Chapter One: The Hunger Games

This is a continuation of my series of first chapter dissections where I take apart the opening  chapter of a successful novel to find out what makes it work, how the author hooked the reader, which rules were followed, and which were broken to good effect (previous entries can be found here: Ch.1 Analyses).

Suzanne Collins was an established writer before she wrote The Hunger Games, having written extensively for children’s television and a series of MG books. She moved onto Young Adult with this novel in 2008, the first in a trilogy. Set in a dystopian society in the future, every year two teenagers from each district are sent to the Capitol to compete in the games.

The premise isn’t original, but I’d say the main difference from its forebears is the audience. Stories of this dark nature haven’t been aimed at teens before (even when they’ve starred teens as in Battle Royale). How the author manages to balance this mixture of children and violence is, I think, part of the book’s success.

Chapter One is pretty long, over 16 pages, so expect this post to be not short. If you haven't read it you can find the first chapter online: here.

The book is first person POV, present tense. The prose is very well written, you don’t even notice the tense. The pace is well maintained, a constant sense of moving forward, even though the opening isn’t particularly thrilling.

The whole chapter is a deft example of how to introduce description within action. We are given a look at the world as our heroine encounters things through action. She doesn’t stop to give an overview or a long explanation. She wakes, she describes the bed, she dresses, she describes the clothes, she goes hunting, she describes the woods etc.

“When I wake up, the other side of the bed is cold. My fingers stretch out, seeking Prim’s warmth but finding only the rough canvas cover of the mattress.”

We start with one of the classic no-no’s of modern literature. Agents are always putting the opening scene where the MC wakes up on the top of their list of pet hates. Here there are two reasons to start this way. First, because it’s a special day, and it adds to the build up to start from first light. And secondly to introduce the MC's sister, Prim (more on that later).

It should also be noted, as I’ve mentioned in previous posts, ‘rules’ only apply to unpublished writers. Once you’re in print you can do whatever works, and agents aren’t your primary market.

We also get a description of the world’s ugliest cat, which then never gets mentioned again. Why? It’s hard in first person POV to get a clear idea of the narrator, since people don’t think about themselves in those terms. But by using the awkward relationship with the cat, how she feels about it and how she imagines the cat feels about her, what the author does is give us an idea of Katniss’ place. Her need to be coldly pragmatic. Her feelings about her sister. The soft spot she has that she suppresses.   

The message here, imo, is that Katniss is a tough cookie, but only because she has no other choice. She has accepted her burden, but it has left her a cold person with defences fully raised. Only Prim can get through.

Slowly hints are dropped in about the kind of world we’re in. Fences, wild animals, restrictions, lack of food, and a special event later in the day. All this stuff is related in between her preparation for hunting, no info dump. It’s very well managed. The dead father, the neglectful mother, and the laws against poaching are slipped in as relevant bits of info to do with the task at hand, hunting.

There is quite a lot of backstory, but it is served in small chunks, and always within the bitter voice of a girl who views her misfortune with an ironic detachment. I think that attitude helps make it more than just a round-up of previous events.

The first few pages contain no big action, but there is constant movement and enough info to give us an idea of an oppressed way of life, and a constant danger. The tone and attitude of the narrator is well conveyed, her tough guy act underscored throughout, but also occasionally punctured with thoughts of Prim.

She hooks up with Gale in the woods. She slips in a story about killing a friendly cougar here, again emphasising Katniss’ pragmatic nature. Can’t afford to be sentimental in this world. It’s a bit heavy handed, the same point has been made repeatedly in this chapter. She drowns cats, she kills lions, she defies the law, she replaces her mother. She does what she has to.

This is a clear difference between this kind of book and an adult work of fiction. Within the first chapter Katniss is given one motivation in life and it is hammered home relentlessly. Even though there are some interesting narrative devices employed, emotionally it is very direct.

“We could do it you know,” Gale says quietly.

“What?” I ask.

“Leave the district. Run off. Live in the woods. You and I, we could make it,” says Gale.

A romance element introduced here. It’s done in the classic ‘I’m not interested in love’ manner, but it’s pretty blunt. Gale fancies her. Her life is too hard to consider such luxuries. These feelings are later transferred to Peeta (the guy she's paired with to go to the games).

Whenever you get that sort of ‘no time for love’ stance from a female character you can pretty much guarantee there’ll be little time for anything else. Of course, romantic feelings are used later in the games to great effect.  But this basic confusion about her feelings (can she allow herself to feel anything?) is a major theme of the story, much in the way two people who have a marriage of convenience for ‘Green Card’ purposes aren’t sure of their true feelings. Or when a spy is ordered to romance an ‘asset’, but what started off as a mission...

