Comments on "hooks"

blacbird · Jul 19, 2007

We have a long "Hook me in 20 words" thread here, and something JAR said in another thread got me thinking a bit more on the function of "hooks" at the beginning of novels. First, I agree with JAR in not liking the word "hook" exactly, and in the point he made that too many writers seem to think they need a bomb to go off in the first sentence, or something similar.

As a reader, what I need to see in the first sentence isn't much. Mainly it's a sentence that makes sense, establishes something about the story, and demonstrates that the writer is capable of using words in some combination that is intelligent and clear. That's enough to generate my reader's trust and get me to on to the next sentence. In fact, I'll always read the first couple of paragraphs, even if that first sentence isn't exactly a prize-winner. After a page or so, I'll generally know enough about the writing to make a sensible decision about whether or not the story is worth my time (a decision that involves personal taste as well as judgment on the quality and characteristics of the writing).

What I don't need to see is a writer straining too hard to "hook" me.

caw

Shady Lane · Jul 19, 2007

The hooks I posted on the other thread definitely aren't my first lines. They're just quick, hopefully intriguing sentences that describe my plot. They're what I'd include in a query letter.

I agree with you, though, about the pressure to produce overly-dynamic first sentences. A lot of the time it's all downhill from there.

maestrowork · Jul 19, 2007

I like Uncle Jim's definition: someone, somewhere with an interesting problem.

Interesting being the key word.

davids · Jul 19, 2007

totaly agree Mr. Bird-I dislike the word-myself? Me simply play in the hook threads-it is just a bit of fun! An example of a great non-hook would be the beginning of East of Eden-but then again???? It sure as hell hooked this old fella!

Stew21 · Jul 19, 2007

I'm listening to a book currently that has great opening lines to each chapter.
I don't remember exactly how the first chapter started but it was someone with a funny name who had a problem, even worse than his name, is how it was put. And I was "hooked"
He started his second chapter off with "I sing praises to my water pressure."
What a great line. No explosion. Shows us a bit of his character in an unusual way, sets the scene, and gives me a slight smile. Perfect.

TheIT · Jul 19, 2007

Trying to judge the entire novel on the first line is like trying to balance an iceberg on a golf tee. As long as the first page or so establishes something which intrigues me, I'll continue reading.

blacbird · Jul 19, 2007

Addendum: If the first sentence is horrible. And the second sentence is horrible. And the third sentence is horrible . . . I probably won't read the fourth sentence.

caw

III · Jul 19, 2007

I like Chuck Palahniuk's approach. He only writes the "heart" of the chapter (which some might call the hook). His stories are jerky and it can take a long time to figure out what's going on in a chapter or even who's narrating (in Diary you don't even know who's writing the diary for several chapters), but it makes for great, stylized reading.

JoNightshade · Jul 19, 2007

If I have to read the first sentence (or paragraph) several times to get what's going on, I won't continue. So for me, simple is good.

davids · Jul 19, 2007

blacbird said:
Addendum: If the first sentence is horrible. And the second sentence is horrible. And the third sentence is horrible . . . I probably won't read the fourth sentence.

caw

One horrible sentence is quite sufficient

windyrdg · Jul 19, 2007

I may be in the minority (not on this board, in the big world out there) but, I prefer a gentle buildup. The ones that I hate are something like: "Officer Jones only had 30 seconds to live and he didn't know it."

That said, I have come to believe that a great concept and an arresting first chapter is essential these days. Most agents only read one chapter, if that.

The best example is Lovely Bones. That first chapter really hooked you, then the book slowly went to hell afterwards.

Simon Woodhouse · Jul 19, 2007

JoNightshade said:
If I have to read the first sentence (or paragraph) several times to get what's going on, I won't continue. So for me, simple is good.

Confusion is the anti-hook. I'd rather be drawn in than bombarded by a crash-bang-wallop opening scene.

If I'm browsing in a bookshop, I tend to flip to the middle of a book and read a paragraph or two there. Hopefully the story's well underway by that point, and so I'll get a taste for how it's written in it's entirety.

Opening hooks remind me a bit of movie trailers – anything can be made to look good if you only see the best bits.

maestrowork · Jul 19, 2007

III said:
I like Chuck Palahniuk's approach. He only writes the "heart" of the chapter (which some might call the hook). His stories are jerky and it can take a long time to figure out what's going on in a chapter or even who's narrating (in Diary you don't even know who's writing the diary for several chapters), but it makes for great, stylized reading.

I must admit, Palahniuk is not an easy read.

III · Jul 19, 2007

Simon Woodhouse said:
If I'm browsing in a bookshop, I tend to flip to the middle of a book and read a paragraph or two there. Hopefully the story's well underway by that point, and so I'll get a taste for how it's written in it's entirety.

That's exactly what I do too, if the back-cover has managed to intrigue me. I read alot of Fantasy and Sci-Fi, but I'm to the point where I won't read a book with a million extra-long names or an extended made-up geography and lexicon.

I started keeping a list of books I've read over the past year and I realized I actually only end up finishing about 3/4 of the books I buy anyway.

Celia Cyanide · Jul 19, 2007

I once had a teacher who told me that a "hook" (he called it a "snare") should get the reader's attention, but it should do so by telling you what kind of story it is. I've always found that true and helpful.

tammieofmi · Jul 19, 2007

Interesting thoughts on the "hook". Guess I always thought they were more of pitch, not the opening sentence. I have used:

Jo, writes the perfect obit; can she live up to it?

