Key Takeaways
1. Begin with the Inciting Incident, Not Backstory
The story simply doesn't exist before that point.
Immediate immersion. Start your story when the trouble begins, not before. Avoid lengthy backstories or setups that delay the inciting incident. Readers want to be immediately engaged in the action and conflict that drive the narrative. Think of it like a movie: you wouldn't start with a character's childhood before the main plot begins.
Action over exposition. Instead of telling the reader about a character's past, show them the character in the present, reacting to the inciting incident. This creates a more immediate and compelling experience. For example, instead of describing a character's troubled marriage, show the moment when the character decides to leave.
Modern structure. Contemporary stories begin with the inciting incident, which creates the initial surface problem and introduces the story-worthy problem. This approach is more engaging and aligns with modern reader expectations. Anything before that is backstory or setup, which should be introduced strategically later.
2. Trouble is the Heart of Every Story
There is simply no reason for a story to ever exist unless it's about trouble.
Conflict is essential. Every story needs conflict, and that conflict should be introduced early. This conflict can be external (a physical threat) or internal (a psychological struggle), but it must be present to drive the narrative. Without trouble, there is no story.
Two types of trouble. Stories involve both surface problems and story-worthy problems. Surface problems are the immediate issues that arise from the inciting incident, while story-worthy problems are deeper, more psychological issues that the protagonist must confront. For example, a character might face the surface problem of being robbed, but the story-worthy problem might be their inability to trust others.
Trouble is not melodrama. True trouble in fiction is not about sensational events, but about the internal psychological changes a character undergoes. Focus on the character's emotional response to the inciting incident, not just the event itself.
3. Surface Problems Reveal Deeper Story-Worthy Issues
The story-worthy problem is always the paramount problem; it's what the story is really about in the final analysis.
Interconnected problems. The initial surface problem should be directly linked to the story-worthy problem. The surface problem is a vehicle for exploring the deeper, more complex story-worthy problem. For example, a character's surface problem of losing a job might reveal a deeper story-worthy problem of their self-worth being tied to their career.
Protagonist's awareness. The protagonist may not fully understand the story-worthy problem at the beginning of the story. Their understanding of this problem should grow as they struggle to resolve the surface problems. The reader should also come to understand the story-worthy problem at the same time as the protagonist.
Multiple surface problems. A story can have multiple surface problems, but they should all stem from the initial surface problem and be connected to the story-worthy problem. Each surface problem should lead to the next, creating a chain of events that drives the narrative forward.
4. Setup is Minimal, Backstory is Strategic
Give only the amount of setup or backstory that's absolutely necessary, and not a word more.
Setup is brief. Setup should provide only the bare minimum information needed for the reader to understand the inciting incident. Avoid excessive detail or description. The goal is to ground the reader in the scene without slowing down the narrative. For example, a brief description of a restaurant is sufficient, not a detailed account of its history and decor.
Backstory is strategic. Backstory should be introduced only when necessary and should be woven into the action of the scene, not presented as a separate block of exposition. Avoid long, boring explanations of the protagonist's past. Instead, reveal backstory through the character's actions and reactions.
Trust the reader. Don't underestimate the reader's intelligence. They don't need to know everything about your characters to understand what's going on. Provide just enough information to set the scene, and let the reader fill in the rest.
5. Characters are Defined by Actions, Not Descriptions
Introduce your reader to your characters by showing the characters' reactions to the inciting incident.
Actions reveal character. Characters are best revealed through their actions and reactions to the inciting incident, not through long, boring physical descriptions or tangential stories. Show, don't tell. For example, instead of saying a character is miserly, show them counting pennies in a candy machine.
Telling details. Pick a few telling details that reveal a character's personality, and let the reader fill in the rest. Avoid introducing too many characters at once. Focus on the protagonist and antagonist first, and introduce other characters gradually.
Reactions define. The opening scene is where you introduce your protagonist and usually the antagonist. Show their reactions to the inciting incident. Those reactions reveal and define their personalities, creating a first impression as strong as any in our own lives.
6. Language and Setting Should Foreshadow the Story
The opening is where you should create your most memorable language.
Memorable language. Craft your opening with strong, original verbs and concrete nouns. Avoid adverbs, excessive adjectives, and clichés. The first sentence should be the best sentence of all. For example, instead of "He ran quickly," write "He bolted."
Setting as a character. Include a glimpse of the setting in the opening, but only include details that are important to the story. The setting can be a character itself, but it should be brief and serve a purpose. For example, a description of a dusty, abandoned town can foreshadow a story about isolation and decay.
