Readers are like
fish. Smart fish. Fish who know authors are out to get them, reel them in,
and capture them for the rest of their seagoing lives. But, like any self-respecting
fish, readers aren’t caught easily. They aren’t about to surrender themselves to
the lure of your story unless you’ve presented them with an irresistible hook.
Our discussion of
story structure very naturally begins at the beginning—and the beginning of
any good story is its hook. Unless you hook readers into your story from the
very first chapter, they won’t swim in deep enough to experience the rest of
your rousing adventure, no matter excellent it is.
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| Image by Rob Whitworth |
The hook comes in
many forms, but stripped down to its lowest common denominator, the hook is
nothing more or less than a question. If we can pique our readers’ curiosity, we’ve
got ‘em. Simple as that. The beginning of every story should present character,
setting, and conflict. But, in themselves, none of these represent a hook. We’ve
created a hook only when we’ve convinced readers to ask the general question, “What’s
going to happen?” because we’ve also convinced them to ask a more specific
question, such as “What scary reptilian monster killed the worker?” (Jurassic Park
by Michael Crichton) or “How
does a city hunt?” (Mortal Engines
by
Philip Reeve).
by Michael Crichton) or “How
does a city hunt?” (Mortal Engines
by
Philip Reeve).
Where does the hook belong?
Because your ability
to convince the reader to keep reading is dependent on your hook, it must be
present as early as possible in your first scene. In fact, if you can get it
into your first line, so much the better. However, the hook must be organic. Teasing readers with a
killer opening line (“Mimi was dying again”) only to reveal all is not as
seems (turns out Mimi is an actress performing her 187th death
scene) not only negates the power of your hook, it also betrays readers’ trust.
And readers don’t like to be betrayed. Not one little bit.
Examples from film and literature
Now that we’ve got a basic idea of what a hook is and where it belongs, let’s consider a few
examples. I’ve selected two movies and two books (two classics and two recent), which we’ll use as examples throughout this series, so you can follow the
story arc as presented in popular and successful media. Let’s take a look at
how the professionals hook us so successfully we never realize we’ve swallowed the
worm.
Pride and Prejudice
by
Jane Austen (1813): Austen
begins by masterfully hooking us with her famous opening line, “It is a truth universally acknowledged,
that a single man in possession of a good fortune must be in want of a wife.”
The subtle irony gives us a sense of conflict from the very first and lets us
know that neither the wife in search of the fortune nor the man in search of the wife will find their goals so easily. Austen deepens
the pull of her hook in her opening paragraph by further highlighting the
juxtaposition of her opening statement with the realities of her plot, and then deepens it still further in the entirety of the opening scene, which introduces readers to the Bennet
family in such a way that we not only grow interested in the characters, but
also realize both the thrust of the plot and the difficulties of the conflict.
by
Jane Austen (1813): Austen
begins by masterfully hooking us with her famous opening line, “It is a truth universally acknowledged,
that a single man in possession of a good fortune must be in want of a wife.”
The subtle irony gives us a sense of conflict from the very first and lets us
know that neither the wife in search of the fortune nor the man in search of the wife will find their goals so easily. Austen deepens
the pull of her hook in her opening paragraph by further highlighting the
juxtaposition of her opening statement with the realities of her plot, and then deepens it still further in the entirety of the opening scene, which introduces readers to the Bennet
family in such a way that we not only grow interested in the characters, but
also realize both the thrust of the plot and the difficulties of the conflict.
It’s a Wonderful Life
directed by Frank Capra (1947):
Capra opens with a successful framing device that hooks the reader with a
sneak peek of the climax. The movie opens at the height of the main character’s
troubles and immediately has us wondering why George Bailey is in such a fix
that the whole town is praying for him. Next thing we know, we’re staring at an
unlikely trio of angels, manifested as blinking constellations. The
presentation not only fascinates us with its unexpectedness, it also succinctly
expresses the coming conflict and stakes and engages the reader with a number of specific
need-to-know questions.
directed by Frank Capra (1947):
Capra opens with a successful framing device that hooks the reader with a
sneak peek of the climax. The movie opens at the height of the main character’s
troubles and immediately has us wondering why George Bailey is in such a fix
that the whole town is praying for him. Next thing we know, we’re staring at an
unlikely trio of angels, manifested as blinking constellations. The
presentation not only fascinates us with its unexpectedness, it also succinctly
expresses the coming conflict and stakes and engages the reader with a number of specific
need-to-know questions.