On my site and in some queries. I'm not normally a fan of the question hook but hey it seems to be working for this manuscript. But it definitely isn't the opening sentence.

Mr. Fix · Jul 19, 2007

Intro vs. Story...

I've broached this topic before, so I apologize to all those now agonizing over this 'sort-of' repeat question.

My story starts with a long but intrinsic elemental introduction. I believe the 'science' needs to be established before the story begins.

So my question (again - sort of...) is the Introduction in need of the 'hook' or will most readers (Agents/Publishers) forgive the intro's "dryness" and wait for the story to begin?

To add in, I believe the Intro is quite "enlightening" but it is not "exciting."

P.S. I've not had my WIP read and returned yet, so I don't know if it has a 'hook,' how would I know? (I've never quite understood this concept anyway.)

TheIT · Jul 19, 2007

The function of the first page is to make the reader want to read the second page. The function of the second page is to make the reader want to read the third. Lather, rinse, repeat.

As evidenced by this thread and others, different people have different thresholds on where they might stop reading based on where they lose interest. IMO, I don't think it's fair to stop reading based on a single sentence, so I usually read for a page or so to determine whether I like the situation and writing style.

In my WIPs, I have one novel draft which has a hook in the opening sentence. In my current WIP, the hook is in the opening situation which is the POV character, a young man, being asked to dance by a beautiful minstrel. It takes more than one sentence to set up the situation, but I'm hoping readers will be asking themselves "will he get the girl?" and get drawn into the rest of the story.

maestrowork · Jul 19, 2007

Mr. Fix said:
is the Introduction in need of the 'hook' or will most readers (Agents/Publishers) forgive the intro's "dryness" and wait for the story to begin?

The question you have to ask is, objectively: Would someone who doesn't know you and is not paid by you (in fact, this someone pays to read your book) -- basically, someone who has no obligation whatsoever -- WANTS to read on after reading the first sentence, paragraph, or page.

There are many schools of thoughts on the "beginning." Some say you must start in media res, some say you must start with a bang/big conflict, and some say you can slowly lead your readers into the world. I don't think anyone is absolutely right or wrong -- it really depends on the story, and sometimes if the narrative voice is interesting enough, it can carry a relatively plotless beginning. But the question every writer must ask is: Why would a stranger want to read this? People have lives, and there are a million books out there. Why yours? And why would they want to read the second page?

Sassee · Jul 19, 2007

You know what's a really good hook?

Maestro's avatar. Where can I view the rest of that man??

EriRae · Jul 20, 2007

Simon Woodhouse said:
Confusion is the anti-hook. I'd rather be drawn in than bombarded by a crash-bang-wallop opening scene.

I'm getting that a lot w/ my first chapter that I posted in SYW. I couldn't see how it was confusing before, but I was trying so hard to be clever that I screwed comprehension in the process. I'm working on the slow draw for the rewrite. I still want to hook my reader with the first paragraph, but now my first paragraph also explains some very important things, like the MC's NAME.

Danger Jane · Jul 20, 2007

My current WIP builds just a bit...it takes a few pages/thousand words to get to the conflict, but it starts in media res, at least in the middle of something, and that something introduces you to the world without dumping info.

But I'm not dead set on starting everything like that. It totally depends on the story, like Ray of the Chiseled Torso said.

JohnDavidPaxton · Jul 20, 2007

I'll be perfectly honest:

If I am in a bookstore and I don't know you and I just happen to pick up your book, I'll open it. I'll read the first sentence. If it means nothing to me I'll put it down.

Don't blame the industry. Don't blame the editors. Don't blame your colleagues. Blame the reader whom purchases books. The rest of the industry if following their example.

Look at it this way: If you can hook a writer in the first sentence you're MORE likely to get sales and buzz than if you can hook them 10,000 words in.

Jo · Jul 21, 2007

I like a little intrigue to pull me into a story, and overlapping doses of intrigue to keep me there. If I start skimming, my curiosity wanes. If this happens early in the story, I'm gone.

As a writer, I wouldn't want that first line (or paragraph) to be the best in the story, just to hook the reader. Where would the story go from there? Big bangs fizzle out.

ccarver30 · Jul 21, 2007

blacbird said:
We have a long "Hook me in 20 words" thread here, and something JAR said in another thread got me thinking a bit more on the function of "hooks" at the beginning of novels. First, I agree with JAR in not liking the word "hook" exactly, and in the point he made that too many writers seem to think they need a bomb to go off in the first sentence, or something similar.

As a reader, what I need to see in the first sentence isn't much. Mainly it's a sentence that makes sense, establishes something about the story, and demonstrates that the writer is capable of using words in some combination that is intelligent and clear. That's enough to generate my reader's trust and get me to on to the next sentence. In fact, I'll always read the first couple of paragraphs, even if that first sentence isn't exactly a prize-winner. After a page or so, I'll generally know enough about the writing to make a sensible decision about whether or not the story is worth my time (a decision that involves personal taste as well as judgment on the quality and characteristics of the writing).

What I don't need to see is a writer straining too hard to "hook" me.

caw

Great post.

Comments on "hooks"

my name is hannah

Fear the Death Ray

Infuriatingly Theoretical

rockin the suburbs

has finally arrived

New kid, be gentle!

Fear the Death Ray

rockin the suburbs

Joker Groupie

Fixed on the future...

Infuriatingly Theoretical

Fear the Death Ray

Momma Wolf

:P

Travelling the re-write road

Nicole Castro