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    Writing Active Hooks Book 1: Action, Emotion, Surprise and More: Writing Active Hooks, #1
    Writing Active Hooks Book 1: Action, Emotion, Surprise and More: Writing Active Hooks, #1
    Writing Active Hooks Book 1: Action, Emotion, Surprise and More: Writing Active Hooks, #1
    Ebook93 pages1 hour

    Writing Active Hooks Book 1: Action, Emotion, Surprise and More: Writing Active Hooks, #1

    By Mary Buckham

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    About this ebook

    Many writers have heard of hooks, and have heard we should use them in our manuscripts as a tool to engage readers and keep them engaged, but what we’re not told is how to identify what a hook is or where to use them to maximize them other than in that key opening line.
    In this book we’ll look at five specific types of hooks. There are more, but these are the most common, and the most universal, which means by understanding how to craft them, most readers will respond to them. Some will resonate more with you than others. That’s true with all readers, too. The important element to remember is to use hooks wisely and judiciously through your manuscript and to understand their intent.
    Why? Because hooks help guide your reader deeper and deeper into your book. They are road signs that intentionally entice and direct them to turn the page and keep reading.
    The intention of the first line of your book is to get the second line read. The intention of the second line is to compel the reader to read until the end of the first paragraph. The intention of the first paragraph is to get the first page read. The intention of the end of the first page is to get your reader to turn the page and keep going.
    But it doesn’t stop there. The intention of the end of a chapter or scene is to compel the reader to keep reading, at least begin the next scene or chapter where you thread in hooks. The intention of the end of your book is to entice the reader to pick up the next book in the series or, if you’re writing a stand alone or single title book, to feel compelled to find more of your books or find out about you as an author.
    The strongest hooks raise questions or reactions in a reader. A reaction, whether reluctant or not, is subconsciously drawn that makes the reader want to discover more. It’s not the kinds of questions raised that will take the reader to the end of the book to discover the answers, though some may have elements of that included. No, it’s smaller increments of curiosity we’re raising with our word choices and strategic use of hooks. We’re seeking the kinds of responses that pay off for both reader and author.

    LanguageEnglish
    PublisherCantwell Publishing, LLC
    Release dateOct 3, 2014
    ISBN9781939210241
    Writing Active Hooks Book 1: Action, Emotion, Surprise and More: Writing Active Hooks, #1

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      Book preview

      Writing Active Hooks Book 1 - Mary Buckham

      HOOKS

      INTRODUCTION

      Many writers have heard of hooks, and have heard we should use them in our manuscripts as a tool to engage readers and keep them engaged, but what we’re not told is how to identify what a hook is—or where to use them to maximize them— other than in that key opening line.

      A hook is often used to explain a compelling premise or story idea, what the author brings to the table, and even the back cover blurb and cover art, not to mention plot twists and surprises in a story.

      In this book, we’ll be looking at five specific types of hooks on the page, in the body of your manuscript, which will keep the reader reading. There are more, but these are the most common, and the most universal, which means by understanding how to craft them, most readers will respond to them. Some will resonate more with you than others. That’s true with all readers, too. The important element to remember is to use hooks wisely and judiciously throughout your manuscript and to understand their intent.

      Why? Because hooks help guide your reader deeper and deeper into your book. They are road signs that intentionally entice and direct them to turn the page and keep reading. Yes, it’s that simple. By strategically using hooks, you are giving your readers strong reasons to read just a little more.

      The intention of the first line of your book is to get the second line read.  The intention of the second line is to compel the reader to read until the end of the first paragraph. The intention of the first paragraph is to get the first page read. The intention of the end of the first page is to get your reader to turn the page and keep going.

      But it doesn’t stop there. The intention of the end of a chapter or scene is to compel the reader to keep reading, or at least begin the next scene or chapter where you thread in more hooks. The intention of the end of your book is to entice the reader to pick up the next book in the series or, if you’re writing a standalone or single title book, to feel compelled to find more of your books or find out about you as an author.

      You know a strong line has hooked you if you continue to turn the page when you had intended to stop. This is why hooks are used in key locations—to compel the reader to turn that page. Understanding how to do that in five very specific, very universal ways, will help you reach that goal.

      The strongest hooks raise questions or reactions in a reader. A reaction, whether overt or reluctant, is subconsciously drawn, which makes the reader want to discover more. It’s not the kind of question raised that will take the reader to the end of the book to discover the answers, though some may have elements of that included. No, it’s smaller increments of curiosity we’re raising with our word choices and strategic use of hooks. We’re seeking the kinds of responses that pay off for both reader and author.

      In this book, we’ll touch on where to use hooks, but we’ll focus mostly on the most important opening line hooks and defining examples of specific types of them.

      We’ll examine the five hooks one by one to delve into what makes that particular hook work, even as you remember that hooks are mostly used in combination with other hooks. In the key places to use hooks, including that opening sentence and paragraph, we rarely trust ourselves to one hook only. Why? In case one hook does not resonate as strongly with a reader—which is what an editor or agent is—then an additional hook makes sure that your reader is engaged and remains engaged.

      NOTE: Keep in mind: some hooks work better in some types of stories, whereas other hooks will not work as well.

      One other issue to consider as we dig further into the next five hooks is being very aware of your intention and what your reader expects, given the type of book they are reading and you are writing. Using too many hooks in an opening for a story that’s not meant to be fast paced, or too few hooks in a story that’s meant to jump you into it at a breakneck speed, will cause you challenges. So be conscientious of what you are writing as you apply hooks.

      Be prepared to experience a certain degree of awkwardness when you first start playing with hooks. That’s natural and to be expected. Sort of like when any instructor stops your process temporarily to adjust your mechanics. Initially, that may feel mechanical and unnatural, but eventually your writing process becomes more natural and your writing improves.

      Don’t worry if you didn’t include hooks in your first or rough draft. That’s what the revision process is all about—looking for opportunities to strengthen your writing. Utilize hooks when the opportunity presents itself and you’ll go a long way toward accomplishing that goal.

      HOOK 1: ACTION OR DANGER HOOKS:

      Action is more than movement. Think James Bond action vs. a Jane Austen amble along the lane. Think strong verbs. Think of the type of movement that, were you to see it out of the corner of your eye, would snag and hold your attention. A person walking—not so much. A person running—more so, unless you are in a situation where running is expected. A person running full stop, gasping for breath, creates the strongest hook possible because it is out of the ordinary; it’s what we as readers don’t expect to see on a daily basis (unless you’re a coach on a high school track team or are training for a sporting event). 

      NOTE: Think: At this point in your story, based on the action or danger you are showing, would the average reader have a question raised in their minds as to what’s happening and why? 

      If you can answer yes to the above question, you most likely have an Action/Danger hook. If that answer focuses on strong action, not simply movement of a character on the page, then the hook applies. Think, too, of the action in the context of your story. Are you writing Women’s Fiction? Then you might not find the Action/Danger hook used as often because these stories are not usually involving a lot of intense physical action or physical danger. Emotional danger, yes, but since that’s often internal, it’s not as obvious to a passerby. Either that or the Overpowering Emotion hook applies, which we’ll examine in a bit.

      Danger oftentimes is associated with strong action, which is why these two words create the same kind of hook and can help give you a clue as to whether there really is an

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