posted
hey everyone. After my short time so far at this site i've learnt a lot more about the importance of the start of a story. But now, rather than through experience, can some of you please literally explain why the hook at the very start works so well. Why trying to start with a glimpse of information (often through unsettling dialogue), with the exception of idea stories, always leaves me eventually compelled to rewrite it later. I want to just write (shotty as it is) my stories- start to finish- and then see what they're missing, but I see now there's no point as it will have to be rewritte several times anyway. Besides the hook, I know theres more, but I have no idea what it might be so if anyone can help me I'd be very grateful.
Also, here's a part from my threads start, just before the end of the first 13.
In General Chitahiro’s bedroom, the assassin was not surprised to find the evil conqueror not there, just disappointed.
Ever the optimist, instead of ruing in a sense of stupidity and failure, he had already planned his next move. He was well aware of the small Japanese boy in the next room and had a fair guess of who he might be. If indeed he was the never before seen Hamate, he would have to agree to his proposition at any cost.
“Who are you?” asked the assassin. He knew how to make the boy say what he wanted him to, “I was just about to ask you the same question”. Perfect.
------------------- at what point do you, if at all, as a reader come to the conclusion that this is a major character... or would the very mention of him as the second and last of the characters involved in the first scene have made him seem important, as I did within the first 10 lines?
Thanks, Rusta.
[This message has been edited by rustafarianblackpolarbear (edited June 18, 2005).]
posted
The hook should be what sinks into your reader's interest and refuses to let go. Most writer's books/articles/etc. suggest starting in medias res, which means 'in the middle of things'. It's usually good to start right at the action that changes the situation, where your character is forced to do something...I probably don't explain it very well, but there are hundreds of books out there written by better experts than myself. Read plenty of them.
When I first found Hatrack, I started reading 'Uncle Orson's Writing Class'. OSC is my fav author by far. I've always been amazed that he can cross so many genres and always tell a compelling story. It's definitely worth checking out:
I would also suggest splurging on a subscription to Writer's Digest. It covers craft (in many genres), business, contracts, publicity---and there are always good book and link suggestions for further reading. They also tell you about contests, open markets, agents, conferences, classes... It's one of the best places to start, IMO. And I'd check out your local library to see what sort of book they have on the craft.
And don't worry---there will always be rewrites. Write your draft, then immediately proof it for glaring errors or inconstencies. Find a good beta reader. Leave it in a drawer, and come back in a week or so when you're refreshed and do it again. Post for critiques. Do it again. And maybe again. Then if you ever submit it, you may have to do it a few more times. But on the plus side, when your work gets publishes, it will be the absolute best it can be. And when you start on the next one, you'll probably not make as many mistakes as you did with the first (or you'll at least make different ones).
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