You want to make your fiction story instantly grab the reader’s attention? One awesome trick is to **start your story in the middle of the action**—it’s called *in medias res*. That just means the reader jumps right into something exciting, tense, or confusing—in the best way possible. You don’t explain everything right away. You *drop* the reader into the middle of a moment that matters.

Why does this work so well? Because readers don’t want to warm up slowly anymore. They want to be pulled into the story right away. When you start with action, readers are immediately curious. They want to know: *What’s going on? Who are these people? Why is this happening?* That curiosity keeps them turning pages.

Here’s how to do it: **Write your story the normal way first.** Include all your setup—who the characters are, where they live, what they want. Write out the beginning, the middle, and the end. Then go back and slice off that slow intro like you’re editing a movie. Find the moment something *changes* or *explodes* or *gets weird*—and start *there*.

Let me give you an example. Let’s say I write a story about a kid named Marcus who’s always trying to prove himself on the basketball court. My first draft starts with him eating cereal, talking to his mom, walking to school, and finally showing up at tryouts. That’s fine—but it drags. Instead, I cut all that and start with: *“Marcus’s sneakers squealed as he launched the ball across the court. Coach’s whistle split the air. ‘What was that?’ Marcus’s heart slammed. Had he already blown it?”* Boom—you’re in the moment.

Or say your story is about a girl named Nina sneaking out to find her missing brother. Instead of starting with a whole family backstory, jump into: *“Nina ducked behind a hedge as the searchlight swept over the yard. She clutched the backpack tighter—there was no turning back now.”* Instantly, we’re hooked.

So try it out! Write the full story first, then cut straight to the part that makes your character *act*, *react*, or *panic*. You’ll feel the difference—and your readers definitely will too.

Here’s some examples of starting your story right in the action. Read the setting and setup, then the opening action. Then go back and re-read the story sample, this time starting with just the opening action. You’ll notice the little bit of information that’s missing doesn’t really impact your engagement with the story. Sure, there may be a few things that you’ll want to include further into the story itself, but the benefits of starting right with the action can outweigh any setup needed.

The Last Train Out
Story Idea: In a dystopian future, 17-year-old Theo sneaks onto the last train out of his collapsing city, only to discover a runaway girl with a dangerous secret.
Opening Paragraphs (Setting & Setup)
The station smelled of rust and desperation. Overhead, the metal beams groaned under their own weight, and the cracked digital schedule blinked its final warning: LAST TRAIN: 11:45 PM. Theo adjusted the straps on his backpack, heart hammering in his chest. He didn’t belong on this train—not legally—but staying behind meant disappearing like the others. As he moved toward the platform’s shadows, a figure darted past him, just as desperate. A girl. A hood pulled low over her face. And when she turned, her eyes locked onto his, filled with something sharper than fear.
Opening Action
The train doors hissed open, and the crowd surged forward, but Theo barely noticed. The girl had dropped something—an old-school metal key that clattered against the concrete. She swore under her breath and lunged for it, just as a patrol officer’s gaze swept their way. Theo acted on instinct. He kicked the key toward her and stepped in front of the officer’s view. The girl’s hand brushed his as she snatched it up, and before he could think twice, she yanked him onto the train with her. The doors shut. They were on the move.
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Ghost Signal
Story Idea: A late-night radio host, Juno, discovers a signal that seems to be coming from a missing person’s phone.
Opening Paragraphs (Setting & Setup)
Juno leaned into the microphone, twirling a pen between her fingers. “Midnight Hour listeners, let’s talk ghost signals,” she said, voice smooth, steady. “Ever hear a radio station that doesn’t exist? A voice you shouldn’t hear? Call in—tell me your best story.” The station’s neon-blue glow buzzed overhead, casting eerie shadows against the wall of soundboards. She barely noticed the blinking light on Line 3. A caller was already waiting.
Opening Action
Static crackled through her headphones. Juno adjusted the dial. “You’re on with Midnight Hour.”
A long pause. Then—a whisper.
“…help me.”
Juno sat up. Her finger hovered over the volume knob. “Caller, can you repeat that?”
The voice came again, weak, distant. “Please. Find me.”
And then Juno saw it. The caller ID. The number flashing on her screen. It belonged to someone who had disappeared two months ago.
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The Dare List
Story Idea: A group of friends plays a game of dares, but when one of them goes missing, the game turns deadly.
Opening Paragraphs (Setting & Setup)
The list sat in the middle of the bonfire circle, a single sheet of paper fluttering under the October wind. The flames sent flickering shadows across the trees, making the woods seem deeper, darker. Five names. Five dares. No quitting. Logan rolled his eyes. “Seriously? This is so middle school.”
Mara smirked. “That’s the point. Scared?”
Across from her, Jonas didn’t smile. “Yeah,” he said. “A little.”
Opening Action
The first dare was easy: climb to the top of the old fire tower and take a picture. Logan went first. Then Mara. Jonas hesitated but went up anyway. One by one, they made it back to the circle—except for Jonas. His turn should’ve taken two minutes. Five passed. Then ten. Logan pulled out his phone to call him. The screen lit up. One new message.
From Jonas.
A picture of the fire tower.
Empty.
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Run the Red
Story Idea: Two best friends steal a car for a joyride, but what’s in the trunk changes everything.
Opening Paragraphs (Setting & Setup)
The keys were right there. Just sitting in the ignition, taunting them.
“Come on, Liv,” Mason grinned, nudging her toward the car. “When are we gonna get another chance?”
Olivia’s pulse drummed in her ears. “This is insane.”
“That’s why we do it.”
The night air was thick with summer heat, and the empty parking lot stretched ahead like a promise. A city sleeping. No one watching. One bad idea away from the best night of their lives.
Opening Action
The tires screeched as Mason floored it, the city lights blurring past. Laughter filled the car, the kind that made them feel untouchable. But when Olivia turned to look in the back seat, something cold crawled up her spine. The trunk latch—barely shut. Something was moving back there.
“Hey,” she said, voice tight. “What did we just steal?”

