How I Hook

 Hooks? We don't need no stinkin' hooks. 

I'm reading over the list of seven hooks and either I don't understand them - entirely possible because this week is the first time I'd seen them. Seems to me they lack a little imagination because I don't see an action hook. And y'all, that's my favorite! 

Though I am in a class right now that's teaching me to hook via character. This is alien territory for me, but in a romance novel, it makes total sense that you'd want your readers to connect with the characters before, or as, the story action kicks off.

• Enemy Within: Sun glinting off the barrel of a gun stopped Captain Ari Idylle dead in her tracks. (I'm calling this the Oh, shit hook.)
  
• Enemy Games: The communications panel trilled, echoing the call in the confines of the tiny cockpit. (Uhm. I dunno? This is the point where everything changes for the hero. Does that make this a why hook? Or just a weak hook?)
  
• Enemy Storm: Holy Gods, don’t know what I did to piss you off, but dropping a starship on my head is overkill. (Ah, Edie. I'd like to imagine this is action and character combined, but that could be wishful thinking.)
  
• Enemy Deliverance: Even though her eyes were closed, even though she’d done her best to relax in the tiny barracks pod that qualified as a bunk, even though rainwater dripped on her mattress in a lulling plip, plip, plip, Ildri Bynovan wasn’t asleep. (Character and setting.)
• Enemy Mine: Priority Two Alert. Assassination contract for Captain Xiao Zhong verified. Guild assassin Mekise Tolenga en route.(Definitely a why)
  

 You can see a major change between books 1 to 3 and book 4. Also, sneak peak. You're getting to look at an opening line for a book that hasn't been published yet.

Well okay, Marcella. That's the SFR. What about the others?

Look at the fantasies.

• Blood Knife: The sweet scent of coffee spiked with caramel syrup preceded the shadow that obscured the golden October sunshine pouring into my office. (Setting I think.)
  

• Emissary: When I walked out of the Red Desert into the thin strip of fertile land I’d left as a girl, I barely recognized it. (I have no idea what this is.)

Urban Fantasy

• Nightmare Ink: Funny how longing for something you can’t have gets blown away in the first swirl of snowflakes heralding an oncoming blizzard. (No idea what this is.)
• Bound by Ink: Isa hadn’t intended to end up in a crowd of people so soon after getting rid of a Living Tattoo who’d wanted to kill her and take over her body for his own use. (This must be the Why.) 

The paranormal.

• Damned if He Does: The problem with being damned was that no one would meet your eye.(Character, I think.)

Huh. Look at that. I only thought that action was my preference. Looking through my first lines, it looks like I've done far more character hooks than action hooks.

My illusions are so shattered. What is writing even?

Hook me in all the ways

This week SFF Seven asks us, gentle writers, which type of hook* we most often use: the why, the character, the catastrophe, the setting, the contradicting emotions, the inherent problem, or the goal. My answer is all of them. Definitely. 

A good story always begins with story questions, so there's an inherent, built-in why. Always. If a story opening posits no questions, it's not a very good beginning. The author might not have deliberately put a why hook in there, but sure, I will play that game with you: you give me the first scene of any book, and I will list the story questions for you, because they are most definitely there. The more intriguing the story questions, the more likely I am to keep reading. You give me no story questions, I DNF.

So, does a story need a "why" hook? Yep. Check.

Most story structure mavens (Michael Hauge, Larry Brooks, Blake Snyder, and on) advise focusing on a protagonist and getting audience or reader buy-in for that character as early as possible. You don't always have to relate to the protagonist -- especially in the case of antiheroes -- but you do always have to be invested in their journey. So in that sense, every successful book starts with a character hook, too. If we don't care about the character, we don't care about the story, and again: thar be DNF.

Character hook? Check.

"Catastrophe" is the same thing as "inciting incident," is it not? A well-structured story needs one of those, too. Check.

When I got my very first edit letter from an editor, one of the things she wanted me to do in my revisions was to "ground" the reader more up front. What she meant was I needed to do a bit of worldbuilding right off, on page one, to situate readers in my story universe. Worldbuilding is "setting" for the purposes of this conversation. Have you ever heard of "white room syndrome"? It's a fatal condition for story and basically means that character are talking but could be talking in any time or place, including a random, boring white room. Even scripts, which are chiefly dialogue, have setting information included. It's important. So yes, setting: check. 

