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IN THE BEGINNING: How To Be A Happy Hooker

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For the benefit of any unsuspecting reader, let me state now that this is NOT an article about how one might become a contented courtesan or smiling strumpet. Nope, not even a titillated trollop. Sorry about that. This assault on good taste and English letters is concerned with the fine art of creating attention grabbing hooks in the opening lines of your next Pushcart Prize winning short story or Nobel Prize contending novel.

For starters, here's the biggest single rule those eager to become happy hookers should always keep in mind. There is NO single rule that can guarantee success. Not one. There are, however, some guidelines that might be of some help, maybe. Here are five.

1. The mission of those first few words at the beginning of your story is to intrigue--not inform--your readers, and keep them reading.

Don't fall into the trap of using that priceless piece of writing space to describe people, places or things that can be mentioned later. Consider the following opening line by Nobel Prize winner, Gabriel Garcia Marquez.

"Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice." One Hundred Years of Solitude

The reader doesn't know who the Colonel is, or any of the other W's (what, where, when, why). But ask yourself, would including any of that information have made the sentence stronger and the "hook" more compelling?

2. Instead of falling back on description, consider opening with action. That doesn't mean you need to begin with a car chase, shoot-out or at the climax (so to speak) of a hot, steaming love scene. There is, of course, nothing wrong with any of those. Just remember that action doesn't have to mean frantic activity. Here are a couple examples:

"It was a bright cold day in April, and the clocks were striking thirteen." 1984, by George Orwell

"They shoot the white girl first." Paradise, by Toni Morrison

3. High on the list of things to avoid describing is the weather. Granted, the opening to 1984 includes a brief mention of the climate. But even if you pull off an Orwellian caliber job, editors, agents, reviewers and other such literary flotsam and jetsam seem predisposed to not liking the practice. No doubt this goes back to the infamous opening line from the novel, Paul Clifford, by Edward George Bulwer-Lytton:

"It was a dark and stormy night; the rain fell in torrents--except at occasional intervals, when it was checked by a violent gust of wind which swept up the streets (for it is in London that our scene lies), rattling along the housetops, and fiercely agitating the scanty flame of the lamps
that struggled against the darkness."

4. One of the better ways to intrigue and thereby "hook" readers is to begin with a question. It doesn't have to be explicit. In fact, implied questions often work best. For instance:

"Nobody was really surprised when it happened, not really, not on the subconscious level where savage things grow." Carrie, by Stephen King

"There once was a boy named Eustace Clarence Scrubb, and he almost deserved it." Voyage of the Dawn Trader, by C S Lewis

5. If you feel compelled to use a direct quote, try to make it short, as in, very. The problem with any quote is your reader has no idea who is speaking or the circumstances. If the speaker rambles on for several lines, once "all is revealed" readers may stop to go back and re-read the quote. Here's one example of a great short-quote opening:

"'Take my camel, dear,' said Aunt Dot as she climbed down from the animal on her return from High Mass." The Towers of Trebizond, Rose Macaulay

That's all well and good, you whisper, but what about ripped-bodice romances, the next “50 Shades of Grey” style mega-bestseller, you know, S-E-X?

Glad you asked. But seriously folks, with the sexual demarcation line between erotic, mainstream, and romance novels blurring, it's a valid question.

When it comes to openings, the major difference within the field of 'love stories' appears to be, length. Most readers of novels, novellas and long stories will accept openings with little or no sex.

Most, but by no means all, short story readers, however, seem to prefer steamy openings. There are many, award-winning, moneymaking exceptions to that rule-of-thumb. And even in shorter works, a blow-by-blow description isn't mandatory. For instance:

"Sensual and seductive, she lay amid the rumpled sheets of the bed where we'd just made love-relaxed and at ease within the golden skin of her petite, perfect body. Not posing, not looking at the camera so much as through it, into the photographer, into me, waiting with an expression of amused tolerance for me to finish and rejoin her."

note: The last example is from a 2700-word story of mine, “A Special Photo.” My excuse for such blatant authorial hubris is, well, this is my article....so sue me.

