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<\/figure>\n\n\n\nFirst, we need to talk about what the Hook actually is. Generally speaking, it\u2019s the very beginning of a story, ranging from the first scene to the first few chapters (depending on the story\u2019s length and pacing). The Hook is kind of a first-impressions moment for your readers. You\u2019ll introduce them to the most important elements in your story\u2014the plot, the setting, and the characters.<\/p>\n\n\n\n
(Note: When I say \u201cplot,\u201d I mean the general happenings of the story, not the true conflict. This won\u2019t come into play until the First Plot Point, and won\u2019t really even be hinted at until the Inciting Event.)<\/p>\n\n\n\n
I think by now you\u2019ve seen why the Hook is so important. If you don\u2019t hook your readers in now, there\u2019s a distinct possibility that you never will. So let\u2019s take a look at some helpful points to keep in mind when writing your story\u2019s Hook:<\/p>\n\n\n\n
- \n
- An overall question<\/li>\n<\/ol>\n\n\n\n
This is what most people think of when they hear the word \u201chook\u201d in a story context. Whether you\u2019re opening your story in medias res <\/em>(in the middle of things) with witty dialogue and\/or action, or whether you\u2019re drawing your readers out slowly with description, you need to introduce a question. Something that will keep your readers reading\u2026 something that will intrigue them.<\/p>\n\n\n\n
<\/div>\n\n\n\n\u201cBeyond the Mask\u201d begins rather slowly, echoing the mysterious air of the film. While music plays, Will narrates a somewhat cryptic set of paragraphs. But since this is an action movie, it doesn\u2019t stay so peaceful for long\u2026<\/p>\n\n\n\n
The camera pans to a British navy ship sailing peacefully past a stone tower in the middle of the night. Suddenly, the doors of the tower open, and William Reynolds, assassin, marches out and begins unpacking a rifle. His colleague steps up beside him with a measuring instrument, and Will brings the gun to his shoulder, saying, \u201cCall the shot, Mr. Brand,\u201d and adding under his breath, \u201cOne last time.\u201d<\/p>\n\n\n\n
This Hook provides many questions\u2014namely, \u201cWho are these guys?\u201d and \u201cWhat are they doing?\u201d (Also, if you\u2019re observant enough to catch Will\u2019s muttered statement, you might ask the questions, \u201cWhy is this the last time?\u201d or \u201cThe last time for what?\u201d) Then more questions are added to the mix as Will shoots two of the soldiers aboard the ship, and he and his companion pull up their masks, zip-lining down to the boat.<\/p>\n\n\n\n
<\/div>\n\n\n\n\u201cIn Time of Need\u201d begins at a slower pace\u2026 we start as morning dawns in London, England, and the city begins to awaken. Then we pan on to Beasley\u2019s Tenement house, where children are sleeping in a room upstairs. Suddenly, that\u2019s all interrupted when Mr. Beasley comes marching in through the door. He begins to shake the kids awake, becoming infuriated by the accidental impudence of a half-asleep boy named Tad Griffin. The scene ends after Tad greets his little sister, Ava, and runs off to the factory, worried that he\u2019ll be late.<\/p>\n\n\n\n
The question in this Hook is really just, \u201cWill Tad be late for work?\u201d Since this is a short story, however, more questions are soon to follow.<\/p>\n\n\n\n
<\/div>\n\n\n\nYou might think that the good questions are only found in action-packed stories\u2014the ones that have you on the edge of your seat, wondering whether or not the character will survive. However, there are many questions that can be asked in slower-moving stories, as well.<\/p>\n\n\n\n
It all depends on if the audience cares about the characters. If they do, then they will follow your story wherever it goes, no matter how slow-moving it might seem at times. (More on this when we get to Point #3.)<\/p>\n\n\n\n
As in the case of \u201cIn Time of Need,\u201d the story isn\u2019t necessarily action-packed. The Hook is not full of gunfights and chase scenes\u2014instead, we are given verbal and internal conflict. But this can be just as useful when trying to draw readers in. If they\u2019re only reading your story for the big explosions and flashy fireworks, they aren\u2019t going to get anything out of it in the end.<\/p>\n\n\n\n
(Note: Be careful not to lie to your readers when you\u2019re trying to hook them. Make sure that whatever the hook promises will be fulfilled later on. If you open with action, your audience will expect the story to be action-packed. And, above all, be careful when opening with a dream sequence. When used improperly, it can mislead, confuse, and lie to a reader about what the story is about.)<\/p>\n\n\n\n
So whether your story\u2019s opening question is simply \u201cWhat\u2019s going to happen next?\u201d, or \u201cWhy did the character do that?\u201d, make sure that you keep your audience engaged with what\u2019s happening.<\/p>\n\n\n\n
<\/div>\n\n\n\n- \n
- Setting introduction<\/li>\n<\/ol>\n\n\n\n
There are many different methods you can use to introduce setting. Sometimes, it\u2019s done with a bit of description before the dialogue ever begins, and sometimes little descriptions are thrown in between dialogue and action. And some writers use a little of both.<\/p>\n\n\n\n