Ender’s Game
by
Orson Scott Card (1977): The
opening line to Card’s acclaimed science-fiction novel is packed with hooking
questions: “‘I’ve watched through his eyes, I’ve listened through his ears, and
I tell you he’s the one. Or at least as close as we’re going to get.’” Just
like that, Card’s got us wondering how the speaker is watching and listening
through someone’s else’s mind, who is the one, what is the one supposed to do,
and why are they settling for a “one” who is less than perfect? He then successfully
builds his killer opening into a scene that introduces his unlikely hero, six-year-old
Ender Wiggin, just as his life is about to change forever.
by
Orson Scott Card (1977): The
opening line to Card’s acclaimed science-fiction novel is packed with hooking
questions: “‘I’ve watched through his eyes, I’ve listened through his ears, and
I tell you he’s the one. Or at least as close as we’re going to get.’” Just
like that, Card’s got us wondering how the speaker is watching and listening
through someone’s else’s mind, who is the one, what is the one supposed to do,
and why are they settling for a “one” who is less than perfect? He then successfully
builds his killer opening into a scene that introduces his unlikely hero, six-year-old
Ender Wiggin, just as his life is about to change forever.
Master and Commander: The Far Side of the World
directed by Peter Weir (2004): As a brilliant adaptation of Patrick O’Brian’s
beloved Aubrey/Maturin series
, this movie is unusual in a number of areas, not
least in its non-formulaic tone and plot. Nevertheless, it follows the
requirements of structure to a T, beginning with its stark opening, showing the
morning ritual aboard the man of war HMS Surprise.
Aside from arousing our natural curiosity about the unique setting, the hook doesn’t appear
until a minute or so into the film when one of the sailors spots what might be an enemy
ship. The film never slows to explain the situation to the reader. It
carries them through a few tense moments of uncertainty and indecision, then, almost
without warning, plunges them into the midst of a horrific sea battle. Viewers
are hooked almost before they see the hook coming.
directed by Peter Weir (2004): As a brilliant adaptation of Patrick O’Brian’s
beloved Aubrey/Maturin series, this movie is unusual in a number of areas, not
least in its non-formulaic tone and plot. Nevertheless, it follows the
requirements of structure to a T, beginning with its stark opening, showing the
morning ritual aboard the man of war HMS Surprise.
Aside from arousing our natural curiosity about the unique setting, the hook doesn’t appear
until a minute or so into the film when one of the sailors spots what might be an enemy
ship. The film never slows to explain the situation to the reader. It
carries them through a few tense moments of uncertainty and indecision, then, almost
without warning, plunges them into the midst of a horrific sea battle. Viewers
are hooked almost before they see the hook coming.
Takeaway value
So what can we learn
from these masterful hooks?
1. Hooks should be inherent to the plot.
2. Hooks don’t
always involve action, but they always set it up.
3. Hooks never waste
time.
4. Hooks almost always
pull double or triple duty in introducing character, conflict, and plot—and even
setting and theme.
Our hook is our
first chance to impress readers, and like it or not, first impressions are
usually make or break territory. Plan your hook carefully and wow readers so
thoroughly they won’t ever forget the moment your story first grabbed
them.
Stay tuned: Next week, we talk about the First Act.
Tell me your opinion: How early in your story is your hook found?
Related Posts: The Secrets of Story Structure, Pt. 1: Why Should Authors Care?
Use a Question to Create an Unforgettable Opening
5 Elements of a Riveting First Line
_________________
Click the “Play” button to Listen to Audio Version (or subscribe to the Wordplay podcast in iTunes).
Story by K.M. Weiland
Tags: beginnings , Feature , hook , opening line , opening question , secrets of story structure , story structure
Great post. Love the examples. My hook is in the first chapter for sure. My first manuscript it takes a few pages because editors who critiqued it said that the story should start in the main character's world before the hook. That is sometimes true with fantasy.
My second book starts right out with it. It works well with that story.
In fantasy, sometimes the world itself can be the hook. Fantasy readers love their settings. Lengthy descriptions usually won't cut it, but introducing interesting facets of the world building can be just enough to grab a reader's attention.
Excellent examples. My latest is on the first page, possibly the first sentence. My last book however the hook didn't come til the end of the 1st chapter.
Glad to hear that in Fantasy, the world itself can be a hook. My next work started out as a question, "What would it be like to live in a world of dolls?" Then I worked on the premise which helped me find my hook! All The Pretty Dolls
Thanks for the great post, K.M.