"Contradicting emotions" and "inherent problem" are two ways of approaching conflict, and most Western stories* are structured around a conflict. The earlier you can introduce the GMC--

Wait. Hold up a sec.

I can't talk about conflict without also talking about goals and motivations. So I'll deal with this whole thing in one fell swoop: GMC (goal, motivation, and conflict, aka "what does your protagonist want, why do they want it, and what's keeping them from getting it"; see also Debra Dixon). Yes, your story must have all of them. In fact, the most layered stories have internal as well as external GMC. 

Check, check, and yep, check.

If somebody is telling you they can't get into your story or can't relate to it or are confused by it, my guess is that going through your opening and making sure you have included all of these hooks will fix your problem.

--------

* The term "hook" in publishing often means "what makes your story special or noteworthy" and can sometimes overlap with your elevator pitch or one-sentence pitch. That's not what we're talking about this week on SFF Seven. (Though maybe we should...?)

** Not all storytelling structures center on conflict. Kishōtenktsu, for example, is a narrative structure that highlights the turn or twist, rather than the conflict. 

Writing the Opening Sentence: Choose Your Hook

The Seven Hooks of openings for a book. I gotta admit, I had to look them up because I've never thought about categorizing the first sentence of my story. The first chapter is always the hardest for me--first one written and last one completed--so I attack the hook from a "put words on page, fix later" method. When I was a baby writer swimming around in various writers' groups, many members were obsessed with nailing the "perfect" opening line, usually at the cost of writing the rest of the book.  That's...that's not good. 

Write the book.

Write. The. Book. 

That's not to diminish the importance of a good hook. It's an encouragement to keep writing your story even if your hook is crappy. A compelling first sentence might not come to you until you're in the editing process. It's okay if it doesn't come to you at all as long as the rest of the paragraph/page pulls in the reader. Whatever you do, don't get derailed by the hook. Keep going.

For what it's worth, here's a list of hooks from my high fantasy and urban fantasy books and their associated category:

Larcout: Blood beings could be chattel or they could be char. [Hook = Why]

The Burned Spy: The antidote burned worse than the toxin. [Hook = Why]

The Plagued Spy: "Sneak, sneak, sneak, creepy guy. I see you," Bix sang to herself. [Hook = character]

The Captured Spy: The prickling of the skin. The brittle air raking across the nape. The weight of regard pressing against the body. Old spies knew to pay attention to these sensations. [Hook = character]

The Hanged Spy: Shadowy dancers twirled on a continuous loop over crystalline walls courtesy of a self-winding music box. [Hook = Setting]

The Exposed Spy: The stench of scorched plastic permeated the two-bedroom apartment on the second floor of a town house in Southeast Washington, DC, Primary Mid World. [Hook = Setting + Why]

The Shackled Spy: Snow flurries flirted with tourists bundled up against the biting winds rolling off the Potomac River. [Hook = Setting]

The Heralded Spy: War raged throughout the Mid Worlds. [Hook = Catastrophe Why]

As you can see, I use different types of hooks depending on the story. Some are more intriguing than others, but they each set up the story in a different way. Missing from my usage list are: The Goal hook, The Conflicting Emotions hook, and The Inherent Problem hook. Now that I know there are categories, maybe I'll make an effort to incorporate the unused ones in future books. Maybe. Got to write those stories first. 

I just write Stories

Our topic at the SFF Seven this week is as follows: 

Of the 7 types of hooks, which one do you use most? The “Why” Hook. The “Character” Hook. The “Catastrophe” Hook. The “Setting” Hook. The “Contradicting Emotions” Hook. The “Inherent Problem” Hook. The “Goal” Hook.

  I don't give much consideration to what sort of hook I use to create them because every story process is different for me. I suppose the one I've used most often is the "Start it off with a bang" hook. I think that the best way to start off a novel, really. Throw some chaos in there and meet the characters. Before the chaos, life is u=ususlaky pretty calm. 

