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Explanation (Hooking your reader)

From: Writing Fundamentals: The Craft of Story

Video: Explanation (Hooking your reader)

From the very first sentence, a story must revolve around how someone solves an unexpected problem that no matter how hard they try, they simply can't avoid. So what's not surprising at the very first question that's always in the back of our brain--whether we are aware of it or not--when we begin reading a novel or watching a movie is what rapidly escalating problem will the protagonist have to deal with? It's something the reader needs to sense from the get-go. And nothing grabs the brain quicker than a surprise.

Explanation (Hooking your reader)

From the very first sentence, a story must revolve around how someone solves an unexpected problem that no matter how hard they try, they simply can't avoid. So what's not surprising at the very first question that's always in the back of our brain--whether we are aware of it or not--when we begin reading a novel or watching a movie is what rapidly escalating problem will the protagonist have to deal with? It's something the reader needs to sense from the get-go. And nothing grabs the brain quicker than a surprise.

That's what ignites our curiosity, after all. If we sense that something isn't quite right, it instantly makes us wonder what's really going on here? So the question is how do you convey this from the very beginning? The answer is by providing the three things that the reader's brain instantly hunts for. Whose story is this? What's happening here? And what is at stake? First, it's important to know from the very beginning whose story it is, because as we'll see, in a story the reader feels what the protagonist feels.

There are our points of entry, and we experience everything that happens based on how it affects them in pursuit of their goal. Are there times when the protagonist doesn't appear on the first page? Of course, but when that happens, two things are necessary. The reader still must have a sense of whose story it will be and everything that happens in those first few pages must in some way affect the protagonist the moment he or she ambles into the story. Second, the only way the reader can want to know what happens next is if something is happening in the first place.

That means you don't want to spend pages setting the stage for what's about to happen or filling us in on things we will need to know later in order for the story to make sense. Instead, you want to plunge us into something that's actually happening. This is what provides the reader with a sense of the big picture. It helps to think of the story as a single problem that gets more complicated as it progresses. Can we glimpse that problem on the first page? And finally, there needs to be something at stake.

If there is nothing at stake, we have no reason to read forward, why? Because there's nothing to be curious about, no conflict that needs to be resolved, no burning question we want answered. Having everything go according to plan is really nice in real life, but it's deadly in a story. Stories are about our expectations not being met and what that forces us to do as a result. Can all this be accomplished on the very first page? Let me give you an example of how all three questions can be answered in the first sentence.

This is the opening sentence of a novel called What Came Before He Shot Her by Elizabeth George. And here's the sentence: Joel Campbell, age 11 at the time, began his descent toward murder with a bus ride. Whose story is it? That's easy, Joel Campbell's. What's happening? He is on bus which will somehow trigger his unavoidable descent into murder. What is at stake? Someone's life, not to mention Joel's future. The beauty of it is that, that single sentence then becomes the yardstick by which we can measure everything that happens in the novel. It all adds up because we know where it's going.

Knowing what's at stake allows us to ask of each event. Does this move Joel closer to murder, or does it move him further away? And the more we care about Joel, the more deeply invested we become. Let's explore this a little further by seeing how it works in action with the next movie.

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This video is part of

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Writing Fundamentals: The Craft of Story

39 video lessons · 18899 viewers

Lisa Cron
Author

 
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  1. 2m 40s
    1. Welcome
      1m 45s
    2. How to use this course
      55s
  2. 9m 38s
    1. Explanation (What is a story?)
      3m 34s
    2. Example (What is a story?)
      4m 14s
    3. Story check (What is a story?)
      1m 50s
  3. 8m 46s
    1. Explanation (Hooking your reader)
      3m 51s
    2. Example (Hooking your reader)
      3m 19s
    3. Story check (Hooking your reader)
      1m 36s
  4. 8m 51s
    1. Explanation (All stories make a point)
      2m 56s
    2. Example (All stories make a point)
      3m 54s
    3. Story check (All stories make a point)
      2m 1s
  5. 9m 33s
    1. Explanation (Feeling what the protagonist feels)
      3m 43s
    2. Example (Feeling what the protagonist feels)
      3m 19s
    3. Story check (Feeling what the protagonist feels)
      2m 31s
  6. 7m 6s
    1. Explanation (All protagonists have a goal)
      2m 36s
    2. Example (All protagonists have a goal)
      3m 9s
    3. Story check (All protagonists have a goal)
      1m 21s
  7. 7m 37s
    1. Explanation (Uncovering your protagonist's inner issue)
      2m 53s
    2. Example (Uncovering your protagonist's inner issue)
      2m 27s
    3. Story check (Uncovering your protagonist's inner issue)
      2m 17s
  8. 9m 58s
    1. Explanation (Being specific rather than vague)
      4m 51s
    2. Example (Being specific rather than vague)
      3m 33s
    3. Story check (Being specific rather than vague)
      1m 34s
  9. 9m 3s
    1. Explanation (Suspense and conflict)
      3m 29s
    2. Example (Suspense and conflict)
      4m 6s
    3. Story check (Suspense and conflict)
      1m 28s
  10. 10m 35s
    1. Explanation (Cause and effect)
      4m 0s
    2. Example (Cause and effect)
      4m 16s
    3. Story check (Cause and effect)
      2m 19s
  11. 11m 50s
    1. Explanation (What can go wrong, must)
      4m 42s
    2. Example (What can go wrong, must)
      5m 0s
    3. Story check (What can go wrong, must)
      2m 8s
  12. 10m 59s
    1. Explanation (Setups, payoffs, and the clues in between)
      4m 19s
    2. Example (Setups, payoffs, and the clues in between)
      5m 6s
    3. Story check (Setups, payoffs, and the clues in between)
      1m 34s
  13. 11m 7s
    1. Explanation (Flashbacks, subplots, and foreshadowing)
      4m 56s
    2. Example (Flashbacks, subplots, and foreshadowing)
      4m 20s
    3. Story check (Flashbacks, subplots, and foreshadowing)
      1m 51s
  14. 1m 49s
    1. Next steps
      1m 49s

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