Cheers,
Anna Soliveres
@Mshatch: Sometimes we will find that we can begin with a mini hook that grabs readers until we can give them the true kicker.
@Anna: Sounds like a great premise! Really, the only requirement of the hook is that it create a spark of interest in the reader - and there are so many ways we can do that.
My hook is in first scene when Jordan (MC) is unexpectedly sucked into a void of psychic energy...
In next scene he is turned from spirit to mortal in a hope to keep reader hooked on his plight and question just who his captor is (Like power wise)
My hook (For query letter) reads:
"When Jordan is sucked through a vortex making spirit mortal once again he knows he is in trouble. His captor wants Jordan to perform but just who he is and how he has trapped a spirit in physical needs finding out. Jessica is a viewer who wants to help but becomes hopelessly entangled in a world of dreams she had no idea existed."
Any good?
You're raising questions that should definitely pique readers' curiosity. For the sake of the query, you might want to make it immediately clear what the phrase "making spirit mortal once again," since it's not clear how he became spirit (rather than mortal) in the first place.
lol he died... Yeah I'll change that bit!!
The very fact that he's dead and comes back is a good hook in itself.
I try to hook readers within the first paragraph.. and if not by then, I certainly hook them by the second paragraph.
Thanks for some tips to help me organize my hooks a little better.. :D
Mine is a serial killer thriller (and no, I'm not a poet also LOL), and the hook comes in the 8th paragraph, if you count two "paragraphs" that are only one line each. I've rewritten the first couple pages many times over the years (yep, years!), but the hook has always been what it is, where it is. It's one of the few things I've been sure about from the very beginning.
The whole reason I took on the monumental challenge of writing a novel is because the first vision I had of the characters hooked ME. I was the one losing sleep and asking myself: who are these people, why did this happen to them, and how will they respond? That vision became chapter one, with the hook currently taking place at about the 600 word mark. My quest to find out more about everyone involved, where they come from, what is going on and why it matters is what kept me writing. I hope someday it will keep readers reading!
@Gideon: First paragraphs are an art form in themselves! Glad you found the post helpful.
@Nikki: Sometimes we just *know* about the hook. When it's one of the earliest things we write - when it's a concrete concept even before we start writing - that's usually a good sign of its power.
@Abby: That's a great way to look at it. If we can figure out what hooks *us* about this particular story, we can use those same elements to snag the readers.
Thanks Katie, this gave me literally hours to think about. I ended up writing a blog post in response because I had too much to say (or meander through, depending on one's perspective and my inconclusive conclusion). The response can be found at here: http://brokengirl.info/2012/03/04/hook-plot-and-sinker/
Thanks for stopping by and sharing your thoughts, London! Off to read your post.
I've tried to pose a number of little hooking questions throughout Chapter One. On the first page I have "What is the treasured object in the heroine's pocket, and what is its significance?" and "What answers is she seeking in her life?"
But I consider my MAIN hook to be, at around page 6, "Who is the menacing man on the horse, and why has he set his dogs on her?" :D
@London - I read your post. :) The passages from your story certainly made me want to read more. :)
My hook is my first sentence, then my inciting incident comes at the end of the first chapter -- I'm thinking that may leave readers feeling a bit "thrown into it", with not enough time to connect with the characters before things are off and running. Hmmm, not sure....
@Happy Odd Girl: Sometimes it just doesn't make sense to bring the hook in from the very first. So long as we have little hooks pulling the reader along until we can snag them with the BIG HOOK, that's all that counts.
@Shari: The placement of the inciting event is crucial. It will get one or two posts of its own here in a few weeks!
This is one of the best definitions of 'hook' that I've read.
I've had 'little hooks' on the first page of a MS and I've had the 'big hook' in the first paragraph of another MS. Seems I get better response from beta readers with the hook in the first paragraph.
Totally agree with the 'teaser hook,' it leaves me flat and I don't want to read books by that author again. It's a lazy way to write.
Teaser hooks are surprisingly prevalent, but as I mentioned in another post, they're nothing but a lie to the reader.
Definitely within the first chapter. There's a lot of questions: Who is the man that died in the vacant house? Why was he there? Why does the MC still wear an engagement ring when her fiancé is dead? And did the MC really see her former college roommate at the scene, reporting the crime for a TV news station?
Mysteries are some of the best at utilizing their hooks right away. Book opens. Dead body. Bam. Instant questions.
Definitely. Probably why I like the genre so much.
That's absolutely a drawing card for most readers, I would think.
