy as a child, always keeping to myself to avoid unwanted attention.
Great: I was invisible until a certain someone needed a scapegoat.

Much sharper, isn’t it? The second line doesn’t just hint at isolation — it reveals tension and the sense that something’s about to unravel. (Bonus: it also slips in a dry sense of humor!)

Start in the middle of something

Instead of easing your reader in with setup, consider dropping them right into the thick of things. It doesn’t have to be a literal explosion — it could be a conversation already in progress, a thought mid-spiral, or a choice already made. Starting with movement (rather than explanation) creates that instant momentum.

Good: I sat alone in my apartment, thinking about the various events that had led me to this point.
Great: The window shattered before I hit the floor.

See the difference? One meanders. The other grabs you by the collar.

Create a sense of mystery

Throw the reader a little off-balance. State something that doesn’t quite make sense (yet), or present a contradiction that begs for an explanation. These are the kinds of lines that practically dare you to read the next one.

Good: I wasn’t sure if I should go to the party, but I decided to anyway.
Great: The moment we met, I knew I’d have to kill him.

The latter is much more gripping, right? A touch of mystery gives your story somewhere to go — and gives readers a reason to follow you there.

Keep it short and sharp

A bloated first line can lose readers before you’ve even introduced your story. Trim the fluff, aim for clarity, and trust that one punchy sentence can do a lot more than a paragraph of exposition.

Good: I was walking through the park when I saw a strange man standing by the old oak tree.
Great: He brought flowers to the scene of the crime.

Shorter. Darker. A single line that forces the reader to lean in.

Avoid clichés and aim for surprise

Your first line should feel like you. Not like something we’ve all read a hundred times before. Readers crave novelty, and an original sentence — in voice, in content, or in concept — makes them sit up and pay attention.

Good: It was a dark and stormy night.
Great: We buried the wrong body — again.

Even if your story fits into a familiar genre, your opening line can still stand out. Lead with something a bit shocking and readers will definitely want to know what else you’ve got in store.

The best opening lines in books do more than just start a story — they pull readers in and spark curiosity. Whether you're writing your own novel or analyzing famous beginnings, remember that the first sentence provides the opportunity to captivate and intrigue. As a writer, it can take time to get it just right — but when you do, you'll have a first line that readers won’t soon forget.