Between the second and third paragraph is an idefinite stretch of time where your character sleeps and nothing happens. Even if you don't explicitly count the seconds in your writing, that time with nothing happening is still there in the mind of the reader, creating a false start for them. Don't begin your novel with telling your readers that nothing is going on.
Like for your last version of your beginning I'm gonna recommend that you start with the third paragraph and drop the first two entirely. Work in their content later in the novel.
“Drake? Hey, wake up.”
makes for a perfect beginning, if you rework the next (now second) paragraph in the way CLockeWork recommended in his answer.
Of course you could start a book with
The house felt so empty when Grace wasn’t here.
It's a good first sentence. But after it you proceed to explain (tell), instead of letting the reader experience (show) how it feels empty. If you want a slow altmospheric beginning, you need to make the emptiness interesting. Here is someting I might do:
The house felt so empty when Grace wasn't there. Lying on the sofa I slowly sank deeper and deeper into myself, looking up at the faraway ceiling as if from the bottom of the sea. Light reflected from the windshields of the passing cars glided past on the dirty plaster like strange underwater creatures.
I would set up a motif (strange creatures underwater) that I would take up later and that would gain some meaning, while at the same time creating some emotion related to the emptiness of the house. What that empty house means for you, you need to define in the context of your story. If it means nothing, then don't start the novel with it. Because the first sentence sets the theme of your book (if it is a good first sentence).
The first sentence and first paragraphs also set the tone, so if the novel is filled with exciting action, the beginning should not be introspective like my example; if on the other hand the book is a lot about how your protagonist feels and what he thinks, then a funny or actionpacked beginning does not fit either. Don't mislead your readers, but draw them in by condensing the essence of your novel into the first sentence.
In my opinion, you need to define for yourself, what your book is about and write the first sentence from that understanding, pointing it like an arrow at the heart of your novel.
Is it about the emptiness the protagnoist has inside him, and how he finally finds something that gives him a meaning for his life once he crossed the seemingly endless waste at his core and finds his strength and love and a means to save the world? => start with the emptiness
Or is it about a boy looking up to his sister and following her around until he finally finds his own feet and in the end stands looking down at her after he saved her, healing the wound of his broken family? => start with her standing over him
Or is it about a dystopia? => Start with "A lot of people think that Sector C is a horrible place to grow up in."
Ursula K. LeGuin's The Dispossessed has one of the greatest beginnings. You may not like it, and you might disagree with my interpretation (below), but it will make clear how the beginning of a good novel works. Here it is:
There was a wall. It did not look important. It was built of uncut rocks roughly mortared. An adult could look right over it, and even a child could climb it. Where it crossed the roadway, instead of having a gate it degenerated into mere geometry, a line, an idea of boundary. But the idea was real. It was important. For seven generations there had been nothing in the world more important than that wall.
Like all walls it was ambiguous, two-faced. What was inside it and what was outside it depended upon which side of it you were on.
Looked at from one side, the wall enclosed a barren sixty-acre field called the Port of Anarres. On the field there were a couple of large gantry cranes, a rocket pad, three warehouses, a truck garage, and a dormitory. The dormitory looked durable, grimy, and mournful; it had no gardens, no children; plainly nobody lived there or was even meant to stay there long. It was in fact a quarantine. The wall shut in not only the landing field but also the ships that came down out of space, and the men that came on the ships, and the worlds they came from, and the rest of the universe. It enclosed the universe, leaving Anarres outside, free.
Looked at from the other side, the wall enclosed Anarres: the whole planet was inside it, a great prison camp, cut off from other worlds and other men, in quarantine.
A number of people were coming along the road towards the landing field ...
Why is this a great beginning?
(a) The first sentence is so ridiculously concise, it makes you want to laugh out loud. Its banality and brevity are like a perverse riddle.
(b) The next sentence creates tension. If the wall were unimportant, it would not be mentioned in the first sentence. The narrator just told us implicitly that it was important. So its existence (in that first sentence on the level of the written novel) contradicts its appearance.
(c) The first two paragraphs are an elegant and concise allegory of LeGuin's basic philosophy: how the belief in differences between humans causes evil. This beginning defines what the novel will be about. In this, this novel is very classical, giving everything away right at the beginning, and then proceeding to illustrate the premise. Novels are not usually written that way today, but they still start with the theme. See Stephenie Meyer's Twilight. First sentence: "I'd never given much thought to how I would die", which anticipates the death at the hands of James that Edward saved Bella from, as well as the "death" that makes her immortal when Edward bites her in a later book in the series, which is in fact what the whole series is about: the transcendence of death in eternal love, the basic romantic idea. Meyer's books may be stupid and puerile, but they work their readers well.
(d) The third and fourth paragraphs define the world we are on. Completely. From here on out you know where you are. If you want, everything can be pure action and no more description after that.
To sum up:
- create a moment of surprise and/or tension and
- define the topic / motif / theme of your novel in the first sentence;
- create a clear sense of place in the first paragraphs
Break these rules only if you know what you are doing.