Beginnings. Getting the reader to go past the first page is always a challenge. I've rewritten my opening paragraph a few times to try to include the hook in those first few words. Was I successful? I'll let my beta readers decide. ;)
I rewrite my beginnings more than any other part of the story (endings can sometimes be a close second). They're tough to get right because there's just so much we have to incorporate to make them work.
Very interesting post! In my currently released novel Ghosts on the Red Line, the hook appears in the first chapter when a boy on a Boston Red Line subway train witnesses another passenger interacting, apparently, with a person the boy can't see or hear. However, in the current version of the prequel novel that I'm writing now, I'm breaking the early-hook rule -- first chapter describes the demolition of a rural village in China (this sets up the crime that happens later), and second chapter describes the refusal of a Hong Kong tycoon to fund his son's business venture (which results in consultant Harry West's invitation to Hong Kong, where he encounters & must resolve the crime). I'm still working on this... maybe I'll find a way to plant the hook earlier.
We always have to have *some* kind of hook in the first chapter, preferably on the first page. This doesn't always have to be the "official" hook, although I always prefer the hook to be integral to the plot. However, we have to give the reader at least a small reason to keep reading.
You mean taping fish hooks onto the first page isn't how to do it?
Only if you're going to include a box of Band-Aids in the cost of the book!
Great post and great examples. Now, I've seen many stories where the first scene is some event that happens way ahead in the story. The following scene goes back in time to tell what happened to bring the protagonist to the situation presented in the very first moments.
For me this is a powerful hook and maybe the only solution for some plots, where the overall idea is too complex to be presented in a fez paragraphs without running the risk of losing the reader.
What is your opinion about this kind of strategy?
Thank you again for your books, blogs, videos.
Greetings from Brazil.
Marcos
After a short prologue (actually just a short newspaper article describing an apparent suicide), my hook is sentence one:
Matt Lanier drove south on Interstate 35 and struggled with fact he was more happy than sad that his father might be dead.
Of course, this is my third chapter one, so there's no guarantee this one will stay. :-)
@Marcos: I wrote a post on the "flashfoward" not too long ago. In a nutshell, I agree that it can be a very effective hook when done well. The trick is to make sure that the tension in the flashforward pays off when the reader actually reaches that point in the story. Nothing is worse than feeling an author tricked us by making us *think* something tense was happening when it really wasn't.
@ChiTrader: It's a good one. You immediately introduce us to the character, the plot, and his inner conflict.
Best story structure analysis I ever stumnbled upon is at http://www.clickok.co.uk/index4.html
Thanks for sharing! I'll check it out.
This might be a stupid question, but if a book is part of a series does it's hook question need to be answered within that book or is alright to answer it in a subsequent book? I'm struggling with the rewrite of my first novel and I'm trying to find a hook that is answered within the first book.
It really depends on the hook. It's absolutely possible that the initial hook question can be strong enough to last throughout the series. However, smaller hook questions will have to be introduced and definitively answered within each book. The trick is to balance the reader's need to keep reading with his potential frustration over not learning the answers at the right time.
Thanks K.M. for another brilliant post.
I couldn't agree with you more about the importance of a hook, especially when you are trying to draw readers in quickly. With the endless amount of options - both in bookstores and online - for the reader to choose, your book needs to stand out and get them asking "What happens next?". The first person to read it will most likely be an editor and they don't have time to read 40 pages in to find out when the story starts.
Thanks for being an inspiration and teacher to this new writer and blog owner.
A Writer's Journey
Glad you enjoyed the post! The hook is all-important. Sometimes we just have to figure out what hooked *us* in our stories, then figure out how to share that in our opening pages.
I've been reading through various posts on your web site, and they are very insightful. I will be referencing them.
My character finds that her boyfriend had stashed his gun in her car before she moved to college. He leaves a note saying, "You're in the BIG city now, so I figured you'd need some protection."
She assumes it's sarcasm because she used to live in New York City. She moved to a small town of 1,100 when she was 16, and now she has moved to a town of around 60-70,000. But she starts pondering if it's not sarcasm and he's being honest.
Would you consider that a hook? The main question readers could have is why or from what does she need protection.
Yes, that could definitely be your hook. I would be careful to play it so that the protagonist has some immediate (and not easily resolved) questions about the gun. Let her immediately ask the questions you want your readers to ask.
Thanks for the feedback! I'm considering leaving out the note. She will recognize it because she has shot it before at a gun range. I'll just see what happens when I rework that scene in the next step.
Glad to help!