By Tiffany Lawson Inman
What do most writing craft books say about openings?
A lot of don’ts and dos.
Am I right?
- Don’t use a lot of description.
- Don’t open with back story.
- Do try and start with action.
- Do introduce the story theme and problem.
- Do establish character and setting.
- Do excite your reader.
- Do show the promise of your novel in the first sentence, in the first paragraph.
- Oh yeah…and DO hook your reader.
Hook your reader.
Hook your reader, HOOK YOUR READER!
All are true. All are dangerous. Why? Because everything rests on the HOOK!
E V E R Y T H I N G. Writers work their butts off on the beginning of their novels!
Or they should.
What happens after the first hook line? There should be a hooking paragraph. A hooking chapter. But that is not always the case.
How many of you have read a false hook? Loved the first line or paragraph, and then the book goes downhill. Such a disappointment. We don’t want a bunch of marketing tactics drawing your reader in for one bite, when the rest of the meal tastes less than good. It sullies our reputation as storytellers.
Writers should be hooking their readers through the entire novel. Raising questions. Little and big. Keep them turning the pages.
How to avoid the false hook? Look at more than what you are saying. Also look at how you are saying it. The tone.
You need to show the promise of your novel with what is going to happen and how the story will be told. They go hand in hand. The how is your needle, the what is your thread. Can’t have one without the other. Readers don’t want a great story that is written poorly. Nor do readers want a crappy story that was written beautifully.
Which one is the first paragraph? Does one have more or less promise than the other? **********You better not cheat. Don’t run and get your copy, or look on your Kindle.
Look at his writing.
The third piece to a solid hook: Reader questions. There are questions on top of questions on top of questions. Egging the reader to turn the first page and melt into this man’s world.
Paragraph A :
There should have been a dark whisper in the wind. Or maybe a deep chill in the bone. Something. An ethereal song only Elizabeth or I could hear. A tightness in the air. Some textbook premonition. There are misfortunes we almost expect in life—what happened to my parents, for example—and then there are other dark moments, moments of sudden violence, that alter everything. There was my life before the tragedy. There is my life now. The two have painfully little in common.
Paragraph B :
Elizabeth was quiet for our anniversary drive, but that was hardly unusual. Even as a young girl, she’d possessed this unpredictable melancholy streak. She’d go quiet and drift into either deep contemplation of a deep funk, I never knew which. Part of the mystery, I guess, but for the first time, I could feel a chasm between us. Our relationship had survived so much. I wondered if it could survive the truth. Or for that matter, the unspoken lies.
OOOOh I got the chills!
Are you turning the page for more? Yes you are.
He has given us over 20 questions in 163 words. And his tone? The intensity of his tone is one wave after another moving us further into his story.
It is always taught in speech writing classes: you tell the audience the same information three times in the course of an informational speech. It takes three times for your reading audience to really get what you are saying. Well. Harlan does it 20 times in the first two paragraphs. He wants us to listen and keep listening.
What is the difference between Harlan Coben’s novels and an unknown suspense thriller that has just been passed over in the submission pile? He uses the what, and the how, very well. And the tone he uses is a question in itself.
But, the biggest difference: Harlan keeps his answers close to his heart. He lets go of information in a deliciously suspenseful way.
A crumb here, a morsel there.
And he does not let go of those nuggets until after the reader has met the wondering threshold.
It is true.Timing is everything.
Harlan has excelled at the art of threading his hook through every moment of his Bestselling novels.
Look at your WIP.
- How far does your hook get you?
- How can you work in the concept of needle and thread?
- When do you start giving up those precious answers?
- Open to a page in Chapter 18, is the reader still asking questions?
Thank you so much for reading today! Next month I will give you a bit more meat in the world of writing-craft-know-how, today was just a sample.
Do you have a favorite author that has a knack for threading a hook? Let’s chat about it in the comments! I will be teaching online this summer and I will be giving a class away to one of the brave writers in the comments section. So don’t be shy, say “Hi!”
Tiffany Lawson Inman claimed a higher education at Columbia College Chicago. There, she learned to use body and mind together for action scenes, character emotion, and dramatic story development. Tiffany’s background in theatre provides her with a unique approach to the craft of writing, and her clients and students greatly benefit.
She teaches Action and Fighting, Choreography, Active Setting, Emotional Impact, Scene Writing, and Dialogue for Lawson Writer’s Academy online, presents hands-on-action workshops, and will be offering webinars in late 2014.
As a freelance editor, she provides deep story analysis, content editing, line by line, and dramatic fiction editing services. Stay tuned to Twitter @NakedEditor for Tiffany’s upcoming guest blogs around the internet, classes, contests, and lecture packets.