Probably many, or all of you, already have creative writing resources on hand, but I figured the following is a really good one to post excerpts from. The author K.M. Weiland puts out a lot of good help books that include some fairly advanced techniques that go beyond simple rewording and line structuring advice. Some of her books are downloadable for free from Amazon. She also has a ton of podcasts that can be played audio for free from iTunes. Anyways, here are some of the interesting items I wanted to post here from her mentoring projects -
THE HOOK: This is described by Weiland as basically a section in your opening chapter that is compelling and/or interesting enough to keep your readers turning the pages to find out what happens in future sections where the elements of your hook play out. At the end of reading her advice you should ask yourself, "Do I have a hook in my opening chapter?" and if not, "Should I put one in?".
Here is Weiland's words on this from her *STORY STRUCTURE* section:
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. Like all 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 how amazing it is. The hook comes in many forms, but stripped down to its lowest common denominator, it’s 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—“What scary reptilian monster killed the worker?” (Jurassic Park by Michael Crichton) or “How does a city hunt?” (Mortal Engines by Philip Reeve). Your opening question might be explicit: perhaps you open with the character wondering something, which will hopefully make readers wonder the same thing. But more often, the question is implicit, as it is, for example, in Elizabeth Gaskell’s short story “Lizzie Leigh,” which opens with a dying man’s last words to his wife. All he says is, “I forgive her, Anne! May God forgive me.” Readers have no idea whom the man is forgiving, or why he might need to beg God’s forgiveness in turn. The very fact that we don’t know what he’s talking about makes us want to read on to find the answers. The important thing to remember about presenting this opening question is that it cannot be vague. Readers have to understand enough about the situation to mentally form a specific question. What the heck is going on here? does not qualify as a good opening question. It’s not necessary for the question to remain unanswered all the way to the end of the story. It’s perfectly all right to answer the question in the very next paragraph, so long as you introduce another question, and another and another, to give readers a reason to keep turning those pages in search of answers. Beginnings are the sales pitch for your entire story. Doesn’t matter how slam-bang your finish is, doesn’t matter how fresh your dialogue is, doesn’t matter if your characters are so real they tap dance their way off the pages. If your beginning doesn’t fulfill all its requirements, readers won’t get far enough to discover your story’s hidden merits. Although no surefire pattern exists for the perfect opening, most good beginnings share the following traits:
THEY DON’T OPEN BEFORE THE BEGINNING. Mystery author William G. Tapley points out, “Starting before the beginning … means loading up your readers with background information they have no reason to care about.” Don’t dump your backstory into your reader’s lap right away, no matter how vital it is to the plot. How many of us want to hear someone’s life story the moment after we meet him?
THEY OPEN WITH CHARACTERS, PREFERABLY THE PROTAGONIST. Even the most plot-driven tales inevitably boil down to characters. The personalities that inhabit your stories are what will connect with readers. If you fail to connect them with the characters right off the bat, you can cram all the action you want into your opening, but the intensity and the drama will still fall flat.
THEY OPEN WITH CONFLICT. No conflict, no story. Conflict doesn’t always mean nuclear warheads going off, but it does demand your characters be at odds with someone or something right from the get-go. Conflict keeps the pages turning, and turning pages are nowhere more important than in the beginning.
THEY OPEN WITH MOVEMENT. Openings need more than action, they need motion. Motion gives readers a sense of progression and, when necessary, urgency. Whenever possible, open with a scene that allows your characters to keep moving, even if they’re just checking the fridge.
THEY ESTABLISH THE SETTING. Modern authors are often shy of opening with description, but a quick, incisive intro of the setting serves not only to ground readers in the physicality of the story, but also to hook their interest and set the stage. Opening lines “that hook you immediately into the hero’s dilemma almost always follow the hook with a bit of stage setting,” and vice versa.
THEY ORIENT READERS WITH AN “ESTABLISHING” SHOT. Anchoring readers can often be done best by taking a cue from the movies and opening with an “establishing” shot. If done skillfully, you can present the setting and the characters’ positions within it in as little as a sentence or two.
THEY SET THE TONE. Because your opening chapter sets the tone for your entire story, you need to give readers accurate presuppositions about the type of tale they’re going to be reading. Your beginning needs to set the stage for the denouement—without, of course, giving it away. If you can nail all these points in your opening chapter, your readers will keep the pages turning into the wee hours of the morning.