Here's the thing: I want people to meet the characters I create and live through the changes with them. I want them to develop feelings for the characters, ha e empathy for them, and the best way to do that, in my opinion, is to put the characters through the proverbial wringer. In Seven Forges, we are introduced to Andover Lashkm apprentice blacksmith when his hands are broken by a member of the City Guard. You know him for about 400 words before I alter his life irrevocably. That's fairly common for me. In FIREWORKS, you know the whole town for roughly twice that time before I drop a crashed UFO in the area ad destroy over half the people. You get to meet the rest of the town as they are sorting through the ruins of their town and their lives, and then I get mean with them. 

So, yeah process of elimination: I seem to like the catastrophe Hook. 

There you go, you learn something new every day.

Okay, time to start a new novel!

Keep smiling,'

Jim

Writing the Intuitive Way

Our topic at the SFF Seven this week is as follows: 

Of the 7 types of hooks, which one do you use most? The “Why” Hook. The “Character” Hook. The “Catastrophe” Hook. The “Setting” Hook. The “Contradicting Emotions” Hook. The “Inherent Problem” Hook. The “Goal” Hook.

O_o

You guys... Sometimes I look at these topics and I just bust out laughing. 

I haven't HEARD of these seven hooks, much less do I have any idea which I use most, if at all. 

That's the thing about being an intuitive writer like I am. I just don't have much experience with an analytical approach to writing like this. I also came to writing sideways, as all my education is in sciences. (With the exception of a major in Comparative Religious Studies alongside the BS in Biology, but I'm not sure that counts.) While I've taken classes with writers, I've never been to a fancy workshop like Clarion or Taos Toolbox. I have an MS in Zoology & Physiology, not an MFA.

While I like reading and hearing about how other authors work, I hate reading craft books.

In my heart of hearts, I suspect that overanalyzing story elements is a surefire way to kill the book dead. Or at least numb it out of existence. But I totally get that this is an intuitive writer's perspective. All you analytical types, go knock yourself out!

So, anyway... I have nothing to contribute, so I'll just crow about how DARK WIZARD is a bestseller! It cracked the Kindle Top 100 - a career first for me ~ and is on sale for 0.99c through Monday. The sequel, BRIGHT FAMILIAR, comes out July 9, so this is a great time to snap up book one. 

Check out those pretty pretty bestseller ribbons!

      

Happy PRIDE! An LGBTQ+ Author Shout Out

Happy June and Happy Pride! This week on the SFF Seven, we're highlighting LGBTQ+ creatives. First off, let me guide you to K.A. Doore's website if you're looking for excellent queer adult LGBTQ+ Fantasy/Sci-Fi recommendations. K.A. has such great round-ups each year. I love scrolling through and adding books to my TBR list. Support marginalized authors, y'all.

Second, I wanted to highlight two authors and two books that can be read by all ages. 

First, a friend and former editing client, Greg Howard. His novel, The Whispers, is a middle-grade masterpiece that everyone should read. This book stole my heart!

Eleven-year-old Riley knows a thing or two about wishes. Ever since his mom disappeared, all he's been doing is wishing: wishing for her return, wishing he'd stop wetting the bed and wishing his dad would love him again.

Finally, with the police investigation stalled and worried his mother might soon be out of time, Riley is desperate for answers. So, he turns to the Whispers, mythical wood creatures who will grant your heart’s desires if you bring them tribute. It's a story his mother used to tell him every night. He never really believed they were real until one day he hears them call to him, telling him his mother is near. 

Riley is determined to find the Whispers and ask for the one thing he wants the most: his mother's return--no matter the cost--especially since he thinks a secret he’s been holding close is the reason she's gone. This is his chance to make things right. Along with his best friend, his loyal dog and a neighbor boy with secrets of his own, Riley ventures deep into the dark woods--where all sorts of dangers lurk--to find the Whispers and, he hopes, his mother. But what he finds will change everything for Riley forever. 

Greg Howard stuns in this heartrending, mesmerizing debut about love, magic and what it means to believe in the impossible. 