I think that scene in the woods, although short and full of denial of feelings, very much establishes this as a book for girls. I don’t think the writer put that scene in there by accident.

Then there’s a fairly long section on what and how they hunt, at the same time giving us a pretty good idea of the way this world operates, laws, dangers, black markets etc. It also shows us how self-reliant Katniss is, Gale being very much a partner and an equal, even though he is older than her. There is also a slight push towards the upbeat. 

I think this variation in tone works really well. The start was a bit glum, then the joy of freedom in the woods, then Bam! the lottery. Keeping variation in the narrative helps the momentum, I didn’t find myself getting bored with the details here, even though this is probably the most exposition-heavy, info-dumpy section of the chapter.

The whole reaping concept is mentioned every now and again, but without any real explanation so far. There is a definite sense of foreboding about it, some bitterness and lots of sarcasm. I got a strong sense of Shirley Jackson’s short story ‘The Lottery’, which I think is another big influence. It’s pretty clear the reaping isn’t a good thing.

From the end of the hunt and bartering of goods with the black market folk, to the getting ready and  arrival in the town square, everything is underplayed.  Emotion is suppressed. A kind of weary resignation settles over the story that very effectively makes things feel far worse than people panicking and losing their minds. An excellent demonstration of how to use understatement to emphasise impending horror.

The rules of the Hunger Games (a battle to the death between kids selected from each of the 12 districts) are given just before the draw is made. It’s very important they are made clear before the draw is made. There is a strong compulsion among aspiring writers to hold back information like this as long as possible. But without knowing the consequences of an act, the act loses its tension. And you can't add musical cues to manipulate a reader. 

The rules of suspense requires you to make the stakes clear ahead of the event, not after. Even if the lottery draw took place in the next chapter, it would still be better to reveal the nature of the Hunger Games in this chapter.

So, the draw is made and it’s Prim. Good end of chapter hook. Again, it would have been tempting for a lot of aspiring authors to hold back the name until the next chapter as a way to get the reader to turn the page. Again, a much weaker way to do it. If you’ve set things up correctly knowing who it is makes it more interesting to know what happens next, not less. Consider, if I tell you a) someone’s been in an accident, or b) your mother’s been in an accident, which gets you in the stomach more?

Prim has been mentioned throughout the chapter so we know her, and we know how Katniss feels about her. Her selection carries weight with the reader. But it was done is fairly subtle manner. Even though it was made clear this was Prim’s first reaping, the focus was taken off her by placing it on how many entries Katniss and Gale had, and the desperate hoping by Katniss that she wouldn’t be chosen. Prim’s entry was almost used as an example of someone who was safe from being picked. This sort of hiding in plain sight is always the best way to misdirect the reader. Had it not been mentioned at all and then sprung on the reader it would have felt like a cheat.

The start of the chapter, reaching for Prim who isn’t there, also takes on added significance. It was foreshadowing the end of the chapter and very cleverly bookended the chapter with the loss of Prim, providing a satisfying arc.

It’s clear that the writer knows what she’s doing. The first scene and last scene of the chapter are strongly linked. The big questions (what are these Hunger Games? Who will be picked?) are both answered within the chapter.

Interesting answers always draw the reader in, making them want to know more.

Plus, having proved she can deliver the goods, if the author chooses to be a little more coy in future chapters, I, as the reader, would feel confident in allowing her the room to do that, knowing she’ll pay it off. That is only because she’s done it so effectively straight out of the gates. She’s not asking me to hang on until it gets good down the line, she pays out on all bets up front and then offers the chance to win even bigger if you gamble and keep reading. 

Things to note:

No violence up front. Even though they were hunting, very bloodless. Even with this older age group, I think the approach is to ease into the rough stuff.

Lots of foreshadowing. Not just for later in the book (with the romance stuff) but between the opening and the ending of chapter one. Set up and pay-off within the first chapter.

Strong emotional voice, not just out of personality, but situation. She is a product of her environment. The examples of her attitude were many and varied, but all kept to the same message. Chapter one was about making sure you knew her approach to life, and that approach was kept simple – whatever it takes to survive.

An excellent first chapter, would certainly get you to keep reading and makes you confident you’re in capable hands. A lot of ideas lifted from other places, but expertly mixed and reimagined.

Agree with me? Think I’m talking out of my hat? Feel free to let me know. All opinions welcome. Never not interested in alternate takes.