FIVE ELEMENTS OF A RIVETING FIRST LINE Because your ability to convince readers to keep reading is dependent on your hook, you will need to present it 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 it seems (turns out Mimi is an actress performing her 187th death scene) both negates the power of your hook and betrays readers’ trust. And readers don’t like to be betrayed. Not one little bit. The opening line of your book is your first (and, if you don’t take advantage of it, last) opportunity to grab your readers’ attention and give them a reason to read your story. That’s a gargantuan job for a single sentence. But if we analyze opening lines, we discover a number of interesting things. One of the most surprising discoveries is that very few opening lines are memorable. Say what? Before you start quoting the likes of “Call me Ishmael” and “Happy families are all alike,” take a moment to think about the last few books you read and loved. Can you remember the opening lines? The very fact that these unremembered lines convinced us to keep reading until we loved the books means they did their jobs to sparkly perfection. I looked up the first lines of five of my favorite reads from the last year: When I wake up, the other side of the bed is cold. (The Hunger Games by Suzanne Collins)
When he woke in the woods in the dark and the cold of the night he’d reach out to touch the child sleeping beside him. (The Road by Cormac McCarthy) It was night again. The Waystone Inn lay in silence, and it was a silence of three parts. (The Name of the Wind by Patrick Rothfuss) They used to hang men at Four Turnings in the old days. (My Cousin Rachel by Daphne du Maurier) On the night he had appointed his last among the living, Dr. Ben Givens did not dream, for his sleep was restless and visited by phantoms who guarded the portal to the world of dreams by speaking relentlessly of this world. (East of the Mountains by David Guterson) What makes these lines work? What about them makes us want to read on? Let’s break them down into five parts. Inherent Question. To begin with, they all end with an invisible question mark. Why is the other side of the bed cold? Why are these characters sleeping outside in bad weather? How can silence be divided into three separate parts? Whom did they hang in the old days—and why don’t they hang them anymore? And why and how has Ben Givens appointed the time of his death? You can’t just tell readers what’s going on in your story; you have to give them enough information to make them ask the questions—so you can then answer them. Character. Most of these opening lines give us a character (and the rest introduce their characters in the sentences that follow). The first line is the first opportunity readers have to meet and become interested in your main character. Guterson ramps this principle to the max by naming his character, which allows readers that many more degrees of connection. Setting. Most of these lines also offer a sense of setting. In particular, McCarthy, du Maurier, and Rothfuss use their settings to impart a deep sense of foreboding and to set the tone of the book. The opening line doesn’t have to stand alone. It is supported by and leads into the scaffolding of all the sentences and paragraphs that follow. Sweeping Declaration. Only one of our example books (du Maurier’s) opens with a declaration. Some authors feel this is another technique that’s fallen by the wayside, along with the omniscient narrators of Melville and Tolstoy. But the declaration is still alive and well, no matter what point of view you’re operating from. The trick is using the declaration to make readers ask that all-important inherent question. “The sky is blue” or “a stitch in time saves nine” are the kind of yawn-infested declarations that lead nowhere. But if you dig a little deeper—something along the lines of William Gibson’s “The sky above the port was the color of television, tuned to a dead channel”5—you find not only a bit of poetry, but also a sense of tone and the question of why? that makes readers want to keep going. Tone. Finally, in every one of our examples readers can find the introduction of tone. Your first line is your “hello.” Don’t waste it. Set the tone of your story right from the start. Is your book funny, snarky, wistful, sad, or poetic? Make sure we find that core element in your opening line. Don’t hand them a joke at the beginning if your story is a lyrical tragedy. Opening lines offer authors their first and best opportunity to make a statement about their stories.
Play around until you find something that perfectly introduces your story’s character, plot, setting, theme, and voice. Your opening line may be as short as Suzanne Collins’s. It may be longer than David Guterson’s. It may be flashy, or it may be straightforward. Whatever the case, it needs to be an appropriate starting line for the grand adventure that is your story.
EXAMPLES FROM FILM AND LITERATURE Now that we have 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 novels (two classics and two recent), which we’ll use as examples throughout the book, 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 effectively we never realize we’ve swallowed the worm. Pride & 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.”6 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. She deepens it still further throughout 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 framing device that hooks viewers with a sneak peek of the Climax. The movie opens at the height of the main character’s troubles and 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 readers 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.”7 Just like that, Card’s got us wondering how the speaker is watching and listening through someone 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 be turned upside down. 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 the stark opening that shows 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 midshipmen spots what might be an enemy ship. The film never slows to explain the situation to the viewers. 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. We are hooked almost before we see the hook coming. Takeaway Value So what can we learn from these masterful hooks? Hooks should be inherent to the plot. Hooks don’t always involve action, but they always set it up. Hooks never waste time. Hooks almost always pull double or triple duty in introducing character, conflict, and plot—and even setting and theme. Your hook is your first chance to impress readers, and like it or not, first impressions will make you or break you. Plan your hook carefully and wow readers so thoroughly they won’t ever forget your opening scene.
*Weiland has more useful tips and advice which I'll post here in the future.*
