  Short Stories
This week: Opening Hooks Edited by: Jay's debut novel is out now!  
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This issue:
Opening Hooks
How do you snag a reader? Well... Some thoughts on getting -- and keeping -- a reader's attention. |
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This week is the week I am getting back to the grind here at the home base. Restocked the caffeine moat, have started making lists, and resuming workshops in story craft. I'm currently taking an online course with Cat Rambo* and we went over some of the basics in order to jump into deeper waters as the weeks go on.
One of the things we discussed as we got to work was the idea of opening a story with a leading change or other "hook" material. We went over a handful of great existing examples in between short timed prompted writings which we later read out for the rest of the class. The prompts were usually simple opening sentences or other leading material, but it really got me thinking about that delicate balance of putting enough meat on the hook.
One of the key elements of all the examples we looked at was something deceptively simple: direct, specific details about characters and scenery-- rather than opening a story with a sweeping generalization like "Jane liked flowers," get specific and tighten in on our picture of this character. "Jane liked roses best." This prompts the reader to wonder: Why does Jane like roses best? It might not be a plot-specific detail -- if it is, it's a little on the nose here, being frank -- but it's a character-specific detail. Opinionated people are inherently more complicated than their get-along companions. They're eccentric and have harder edges. Little questions for the reader to investigate open up their curiosity and give them the reader-author contract that much quicker. Assuming you'll deliver on why the reader wants to know more about this character.
Within the first three paragraphs, in short fiction, it is usually pretty clear to the editor if a story is going to be professional caliber. The strength of a story starts with its rising action, which needs to be in motion by the third paragraph-- but, ideally, you'll have their attention with the first sentence. Don't worry about that first sentence in your first draft, necessarily, since there are times where you'll need to jump into the story wherever your imagination gives you access to it and then edit accordingly. (I'd go so far as to say that it's not easy to tell where a story is supposed to begin until it's been written, but that's me.) Something needs to change, or BE changing, in that first sentence or that first paragraph. Change is the singular plot catalyst, when it comes to effectiveness. Draw the reader in with what's changing, and the rest of the pieces will fall into place.
Narrative drive-- that urge your reader is feeling to keep the pages turning-- is powered by questions, and your reader should be kept asking them as the story goes on. So, we have those character based questions mentioned above, but what other questions are there? There are elements of mystery to all fiction reading efforts, but you don't want to keep your reader in the dark too long-- pieces of information that greater fill in the edges will be important as well. You will want to begin your story at a point where there is some catalyzing action. Not the culmination of a long series of struggles, but the first stone of the avalanche, as it were. Your reader wants to be at the top of that peak when the first flake of excess begins to slide down.
Until next month,
Take care and Write on!
~jay
*highly recommended, if you have the opportunity! She specializes in speculative fiction but I feel pretty strongly that her classes would be equally beneficial to a literary short fiction author as well. |
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Feedback from "In It Alone, Together"
brom21 writes:
I liked your newsletter and in think WDC is my best source for developing my craft. The reviews I’ve received have been one of the biggest helps. I find that the WDC newsletters continue to shed light on many different facets of writing. I love the down to Earth and friendly manner that you and the other newsletter authors provide. I have not read or written in a while and I look forward to whatever you have to say to aid me in getting back in the groove. Thank you.
Well, I can't guarantee this issue will necessarily be tremendously motivational, but I hope talking about opening hooks draws you in!
vada  writes:
Timely Newsletter, Jay. It has been far too long since I've had a critique partner. I know I need one or maybe two to exchange work with. Even a beta reader would help. But where/how to find them? Any ideas? If so, would love to hear them. Thanks, Vada
Hi, Vada! I'm not quite sure exactly where to direct you as there are a lot of different groups which tend to focus on different types of reviewing-- and, often, different types of short stories. Depending on what you are looking to find a group for, I'd search WdC under the genres that apply best to your work and start there-- search by "Most Viewed First" as good reviewing groups often pop up near the top in terms of pageviews. A group page gets a lot more hits, on average, especially if it's an established and focused group. |
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Short Stories: January 07, 2015 Issue [#6759]
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