However, you have to be careful of a few pitfalls. First, make sure you\u2019re not describing things too little. In some stories, it seems like the characters are just talking in an empty room because of the lack of description. You want your readers to be able to see the setting in their mind\u2019s eye, so give them something to go on.<\/p>\n\n\n\n
Second, make sure you\u2019re not describing the setting too much. Most characters don\u2019t automatically pause at the threshold of a room to take note of every piece of furniture. (Yes, I\u2019ve actually seen that done in stories before.) Of course, there might be exceptions if the character is extremely paranoid, cautious, or attentive to detail.<\/p>\n\n\n\n
To avoid the above pitfalls, you can mention one or two things that might stand out in the room. Other elements can be thrown in throughout the scene. (\u201cShe walked over to the polished mahogany desk.\u201d or \u201cFrom behind a shadowy stack of cardboard boxes in the corner, there came an eerie moan.\u201d) And there are some things that you just don\u2019t need to describe (like the type of flooring or the little crack in the ceiling). If you\u2019ve done your job right, readers will be able to fill in the gaps using their own imagination.<\/p>\n\n\n\n
<\/div>\n\n\n\nIn \u201cBeyond the Mask,\u201d we start out right away hearing Will speak in British accent, and the words \u201c19th<\/sup> century\u201d immediately fly through our minds. (At least, they flew through mine.) This is followed up by the navy ship and the tower, plus the costumes\u2014all decidedly 19th<\/sup> century. Since the movie takes place in many different places, \u201c19th<\/sup> century\u201d is really the only setting that needs to be introduced.<\/p>\n\n\n\n
<\/div>\n\n\n\nIn \u201cIn Time of Need,\u201d we got a glimpse of London during the brief description at the beginning of the story. A scene later, we see more of the city through Tad\u2019s eyes as he dashes through the streets on his way to the factory.<\/p>\n\n\n\n
<\/div>\n\n\n\n- \n
- Character introduction<\/li>\n<\/ol>\n\n\n\n
Not only do you have to introduce your MC, but also any supporting characters that are around for the beginning of the story. Of course, some supporting characters won\u2019t be introduced until later on, and the antagonist doesn\u2019t have<\/em> to be personally on set until later on. (This all depends on your story\u2019s needs.)<\/p>\n\n\n\n
There are three things you\u2019ll need to remember when introducing the supporting characters:<\/p>\n\n\n\n
- \n
- Their Lie (or Truth, depending on their arc)<\/li>\n\n\n\n
- Their Want (or Goal)<\/li>\n\n\n\n
- Their Ghost (or Backstory)<\/li>\n<\/ol>\n\n\n\n
(Note: Sometimes, a character\u2019s Ghost\/Backstory won\u2019t be revealed until later on in the story, but it\u2019s still good to keep it in mind as you\u2019re introducing them.)<\/p>\n\n\n\n
As for introducing the MC, you\u2019ll need to remember the same points\u2014their Lie, their Want, and their Ghost. But since they\u2019re the protagonist, we get to introduce them in a special way. And this is done through something called the Characteristic Moment.<\/p>\n\n\n\n
This moment introduces your MC\u2019s personality\u2014and even their strengths and weaknesses\u2014all in one scene. Of course, you can leave some things for the audience to learn later on, but we want to show exactly who the MC is.<\/p>\n\n\n\n
The best way to introduce the MC is to put them under a little heat. This might be a friendly argument, a secret mission gone wrong, or a backhanded comment from their archnemesis. Then just let them do what they do best\u2014and do it according to their Lie. Show how serious they are about living according to the Lie and getting their Want. Depending on their personality, they might use a witty comeback, withdraw into their mind, or come to blows. But they will always hold fast to their Lie.<\/p>\n\n\n\n
<\/div>\n\n\n\nThe Characteristic Moment in \u201cBeyond the Mask\u201d is made up of two scenes, really. The first scene, which we\u2019ve already discussed, introduces Will Reynolds, the assassin. The next scene, where Will approaches Charles Kemp and quits the EIC, shows his determination to no longer be an assassin. We\u2019re also shown his Want (redemption), and his Lie (that he can redeem himself).<\/p>\n\n\n\n
<\/div>\n\n\n\nIn \u201cIn Time of Need,\u201d the Characteristic Moment is brief because of the shortness of the overall story. We see Tad\u2019s Want in the first scene when he tells Ava he wishes he could stay at the tenement house with her. The Lie actually gets introduced at the Inciting Event but, again, since this is a short story, the plot points are all roughly equal to one scene. So the Lie comes into play only one scene later, during Tad\u2019s conversation with Reverend Sheppard.<\/p>\n\n\n\n
<\/div>\n\n\n\nTo add to the Characteristic Moment, we have to make sure that the audience cares about the MC. But with their vehement loyalty to their Lie, how can we make them still seem likable? Especially since some MCs\u2019 flaws are such a huge part of their personality.<\/p>\n\n\n\n
The answer to this is what we call \u201cpetting the dog.\u201d This means that you\u2019ll create a scene early on in the story where the MC protects someone or something weaker than he is. (Make sure this scene still fits into the plot\u2026 an out-of-place scene will just confuse readers.)<\/p>\n\n\n\n
- Character introduction<\/li>\n<\/ol>\n\n\n\n
- Setting introduction<\/li>\n<\/ol>\n\n\n\n