Foreshadowing hints. Use your opening to foreshadow upcoming events or obstacles. Hints about upcoming perils create page-turning reads. For example, if a character will need to jump a chasm later, mention their past as a long jumper in the opening.
7. Openings Must Hook, Establish Rules, and Hint at the End
In my beginning is my end.
Hook the reader. The opening must hook the reader and make them want to read further. This can be done through a compelling inciting incident, intriguing language, or a unique character. The hook should be something that makes the reader want to know what happens next.
Establish story rules. The opening must establish the rules of the story, including the tone, voice, and narrative style. Be consistent with these rules throughout the story. Don't try to fool the reader.
Hint at the ending. The opening should contain at least a hint of the ending. The seeds of your ending can often be sown in your beginning. Look back at your beginning when you're stuck on how to end your story.
8. Avoid Common Opening Mistakes
The single biggest mistake writers make is that they simply don't trust the reader's intelligence to “get” what's going on without providing lengthy backstory.
No dream sequences. Never open with a dream sequence. It's a cliché that signals a lack of originality.
No alarm clocks. Avoid opening with an alarm clock buzzing or a character waking up. It's a boring and overused trope.
No unintentional humor. Avoid sentences that are unintentionally funny or awkward. Be clear and concise.
No too little dialogue. Avoid opening with too little dialogue. Dialogue is a key element of a good story.
No opening with dialogue. Avoid opening with dialogue unless the context and speakers are immediately clear. It can confuse the reader.
9. Transitions Should Be Seamless and Invisible
The way submitted material begins is almost always indicative of what's to follow.
Jump cuts. Use jump cuts to transition between scenes. Avoid lengthy descriptions or explanations.
Seamless transitions. Transitions should be seamless and invisible. The reader should not be aware of the transition.
Modern techniques. Use modern techniques for transitions, such as those used in movies and television. Avoid old-fashioned literary transitions.
Focus on the next scene. Instead of focusing on the transition, focus on the next scene. The transition should be a natural part of the narrative.
10. Editors and Agents Seek Specific Qualities in Openings
Always open with scenes that immediately engage us emotionally.
Emotional engagement. Editors and agents want to be emotionally engaged from the very first page. Open with scenes that immediately draw the reader in.
Clear protagonist. Clearly identify the protagonist early in the story. The reader needs to know who they are and what their goals are.
Strong voice. Establish a strong and unique voice in the opening. The voice should be consistent throughout the story.
Originality. Avoid clichés and overused tropes. Be original and creative.
Trust the reader. Trust the reader's intelligence. Don't over-explain or provide unnecessary backstory.
Last updated:
FAQ
What's "Hooked: Write Fiction That Grabs Readers at Page One & Never Lets Them Go" about?
- Focus on Beginnings: The book emphasizes the importance of crafting compelling story beginnings that capture readers' attention immediately.
- Story Structure: It explores modern story structures, particularly how they have evolved to meet contemporary readers' expectations.
- Practical Advice: Les Edgerton provides practical advice on writing techniques, focusing on the inciting incident, story-worthy problems, and initial surface problems.
- Target Audience: Aimed at writers who want to improve their storytelling skills, particularly in creating engaging openings.
Why should I read "Hooked: Write Fiction That Grabs Readers at Page One & Never Lets Them Go"?
- Improve Writing Skills: The book offers valuable insights into crafting compelling story openings, which are crucial for engaging readers.
- Understand Modern Expectations: It helps writers understand the current expectations of agents, editors, and readers in the publishing industry.
- Practical Examples: The book includes numerous examples and analyses of successful story openings, providing concrete guidance.
- Comprehensive Coverage: It covers various aspects of storytelling, including character introduction, foreshadowing, and language economy.
What are the key takeaways of "Hooked: Write Fiction That Grabs Readers at Page One & Never Lets Them Go"?
- Importance of Beginnings: A strong opening is crucial for capturing readers' attention and setting the tone for the rest of the story.
- Inciting Incident: The inciting incident should create an initial surface problem and hint at the deeper story-worthy problem.
- Character Introduction: Characters should be introduced in a way that immediately engages readers and provides insight into their personalities.
- Avoid Common Pitfalls: Writers should avoid common mistakes like starting with dreams, excessive backstory, or static descriptions.
What are the best quotes from "Hooked: Write Fiction That Grabs Readers at Page One & Never Lets Them Go" and what do they mean?
