posted
I've been skimming through alot of posts on this board, and it seems that the common consensus is that you need a hook inthe first paragraph or so of your story. Is this always true? Within a hook on the first page, will a editor just toss away your ms?
posted
Well, if the reader's not interested why would they read it? Most people don't waste time reading 20 pages to find something that might interest them in a book. Not to mention, a lot of people will skim the first page or so before buying a book. So hooks are important.
Posts: 131 | Registered: Feb 2006
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posted
People define "hook" to mean a lot of different things. Basically, the absolute minimum is that an editor/slushkiller would take the effort to turn to the next page. This means that it looks like the author has a basic command of the English language and of narrative prose.
The practical standard used in our FF forum is that another writer would volunteer to read more of the story without any financial incentive.
What you'll eventually want to master is the opening that will have people on their knees begging for more.
posted
Hooks are important, but I don't think there is a formula for it. One thing I am sure of though, is this. If you throw a great hook out there, and get me reading, you had better be able to back it up with a good, if not great story. I have started several books that open with a great hook, but fall apart somewhere after the opener. I absolutely hate that! It seems like such a waste of time.
A hook to me can mean several things. Great description of the setting and the stuff happening whithin it. Good character intro is another. Situation setup, or the start of a question that begs to be answered. Those are but a few scenarios. But for me, it isn't thrusting me right into some action, that I have have no idea what or why it is happening. That is the easiest mistake to make in my opinion.
I should know, I used to do that, because I thought that action right up front was key. I found that by doing that, it typically leads you right to a flashback, or lengthy explanation. In either case it is bad, because you just killed your reason for wanting to get right into the action.
posted
I wrote an article on this at one point. Basically, a hook gives potential readers an idea whether or not they would want to read this story. This is why you don't want to frontload a story with, say, a heap of exposition in the first paragraph: it means your potential audience has to wade through more stuff to find out whether this is an interesting story or not, and many aren't going to bother -- they'll just find another story, one that interests them from the beginning. On the other hand, there's an increasing tendency to misinterpret what a hook is and put a lot of really exciting stuff in the first paragraph, only to drop it and never mention it again a page later. It was frustration with this that lead me to write the article.
Hooks are important, but they aren't vital, and a bad or misleading hook is worse than no hook at all.
[This message has been edited by KatFeete (edited February 21, 2006).]
[This message has been edited by KatFeete (edited February 21, 2006).]
posted
I'll tell you that The last Harry Potter had no hook at the beginning, and I thought the book wasn't even comparable to her other work. I read it purely to find out what happens. Just the details. If this had been her first one, I never would have read any of her books. But she's published, so go figure.
Posts: 341 | Registered: Jan 2006
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posted
Susannaj4: It's precisely because she's published: you know this is going to be good, so you go on reading, expecting something out of the book. You don't need a hook anymore. 'sides, novel selling is a little different, in that you get more space to interest the reader. Hooks, for me, are essentially a short story problem (or not, but defining a "hook" over three chapters is rather different for me).
As to the hook: imagine you're a slush reader and you have a pile of 500, 600 subs (this is approx. what big magazines receive per month) to wade through. You're unpaid; you're probably working on your free time reading this. You have a deadline steadily looming closer. Do you really think you're going to read a story past the first page if there's not something that grabs you in those first paragraphs?
Of course, different people may have different notions of what grabs them. Some hooks have indeed left me cold. But, in general, if a hook is good, the majority will agree on it (at least that's been my experience on F&F).
posted
What if every paragraph, page, and chapter started with a hook and ended with a reason to continue? Why is it only the first bit that needs to hold the reader's attention...the rest of the story doesn't?
I think there tends to be too much emphisis on "a" hook, when what you need writing that does more than interest someone, but pulls them along making it hard for them to put down. A hook is only worth something if it continues and leads to the next and the next...
posted
Every chapter opening needs the same care and thought, too. So does the opening after every scenebreak. It's just that with those you have story, setting, and characters somewhat established and can concentrate on other things in drawing the reader across the break.
But...all is useless if that chapter one opening fails to entice the reader into the story.
[This message has been edited by arriki (edited February 22, 2006).]
posted
The line "You had me from hello" sort of sums the hook for me. It pulls in reader and editor alike. The reader pulls the book from the bookstore shelf, flips open to the first page and is instantly drawn in. But it's got to be backed up by good prose and it can't just be all flash and no substance.
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