
Table of Contents
Ever wonder what makes a first chapter unforgettable? The difference between a bestseller and a book gathering dust on the shelf starts on page one.
Writing a novel is no walk in the park. Between 95–99% of manuscripts are ignored by editors due to bad writing, unoriginal premise, or lack of relevance. Readers are just as unforgiving, with 15.8% abandoning a book in fewer than 50 pages if it hasn’t gripped them.
This is why the beginning chapter of your novel is undeniably the most important—it’s not just an introduction, it’s a make-or-break moment for your readers.
Your opening should hook readers immediately through immersive world-building, compelling characters, and hints of conflicts and themes. If your first chapter doesn’t entice them, you’ll likely lose them forever.
Over the past century, reading behaviors have shifted dramatically. Modern audiences face an abundance of digital distractions and a subsequent steady decline in attention span.
Research from the past two decades reveals that the average attention span has decreased from 150 seconds in 2003 to 47 seconds in recent years—a 69% drop.
This cultural shift is reflected in today’s #BookTok hits, which begin with faster, shorter, and simpler first chapters compared to the openings of 20th-century classics.
ProWritingAid’s study on crafting a bestselling opening chapter
To uncover the anatomy of the perfect first chapter, we analyzed 125 years of bestselling openings—from The Wizard of Oz (1900) to Fourth Wing (2023)*.
Using ProWritingAid’s Writing Reports, we explored how opening chapters have evolved to meet shifting reader expectations and identified shared traits that make them unputdownable.
We measured six key storytelling elements to discover the blueprint for a bestseller:
Word count
Sentence length
Paragraph complexity
Pacing
Passive voice
Sensory storytelling
Below are our findings, so you can apply this framework when writing your own first chapter.
Word count
ProWritingAid recommended word count: 3,365 words
The length of your first chapter should be long enough to fully immerse readers in your plot and set the scene—but not so long that it gives too much away or risks losing their attention.
Across the bestselling novels we examined, first chapter word counts range from 326 words (The Kite Runner by Khaled Hosseini, 2003) to 8,766 words (The Hamlet by William Faulkner, 1940).
After studying the data, we found that the average opening chapter length is 3,365 words: long enough to establish characters, conflict, and world-building, yet concise enough to maintain an engaging pace.
Naturally, chapter length varies by individual story and genre. #BookTok bestsellers are shorter on average, with 2,804 words, while dark fiction novels average 3,115. Historical fiction openings are the longest, averaging 3,685 words.
The average length of the first chapters has decreased over time. A 20th-century fiction novel begins with an average of 3,488 words, compared to 3,104 words post-2000—a drop of 11%.
Since the 1950s, bestselling openers have nearly halved in length, dropping from 4,484 words to 2,569 in the 2020s.

Female authors tend to write longer opening chapters than men—3,546 words on average compared with 3,211 words. However, if female-written #BookTok novels are removed from the analysis, the gap widens to nearly 20%, with female authors averaging 3,905 words.
While there’s no universal formula, and each story has unique requirements, an opening chapter of 3,365 words offers a reliable benchmark for crafting a page-turning opener.
Aiming for this approximate length can provide guidance on how much detail to include when drafting your own novel.
Sentence length
ProWritingAid recommended score: Less than 3% very long sentences
Sentence variation is important for creating rhythm, clarity, and an engaging pace. Balancing short and long sentences keeps readers interested and helps them understand and digest the meaning of the words.
To target a mass audience, aim for clarity over complexity and limit your use of very long sentences. Every word should add purpose or substance to your writing.
Short sentences can deliver power and tension, while long sentences provide depth and detail. But too many of either can disrupt the flow of your work.
Very long sentences (over 25 words) can be exhausting for your reader. Oxford University states that when sentences are longer than 25 words, there’s a “notable drop in the reader’s ability to retain information.”
Our analysis of bestselling novels reveals that very long sentences account for an average of just 2% of total sentences. One in five books exceeds 3%, with Revolutionary Road (1961) scoring the highest at 20%.
In contrast, #BookTok bestsellers have an average of just 1%, reflecting a simpler, faster-paced style. Historical fiction authors are the most likely to use very long sentences, with an average score of 3% in their opening chapters.
To keep readers engaged, ProWritingAid recommends a score of below 3%. You can check your sentence length score using our Summary Report feature.
If you need to reduce the volume of long sentences in your writing, try these quick fixes:
Break independent clauses into separate sentences
Remove “glue words” that don’t add meaning
Check repetitive or redundant phrasing
Aim to wrap up longer sentences at a maximum of 20 words for smoother flow
Paragraph complexity
ProWritingAid recommended score: Less than 15% complex paragraphs
Inexperienced authors often fall into the trap of wanting to showcase their writing skills through complex paragraphs and prose. This can often have a negative impact, making their work harder to read and less engaging.