- "The single biggest reason manuscripts get rejected is because the writer begins in the wrong place." This highlights the critical importance of starting a story at the right moment to engage readers.
- "Stories must affect readers emotionally first and foremost." This emphasizes the need for writers to create emotional connections with readers through their storytelling.
- "A story has no reason whatsoever to exist unless it's about trouble." This underscores the necessity of conflict and tension in driving a narrative forward.
- "Play the game forward." This advice encourages writers to focus on improving their craft and moving forward, rather than dwelling on past mistakes.
How does Les Edgerton define the "inciting incident" in "Hooked"?
- Crucial Event: The inciting incident is the event that sets the story in motion by creating the initial surface problem.
- Triggers Action: It forces the protagonist to take action, propelling the narrative forward.
- Reveals Story-Worthy Problem: The inciting incident introduces the first inklings of the deeper story-worthy problem.
- Scene-Based: It should be delivered as a dramatic scene, not through exposition or summary.
What is the "story-worthy problem" according to Les Edgerton in "Hooked"?
- Deeper Psychological Issue: The story-worthy problem is the underlying issue that the protagonist must resolve by the end of the story.
- Drives the Narrative: It is the central conflict that gives the story its purpose and direction.
- Revealed Gradually: The protagonist and readers come to understand the story-worthy problem as the narrative unfolds.
- Linked to Surface Problems: Surface problems should be directly connected to the story-worthy problem, serving as its manifestations.
How does "Hooked" suggest introducing characters effectively?
- Immediate Engagement: Characters should be introduced in a way that immediately captures readers' interest.
- Show, Don't Tell: Use actions, dialogue, and context to reveal character traits rather than lengthy descriptions.
- Unique and Memorable: Characters should have distinctive qualities or quirks that make them stand out.
- Relevant to the Plot: Introduce characters in a manner that ties directly into the story's inciting incident or central conflict.
What are some common mistakes in story beginnings that "Hooked" advises against?
- Starting with Dreams: Avoid beginning with a dream sequence, as it can feel misleading and disengaging.
- Excessive Backstory: Don't overload the opening with backstory; instead, weave it in gradually as the story progresses.
- Static Descriptions: Avoid starting with lengthy descriptions of settings or characters that don't advance the plot.
- Lack of Conflict: Ensure the opening includes conflict or tension to hook readers from the start.
How does "Hooked" recommend using foreshadowing in story openings?
- Hint at Future Events: Use subtle clues in the opening to suggest important developments later in the story.
- Create Suspense: Foreshadowing can build anticipation and keep readers engaged by hinting at potential conflicts.
- Enhance Cohesion: It helps tie the beginning to the rest of the story, creating a sense of unity and purpose.
- Avoid Overuse: Foreshadowing should be used sparingly and skillfully to avoid giving away too much too soon.
What role does language play in effective story openings according to "Hooked"?
- Economy of Language: Use concise and powerful language to convey meaning and emotion efficiently.
- Avoid Clichés: Strive for originality in descriptions and dialogue to keep the writing fresh and engaging.
- Strong Verbs and Nouns: Choose specific and vivid verbs and nouns to create clear and impactful imagery.
- Set the Tone: The language used in the opening should establish the tone and style of the entire story.
How does "Hooked" address the use of setting in story openings?
- Ground the Reader: Provide just enough setting details to orient the reader without overwhelming them.
- Active Description: Integrate setting details into the action of the scene rather than using passive descriptions.
- Enhance the Mood: Use setting to reflect or contrast with the story's mood or themes.
- Relevant to the Plot: Ensure that the setting is relevant to the story and contributes to the narrative's progression.
What advice does "Hooked" offer for crafting great opening lines?
- Capture Attention: The first line should immediately grab the reader's attention and make them want to read more.
- Raise Questions: Create intrigue by posing questions or presenting a mystery that readers will want to solve.
- Set the Scene: Establish the story's tone, setting, or conflict in the opening line to provide context.
- Be Memorable: Use unique and striking language to make the opening line stand out and linger in the reader's mind.
Hooked receives generally positive reviews for its advice on crafting compelling story openings. Readers appreciate the practical examples and clear explanations of how to hook readers from the first page. Some criticize the author's use of his own work as examples and find parts repetitive. The book is praised for its conversational tone and valuable insights into modern fiction writing techniques. While some experienced writers find it less useful, many consider it an essential guide for improving their craft.
Contenido de libros similares...
Contenido sobre el autor...