The Clockmaker’s Code
Story Idea: A genius student, Alex, breaks into his late grandfather’s clock shop, only to discover that the clocks hide encrypted messages.
Opening Paragraphs (Setting & Setup)
The shop smelled like dust and time. Wooden clocks lined the shelves, their brass gears clicking softly, whispering secrets only the past could hear. Alex adjusted his glasses, the blueprint of his grandfather’s work spread out on the counter. Something was off.
A signature he didn’t recognize. A symbol tucked into the design. A code.
Opening Action
Alex reached for the nearest clock, running his fingers along the carvings. His breath hitched when he pressed against a tiny, near-invisible notch—and the back panel slid open. A hidden compartment. Inside, a folded note. Shaky handwriting.
Alex, if you found this, it’s already too late.
The shop door creaked. Someone was outside.

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The Great Waterpark Escape
Story Idea: Best friends Maya, Theo, and Jamal sneak into an unfinished waterpark the night before its grand opening—only to accidentally activate a water slide that sends them on a wild, unexpected ride.
Opening Paragraphs (Setting & Setup)
The fence was exactly twelve feet high, topped with barbed wire, and completely unguarded. Which meant one thing:
It was basically inviting them in.
Maya adjusted her backpack straps. “One small climb for a human, one giant leap for three dumb kids.”
Jamal squinted up. “Are we sure about this?”
Theo grinned. “Absolutely not. But in twenty-four hours, this park is gonna be crawling with rich tourists, and we’ll have to wait in five-hour lines. Tonight, we ride.”
The three of them scaled the fence, landing in the half-lit waterpark like spies on a mission. Everything was unfinished but amazing—slides twisting through the air like roller coasters, a massive lazy river, and in the center of it all, the Mega Vortex 5000—the world’s first water slide with a loop-de-loop.
Maya whistled. “We have to try it.”
Jamal frowned. “We don’t even know if it works.”
Theo grinned. “Guess we’ll find out.”
Opening Action
The three of them climbed to the top of the Mega Vortex 5000. The sign at the entrance read: NOT YET OPERATIONAL. DO NOT ENTER.
Maya, of course, stepped inside immediately.
“C’mon, we’ll just take a peek—”
WHOOSH.
The floor beneath her feet vanished.
Maya’s scream echoed as she shot down the slide like a human rocket.
Theo and Jamal barely had time to exchange looks before—BAM! The slide sensors kicked in. The whole thing roared to life.
“AHHHH!” Theo yelled as he was sucked in.
Jamal, panicking, grabbed onto the edge—but the force was too strong.
Three best friends. One unfinished water slide. Zero idea where they’d land.
Best. Night. Ever.

These openings drop your reader right into action, mystery, and intrigue without lengthy introductions. Each scene immediately establishes character, setting, and tension, making it clear that something is already happening—and it’s about to get worse.