The average paragraph complexity score across our bestseller list is just 3%, showing that successful writing favors accessible language.
Complexity will differ from genre to genre. Historical fiction and sci-fi/fantasy genres are the most complex reads on average, with complexity scores of 5% and 4% respectively.
Scores remain stable when comparing first chapters in the 20th and 21st centuries, but an analysis of #BookTok hits shows viral books are simpler to read, with an average complexity score of 2%.
Books written in the 1910s and 1960s score the highest for complexity (6% on average). Revolutionary Road (1961) by Richard Yates has the most challenging opening chapter, with a complexity score of 23%.

To make your writing more accessible and less complex, choose clear terminology and avoid unnecessary jargon. This helps readers follow along effortlessly and stay immersed in your story.
Pacing
ProWritingAid recommended score: Less than 30% slow pacing in paragraphs
Pacing refers to the speed at which your story is told and how quickly the reader is moved through events.
As an author, your writing needs to balance action-oriented sections with scenes that encompass character development and world-building, spacing out slower sections to prevent readers from getting bored. Every section and paragraph in your first chapter should build momentum or progress the narrative.
The average pacing score for our list of bestsellers is 14%, with the highest being Darkness at Noon (1940) by Arthur Koestler at 75%.
20th-century books are more likely to be lengthier reads, with 15% of paragraphs being slow paced, compared to 12% of novels in the 21st century. #BookTok hits are even faster on average, with a 9% slow pace score.

Female authors are more likely to write fast-paced opening chapters. On average, female-penned chapters score 11% for slow pacing compared with 16% of those written by men.
At a genre level, historical fiction openings are the slowest paced on average (19%), while romance is the fastest, with only 7% of paragraphs being considered slow.
Examples of books with the ideal pace for an opening chapter include:
Beach Read (2020) by Emily Henry
Girl with a Pearl Earring (1999) by Tracy Chevalier
A Game of Thrones (1996) by George R.R. Martin
Wicked: The Life and Times of the Wicked Witch of the West (1995) by Gregory Maguire
I, Robot (1950) by Isaac Asimov
If your writing feels too slow, try to reread and identify “sticking points” where your readers could potentially lose interest. This could include abrupt plot transitions, large chunks of description with no action, or scenes that generally feel dragged out.
These can be difficult to spot, so it can be beneficial to get another perspective, whether that’s passing it to a friend or using a tool like ProWritingAid’s Chapter Critique.
Passive voice
ProWritingAid recommended score: Less than 25% of sentences with passive voice
In passive sentence constructions, the object of your sentence comes first, and the subject of your sentence comes at the end.
Passive voice is grammatically correct but makes your writing less direct and harder to follow. By delaying or sometimes omitting who is performing the action, passive structures can reduce clarity and weaken your message.
Passive sentences are often longer than they need to be too, which can inflate your word count and make your writing less engaging.
The active voice is more commonly used by authors. By using an active verb and putting the subject of your sentence at the beginning, your writing has more power.
The average score for use of passive voice among the list of bestsellers is 5%, with #BookTok titles less likely to use passive voice with an average of 3%.
Passive voice can be tactically utilized when done right, especially in instances in crime novels where it hides the identity of a perpetrator and builds suspense.
Sensory storytelling
ProWritingAid recommended score: 20% for each of the five senses
Sensory storytelling engages readers by drawing on all five senses: sight, sound, smell, taste, and touch. Many writers tend to rely on one or two—most often sight and sound.
Incorporating all five senses in your first chapter enhances your world-building and deepens your audience’s emotional connection to your story.
The Handmaid’s Tale (1985) by Margaret Atwood achieved the best sensory balance with 39% for sight, 22% for sound, 13% for touch, 9% for taste, and 17% for smell.
Novels with the most balanced sensory engagement scores are most likely to see film and TV adaptations, including:
Me Before You by Jojo Moyes (47% sight, 23% sound, 22% touch, 2% taste and 6% smell)
Lessons in Chemistry by Bonnie Garmus (44% sight, 28% sound, 17% touch, 6% taste and 6% smell)
The Exorcist by William Peter Blatty (51% sight, 18% sound, 23% touch, 5% taste and 3% smell)
Regretting You by Colleen Hoover (40% sight, 26% sound, 27% touch, 4% taste and 3% smell)
Overall, sight is by far the most engaged sense, with an average score of 62%, while smell is the least engaged, averaging just 2%.
