In regard to hooking the reader in first 10 pages… Would you say that a “hook” consists of something shocking, mesmerizing, tantalizing, OR can a hook also be something that simply sets the stage for things to come in an interesting manner?In other words, does a hook have to be suspenseful? And if you choose to go another route, are you essentially dooming yourself with certain pro readers?
It sounds like you’re referring to either a ‘hard’ opening — something with a lot of eye-popping action, thrills, spills to grab the reader’s attention — or a ‘soft’ opening — something quieter and more character-oriented. Let’s consider an example of each type.
Two days ago in addressing the Open Forum question “What are the keys to a great opening scene,” I referenced the beginning sequence in The Matrix. Here’s an excerpt:
INT. CHASE HOTEL
The Big Cop flicks out his cuffs, the other cops holding abead. They've done this a hundred times, they knowthey've got her, until the Big Cop reaches with the cuffsand Trinity moves --
It almost doesn't register, so smooth and fast, inhumanlyfast.
The eye blinks and Trinity's palm snaps up and his noseexplodes, blood erupting. Her leg kicks with the force ofa wrecking ball and he flies back, a two-hundred-fiftypound sack of limp meat and bone that slams into the copfarthest from her.
Trinity moves again, BULLETS RAKING the WALLS, flashlightssweeping with panic as the remaining cops try to stop aleather-clad ghost.
A GUN still in the cop's hand is snatched, twisted andFIRED. There is a final violent exchange of GUNFIRE andwhen it's over, Trinity is the only one standing.
A flashlight rocks slowly to a stop.
TRINITY Shit.
That is a good example of a ‘hard’ opening. And since the movie is an action / sci-fi story, it fits. Two days ago, we also considered the opening to Little Miss Sunshine which consists of:
* Starting with Olive as she watches and re-watches a videotape of a beauty pageant.
* Richard Hoover leading a self-help seminar to, as it turns out, a handful of people.
* Dwayne works out in his room, then marks off another date on his wall calendar.
* Grandpa snorts heroin in the bathroom.
* A rattled Sheryl talks with Richard on the phone, denying she’s smoking.
* At the hospital, Sheryl picks up her brother Frank, who had attempted suicide.
That’s an example of a ‘soft’ opening: No firebombs, no explosions, no car chases, just characters doing something that reflects some core aspect of who they are. And since Little Miss Sunshine is a character-oriented comedy-drama, that opening also fits.
So the first part of my answer to your question is that you can do either a ‘hard’ or a ‘soft’ opening. But whatever you write for an opening sequence must be a reflection of the genre and tone of your overall story. Yes, you want to be entertaining, but not in a way that doesn’t fit with your story (e.g., a hard action opening for a softer character-oriented drama, drama-comedy, etc).
The second part of the answer is that if you have a ‘soft’ opening, you must incorporate some compelling narrative elements that connect with a reader. In Little Miss Sunshine, we get a glimpse of something that is important to each primary character. And with the introduction of each character, the movie raises some interesting questions: How are these people related to each other? What is their connection? And if they are connected, how in the world do they function together?
Now I’ll grant you it’s probably easier to grab a reader by writing something “shocking, mesmerizing, tantalizing,” than “something that simply sets the stage for things to come in an interesting manner.” But if the latter is what fits the genre and tone of your story, so be it — that’s the type of opening you will almost assuredly need to write.
If so, then embrace that fact. As Little Miss Sunshine proves, it’s possible to write a ‘soft’ opening that grabs one’s attention. So, too, Juno and Sideways. How about the wonderfully comic misdirection in Parenthood which was the focus of a Great Scene post here?
‘Soft’ openings can work, just like ‘hard’ openings. Rely on your characters to help you find the right opening for your story.
How about it, GITS readers? What are your favorite examples of a great ‘soft’ opening sequence?
To me, the bottom line is that the first ten pages of a script need to be exceptionally well-written. (So does the rest of the script, of course, but the beginning is worth putting extra energy into refining.) The greatest "hook" ever imagined is useless if the person reading the script doesn't feel like they're in the hands of a talented writer. But if the quality of your writing is up to par, people will want to keep reading even if you haven't managed to blow up the White House and take the President hostage in the first twenty lines.
Having just read American Beauty as part of the challenge, I noticed that it had two 'hard' openings. First, the kids plotting the dad's death. And second, the announcement that he was going to die in a year.
I was actually wondering if the kids stuff was in the script or edited in after the fact before opening the pdf up.
But anyway, just wanted to point out that you don't need 'splosions and nunchucks to do the hard opening…
Inglourious Basterds had a pretty good 'soft' opening. They started off talking, and I was like "Why is this movie 2-1/2 hours?" and it actually won me over pretty quick.
I think there are multiple hooks in a story. I'm defining a "hook"…as a question raised in the viewers mind. The "big hook" is the question not answered until the end.
Within the first 5 – 12 minutes a question is raised(a big hook)…and that is what your hook/story is about.
As your story moves along there are smaller hooks that raise new questions, hooks that answer old questions but raise new ones (reversal). etc.
it can be very small, if my character wants peanut butter but no one will give him some. that can be my opening hook…will he get the peanut butter?
it can be big, an asteroid is heading to earth, my hero wants to stop it…will he stop it?
what does your character want…and how can you hold it from them. that's where you will find your hook.