This article investigates the use and stylistic significance of introductory parts of sentences in Ernest Hemingway’s short stories. By focusing on his unique syntactical structures, the study explores how Hemingway’s minimalistic style, often associated with the "Iceberg Theory," is supported by his choice of sentence openings. Through an analysis of selected stories such as Hills Like White Elephants, The Short Happy Life of Francis Macomber, and A Clean, Well-Lighted Place, this paper highlights how Hemingway's introductory parts contribute to tone, pacing, characterization, and overall narrative style.