To explore sensory storytelling within your novel, ProWritingAid’s Sensory Report identifies words associated with specific senses and informs you on how many you’ve used and how they’re distributed throughout your chapter.
Another key part of sensory storytelling is avoiding the use of emotional tells. Many new writers tell the reader directly how a character is feeling instead of showing it through description.
While there will inevitably be points where an emotional tell is appropriate, your primary goal as a writer is to create a vivid picture in your reader’s mind.
Readers are more invested in a narrative when they can divulge a character’s emotions without being told directly.
ProWritingAid recommends a score of less than 20% emotion tells, and our list of bestsellers scored an average of 1%.
You can check your own use of emotion tells in ProWritingAid’s Summary Report.
Transform your opening chapter into a bestseller
Every great novel begins with a compelling first chapter, and ProWritingAid gives you the tools to make yours stand out.
Start by diving into story analysis features designed for aspiring authors, with feedback on structure, pacing, character development, and more. Explore tools like Chapter Critique, Manuscript Analysis, and Virtual Beta Reader for deep, actionable insights into your story.
Then polish every sentence with advanced grammar checking and paraphrasing tools that refine your wording and keep your writing clear. Strengthen your craft further with comprehensive writing style reports that explore everything from sentence length to paragraph complexity, helping you shape a confident, consistent voice from the first page to the last.
Finally, uncover your book’s potential with Marketability Analysis, giving you the guidance you need to reach the right readers and build a strong publishing plan.
Try ProWritingAid now—it’s free
Methodology
A seed list of 100 published literary fiction novels was collected using reader-rated lists of the best books per decade (1900–2025) and #BookTok trending books.
ProWritingAid’s Writing Reports were used to analyze the opening chapter of each novel, providing scores for a range of different factors:
Paragraph complexity (% of complex paragraphs) included in the Summary Report
Sentence length (% of very long sentences) included in the Summary Report
Pacing (% slow pacing) included in the Summary Report
Use of passive voice (%) included in the Summary Report
Word count included in the Sentence Length Report
Sensory engagement (% balance across all five senses—sight, sound, smell, taste, and touch) included in the Sensory Report
Emotion tells (%) included in the Summary Report
All novels included in this study were either purchased or available to read in the public domain. Some novels were excluded if their first chapters had very long word counts due to tool limitations.
Data sources for the seed list:
https://www.goodreads.com/list/tag/by-decade
https://uk.bookshop.org/lists/booktok-trending-books
References:
https://prowritingaid.com/grammar/1008123/Paragraph-Readability
https://prowritingaid.com/grammar/1008130/Very-Long-Sentences
https://prowritingaid.com/grammar/1008122/Pacing
https://prowritingaid.com/grammar/1008124/Passive-Voice
https://prowritingaid.com/grammar/1008126/Show%2c-Don-t-Tell
https://prowritingaid.com/art/356/How-to-use...-The-NLP-Predicates-Report.aspx
*List of 100 bestselling novels:
| Book Title | Year Published | Author |
|---|---|---|
| The Wonderful Wizard of Oz | 1900 | L. Frank Baum |
| Nostromo | 1904 | Joseph Conrad |
| A Little Princess | 1905 | Frances Hodgson Burnett |
| The Scarlet Pimpernel | 1905 | Baroness Emmuska Orczy |
| The Railway Children | 1906 | Edith Nesbit |
| The Wind and the Willows | 1908 | Kenneth Grahame |
| A Room with a View | 1908 | E.M. Forster |
| The Lost World | 1912 | Arthur Conan Doyle |
| Tarzan of the Apes | 1912 | Edgar Rice Burroughs |
| The 39 Steps | 1915 | John Buchan |
| The Song of the Lark | 1915 | Willa Cather |
| Understood Betsy | 1916 | Dorothy Canfield Fisher |
