Some first lines are so powerful that you absolutely have to keep on reading. This is known as a "hook." Nearly all the great writers employ hooks in one form or another…
Despite popular misconception, though, the hook is more than a marketing tool. At its best, it can be not only a propellant but also a statement of what you might expect from the text to come. It can establish a character, narrator, or setting, convey a shocking piece of information. The irony is there is only so much you can do with one line; thus it is a game: the less space you have to work with, the more creative you must become. It is not surprising then that hooks comprise some of the most memorable lines in literature.
What is rarely discussed is the importance of the hook not only as an opening line but as an opening paragraph, not only an opening paragraph but as an opening page, not only as an opening page but as an opening chapter. In other words, the same intensity of thought applied to the opening line should not be confined to the opening line--a common malady--but rather applied to the text in its entirety. This takes endurance, focus and concentration; with this level of intensity, it might take several days to complete even one paragraph.
Look at your first or last line and think of the agonizing effort you put into it. You knew you were in the spotlight, that it had to be good. How many times did you rewrite that one line? What would the rest of your manuscript be like if you agonized over each line the same way? It would take forever is probably your first thought…
I am often amazed by how many manuscripts begin with good first lines--and good openings in general--and then fall apart; it is actually rare to see the intensity found in a first line (or last) maintained throughout a manuscript.
Noah Lukeman, The First Five Pages, 2000
Despite popular misconception, though, the hook is more than a marketing tool. At its best, it can be not only a propellant but also a statement of what you might expect from the text to come. It can establish a character, narrator, or setting, convey a shocking piece of information. The irony is there is only so much you can do with one line; thus it is a game: the less space you have to work with, the more creative you must become. It is not surprising then that hooks comprise some of the most memorable lines in literature.
What is rarely discussed is the importance of the hook not only as an opening line but as an opening paragraph, not only an opening paragraph but as an opening page, not only as an opening page but as an opening chapter. In other words, the same intensity of thought applied to the opening line should not be confined to the opening line--a common malady--but rather applied to the text in its entirety. This takes endurance, focus and concentration; with this level of intensity, it might take several days to complete even one paragraph.
Look at your first or last line and think of the agonizing effort you put into it. You knew you were in the spotlight, that it had to be good. How many times did you rewrite that one line? What would the rest of your manuscript be like if you agonized over each line the same way? It would take forever is probably your first thought…
I am often amazed by how many manuscripts begin with good first lines--and good openings in general--and then fall apart; it is actually rare to see the intensity found in a first line (or last) maintained throughout a manuscript.
Noah Lukeman, The First Five Pages, 2000
In my opinion, Joseph Heller did The Best Hook Ever in his novel "Catch-22". No, I'm not gonna quote it. I'm gonna make everyone look it up, just because I'm a stinker.
ReplyDeleteI looked it up, and agree.
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