Praise for The Whispers:

“This taut, moving tale delves beyond loss into issues of sexuality, conformity and self-acceptance…a masterful exploration into the power of storytelling but also its dangers, including self-denial and escapism.” —The New York Times Book Review

“With sensitivity and skill, Howard handles themes of sexual identify, self-worth, loss and friendship.” —The Washington Post

"Howard’s personal story helps create a fictional narrative both realistic and relevant, while also calling on the fantastical magic of the imagination…. A tale of family, friendship and loss, filled with magic and heart." —The Associated Press

"A dreamy novel recalling Bridge to Terabithia." —Entertainment Weekly

"A heartbreaking, beguiling debut… This poignant journey through the badlands of grief is crammed with tenderness, wit and warmth." —The Guardian

And! TJ Klune. I actually just started reading The House in the Cerulean Sea, but I'm so hooked.

Lambda Literary Award-winning author TJ Klune’s breakout contemporary fantasy

Linus Baker is a by-the-book case worker in the Department in Charge of Magical Youth. He's tasked with determining whether six dangerous magical children are likely to bring about the end of the world.

Arthur Parnassus is the master of the orphanage. He would do anything to keep the children safe, even if it means the world will burn. And his secrets will come to light.

The House in the Cerulean Sea is an enchanting love story, masterfully told, about the profound experience of discovering an unlikely family in an unexpected place—and realizing that family is yours.

"1984 meets The Umbrella Academy with a pinch of Douglas Adams thrown in." —Gail Carriger, New York Times bestselling author of Soulless

Let me know if you've read these book or if you add them to your list!

Happy Reading!

One Book I Loved and One I Fully Expect To

Happy Pride, folks! This week on SFF Seven, we are highlighting books by members of the LGBTQ+ community, so I scanned through my recent reads and got a happy surprise (more on that in a bit). 

Keep in mind I'm usually at least a year out of date -- I buy books that oooh-yes my brain when they are released, but I typically don't get around to reading them until years later. So the first book I'd like to mention is The House in the Cerulean Sea by TJ Klune. It's kind of Harry Potter, but if the story were told from the point of view of a middle-aged, single, magical-child services inspector/bureaucrat who owns (or is owned by?) a very judgy cat. The protagonist, Linus, is relatable and easy to read, and the rest of the story is just as charming as he is. When this book was recommended to me, it was described as "a warm hug" and it so is.

The happy surprise is the other book I want to recommend: The Jasmine Throne (by Tasha Suri), which came out... yesterday! I loved the previous books in her series and so had pre-ordered this one, and when I read the back-cover synopsis, I realized it was a sapphic fantasy and ... eeeee!! Even more excited to crack this one open = me. Clearly I have not yet read the book that came out yesterday (see above regarding my slowpokieness), but Tasha Suri has not disappointed me yet, and I feel comfortable sending folks out to buy it.

I should confess one semi-uncomfortable thing, though: going by the blog theme this week, I had to check online and make sure that these two authors were gay. According to the always-reliable internet, they are (using this and this as sources). That knowledge makes me even happier. I mean, I liked their books before, but with all the #ownvoices writers being outed stuff that has been going around, I was really hoping that nosy readers like me weren't forcing someone to tell a truth they weren't ready to tell. In these cases, that doesn't seem to be what's going on. Whew.

But it does make me think of the current #ownvoices issue and some decisions that are being made to reduce usage of the term. If you're interested in knowing more, you can read the hashtag on Twitter. Basically, some folks think the #ownvoices hashtag causes more harm than good. On one hand, I am sorry for the writers who have been outed before they're ready. That must have been horrible. But at the same time, as a reader, I like knowing that I'm reading a book by a writer who has a similar lived experience to the protagonist. I especially like to know I'm reading #ownvoices when the writer is from a more visible marginalized community, like Black writers. But for LGBTQ+ writers... I kind of see where WNDB and others are coming from. If writers don't choose to share that information, for whatever reason, is it even really my business? That's why searching up the personal details on these excellent authors felt a little awkward. 

So yes happy Pride, definitely yes check out these books/authors, and also maybe yes be sensitive to the fact that another person's identity is owned by them, not who we need or want them to be.