I think the subject of hooks is one of importance and is covered in great detail. However, one thing I’ve found missing from the workshops and articles concerning the end hook (chapter or scene) is the need to make it as specific as possible for YOUR book. Opening hooks can be more general. Look at these three examples…
Jill froze, the pool of blood slowly crept across the cement
Jill froze, as Victor’s smile revealed fangs
Jill froze when Cain walked into the room – nude
All three would make nice opening sentences – all start with a bang. The first one would throw your character right in the middle for action of the suspense, the second would work for a paranormal and the third for a romance. But for a concluding hook they tend to lean a little more on the weak side, because they lack individuality – a few words changed and Jill has jumped to a different genre and different situation. To make these work as solid ending hooks your set-up or lead in has to be really strong even then…
Like for the first one, if you have Jill creeping around an abandoned warehouse, the power is out so she only has the weak light of her flashlight. She walks rounds the wooden crates. Then your hook line – Jill froze, the pool of blood slowly crept across the cement. But even then the hook is weak. The reader is expecting something….so why not surprise them? I mean that is the purpose of a scene or chapter hook.
With our example the ‘surprise’ factor is semi-expected and with a few word changes the hook line works for three different genres listed above. So how do you write a hook that is just for your story?
First, when you set up the scene as I did with Jill in the warehouse, take a minute and brain storm – what are some expected things I could have happen?
Make a list – DON’T limit yourself…go from silly to bizarre. Look at your list keeping in mind what you need to happen, for example, I needed Jill scared, I needed her prompted to begin a full investigation into the history of warehouse. Now finding a dead body would work…it would have to be recent for the pool of blood. But then why isn’t she going to call the cops? Cops would ruin my plot – they are so nosey. It could be my hero –injured. That would be okay but why is she going to investigate?
So what to do? The set-up remains the same but instead of seeing a pool of blood…
Jill rounded the corner and heard the mutter of muffled voices. Switching off the flashlight, she bent down and crawled toward the noise. The hard concrete bruising her knees and hands.
“Shut-up.” A male voice commanded. “I heard someone.”
“Ye be hearing ghosts.” Another man laugh. “Those you killed paying a visit.”
Jill drew a breath of the stale musky air and silently wedged herself between two crates. Faint moonlight from the sky dome created shadows of the men talking. It was several long unsettling minutes before the light caught the big gold signet ring on the man’s right hand.
“Lucas,” her mind screamed.
Now the reader knows Lucas is her twin brother who supposedly died three years ago. Now hopefully this ‘hook’ will have the reader ‘hooked’ – is it really her brother or someone wearing his ring? And they will continue to read.
The first hook with the blood, Jill was going to find Lucas’ ring in the blood in the opening of the next chapter. So I reached the goal with both – her wondering if her brother is alive or if she has stumbled on his killer. She begins exploring the warehouse.
When creating chapter hooks, play with your options, explore! Be creative….
Here are some great articles on writing opening hooks.
Open your book with a hook – by Barbara Dawson Smith http://www.barbaradawsonsmith.com/writing%20hooks.htm
Writing Hooks not crooks – by Kat Feete http://fmwriters.com/Visionback/Issue27/writinghooks.htm
What are some of your favorite opening and chapter hooks?
