He says: "So essentially, a hook is the quest and the central conflict, described as succinctly as possible, designed to make someone want to read more."
Here are some examples he provided:
- A man goes into the jungle to search for a missing general (HEART OF DARKNESS
- A reclusive chocolateer opens up his factory to the lucky children who find golden tickets (CHARLIE AND THE CHOCOLATE FACTORY)
- A monomaniacal sea captain forces his crew to search for an elusive white whale (MOBY DICK)
- A train engine thinks it can make it up a hill (THE LITTLE ENGINE THAT COULD)
Reading his post this morning created my own little brainwave -- the idea for a hook for my MS. Please have a look then critique the heck out of it.
"Seven characters at various stages of rage, self-destruction, denial or legal intervention meet at a weekly support group."
Does it meet Nathan's definition of a good hook?
Bring it on. (Or, as they say in these parts, "Give 'er.")
Colleen
3 comments:
Colleen,
Looks like a good start! I only see two real problems here.
The main problem with your current version is that it doesn't imply motion--it's a static scene. Does the entire book take place in the support group? Presumably not, even if the support group is the frame story for each character's side story.
I would say something more active such as "confront their fears/demons/problems/whatever in a support group." Something along those lines implies progress and movement, rather than just a state of being.
Secondly, I wouldn't say "characters" in a hook. I'd say "individuals" or "women" or whatever is appropriate. In the reality of your story, these people aren't "characters," and I believe that hooks are supposed to be written firmly from the reality of your story.
Good work!
Chris
I agree with Chris (I've been doing a lot of that lately). What is the quest and central conflict?
Chris and Stephen: Thanks to you both! Let me see what I can do.
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