| Summer | 1917 | Edith Wharton |
| Main Street | 1920 | Sinclair Lewis |
| Women in Love | 1920 | D.H. Lawrence |
| The Enchanted April | 1922 | Elizabeth von Arnim |
| The Murder on the Links | 1923 | Agatha Christie |
| The Great Gatsby | 1925 | F. Scott Fitzgerald |
| The Painted Veil | 1925 | W. Somerset Maugham |
| All Quiet on the Western Front | 1928 | Erich Maria Remarque |
| Brave New World | 1932 | Aldous Huxley |
| Lost Horizon | 1933 | James Hilton |
| Mary Poppins | 1934 | P.L. Travers |
| The Postman Always Rings Twice | 1934 | James M. Cain |
| Gone with the Wind | 1936 | Margaret Mitchell |
| Of Mice and Men | 1937 | John Steinbeck |
| Rebecca | 1938 | Daphne du Maurier |
| The Hamlet | 1940 | William Faulkner |
| Darkness at Noon | 1940 | Arthur Koestler |
| The High Window | 1942 | Raymond Chandler |
| A Tree Grows in Brooklyn | 1943 | Betty Smith |
| Animal Farm | 1945 | George Orwell |
| Stuart Little | 1945 | E.B. White |
| I, Robot | 1950 | Isaac Asimov |
| The End of the Affair | 1951 | Graham Greene |
| The Catcher in the Rye | 1951 | J.D. Salinger |
| Invisible Man | 1952 | Ralph Ellison |
| Lord of the Flies | 1954 | William Golding |
| A Separate Peace | 1959 | John Knowles |
| The Haunting of Hill House | 1959 | Shirley Jackson |
| To Kill a Mockingbird | 1960 | Harper Lee |
| Catch-22 | 1961 | Joseph Heller |
| Revolutionary Road | 1961 | Richard Yates |
| One Flew Over the Cuckoo’s Nest | 1962 | Ken Kesey |
| A Clockwork Orange | 1962 | Anthony Burgess |
| The Bell Jar | 1963 | Sylvia Plath |
| Charlie and the Chocolate Factory | 1964 | Roald Dahl |
| The Exorcist | 1971 | William Peter Blatty |
| Watership Down | 1972 | Richard Adams |
| The Princess Bride | 1973 | William Goldman |
| Tinker, Tailor, Soldier, Spy | 1974 | John Le Carré |
| The Shining | 1977 | Stephen King |
| The Neverending Story | 1979 | Michael Ende |
| The Hitchhiker’s Guide to the Galaxy | 1979 | Douglas Adams |
| The Hunt for Red October | 1984 | Tom Clancy |
| The Handmaid’s Tale | 1985 | Margaret Atwood |
| Ender’s Game | 1985 | Orson Scott Card |
| Lonesome Dove | 1985 | Larry McMurtry |
| The Prince of Tides | 1986 | Pat Conroy |
| Hatchet | 1987 | Gary Paulsen |
| A Time to Kill | 1989 | John Grisham |
| Wicked: The Life and Times of the Wicked Witch of the West | 1995 | Gregory Maguire |
| A Game of Thrones | 1996 | George R.R. Martin |
| Fight Club | 1996 | Chuck Palahniuk |
| Bridget Jones’s Diary | 1996 | Helen Fielding |
| Harry Potter and the Sorcerer’s Stone | 1997 | J.K. Rowling |
| Memoirs of a Geisha | 1997 | Arthur Golden |
| Girl with a Pearl Earring | 1999 | Tracy Chevalier |
| The Lovely Bones | 2002 | Alice Sebold |
| The Da Vinci Code | 2003 | Dan Brown |
| The Kite Runner | 2003 | Khaled Hosseini |
| The Time Traveler’s Wife | 2003 | Audrey Niffenegger |
| Twilight | 2005 | Stephenie Meyer |
| The Thirteenth Tale | 2006 | Diane Setterfield |
| The Road | 2006 | Cormac McCarthy |
| The Hunger Games | 2008 | Suzanne Collins |
| The Help | 2009 | Kathryn Stockett |
| Room | 2010 | Emma Donoghue |
| The Night Circus | 2011 | Erin Morgenstern |
| The Martian | 2011 | Andy Weir |
| The Song of Achilles | 2011 | Madeline Miller |
| Ready Player One | 2011 | Ernest Cline |
| Me Before You | 2012 | Jojo Moyes |
| Gone Girl | 2012 | Gillian Flynn |
| The Fault in Our Stars | 2012 | John Green |
| A Court of Thorns and Roses | 2015 | Sarah J. Maas |
| One of Us Is Lying | 2017 | Karen M. McManus |
| Regretting You | 2019 | Colleen Hoover |
| Daisy Jones and The Six | 2019 | Taylor Jenkins Reid |
| A Good Girl’s Guide to Murder | 2019 | Holly Jackson |
| Beach Read | 2020 | Emily Henry |
| The Midnight Library | 2020 | Matt Haig |
| The Vanishing Half | 2020 | Brit Bennett |
| You’d Be Home Now | 2021 | Kathleen Glasgow |
| Lessons in Chemistry | 2022 | Bonnie Garmus |
| Mr. Wrong Number | 2022 | Lynn Painter |
| Remarkably Bright Creatures | 2022 | Shelby Van Pelt |
| Tomorrow, and Tomorrow, and Tomorrow | 2022 | Gabrielle Zevin |
| The Housemaid | 2022 | Freida McFadden |
| Fourth Wing | 2023 | Rebecca Yarros |