Whatever the genre or format, writing, is writing, and with good writing, to quote the great Dooley Wilson, "The fundamental things apply." One of the most important "things" is to create strong openings. For when it comes to cranking out successful, commercial fiction, there are no unbreakable rules, EXCEPT, don't bore your reader--hook their interest from the beginning and never let go.

Happy hooking.
--

Here's a short collection of other favorite opening lines. Feel free to add some of your own.


It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife.

Pride and Prejudice, Jane Austen

--

It was the best of times, it was the worst of times...

A Tale of Two Cities, Charles Dickens

--

Call me Ishmael.

Moby Dick, Herman Melville

--

Happy families are all alike; every unhappy family is unhappy in its own way.

Anna Karenina, Leo Tolstoy

--

My mother was a virgin, trust me...

Emotionally Weird, Kate Atkinson

--

Once upon a time, there was a woman who discovered she had turned into the wrong person.

Back When we Were Grownups, Anne Tyler

--

The small boys came early to the hanging.

The Pillars of the Earth, Ken Follett

--

He was an old man who fished alone in a skiff in the Gulf stream and he had gone 84 days now without taking a fish.

The Old Man and the Sea, Ernest Hemingway

--

I have been afraid of putting air in a tire ever since I saw a tractor tire blow up and throw Newt Harbine's father over the top of the Standard Oil sign.

The Bean Trees, Barbara Kingsolver

--

ON THE THIRD DAY OF THEIR HONEYMOON, infamous environmental activist Stewie Woods and his new bride Annabel Bellotti were spiking trees in the forest when a cow exploded and blew them up. Until then, their marriage had been happy.

Savage Run, C.J. Box

--

"My name was Salmon, like the fish; first name Susie. I was fourteen when I was murdered on December 6, 1973."

The Lovely Bones, Alice Sebold

--

If you really want to hear about it, the first thing you'll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don't feel like going into it, if you want to know the truth.

The Catcher in the Rye, J.D. Salinger

--

Francis Marion Tarwater's uncle had been dead for only half-a-day when the boy got too drunk to finish digging his grave and a Negro named Buford Munson, who had come to get a jug filled, had to finish it and drag the body from the breakfast table where it was still sitting and bury it in a decent and Christian way, with the sign of its Saviour at the head of the grave and enough dirt on top to keep the dogs from digging it up.

The Violent Bear It Away, Flannery O’Connor

--

They threw me off the hay-truck about noon. I had swung on the night before, down at the border, and as soon as I got up there under the canvas, I went to sleep. I needed plenty of that after three weeks in Tijuana, and I was still getting that when they pulled off to the side to let the engine cool. Then they saw a foot sticking out and kicked me off.

The Postman Always Rings Twice, James M. Cain

--

I am living at the Villa Borghese. There is not a crumb of dirt anywhere nor a chair misplaced. We are alone here and we are dead.

Tropic of Cancer, Henry Miller

--

Whenever my mother talks to me, she begins the conversation as if we were already in the middle of an argument.

The Kitchen God's Wife, Amy Tan

--

Describe, using diagrams where appropriate, the exact circumstances leading to your death.

Red Dwarf, Grant Naylor

--

If you're going to read this, don't bother.

Choke, Chuck Palahnuik
Thanks for sharing this, Rumple. smile
And to go beyond the opening line, because even a good hook can fall flat and lose readers, here is one of the most majestic opening chapters of a truly great, albeit less than perfect and flawed, novel: A Tale of Two Cities


Book the First--Recalled to Life

I. The Period

It was the best of times,
it was the worst of times,
it was the age of wisdom,
it was the age of foolishness,
it was the epoch of belief,
it was the epoch of incredulity,
it was the season of Light,
it was the season of Darkness,
it was the spring of hope,
it was the winter of despair,
we had everything before us,
we had nothing before us,
we were all going direct to Heaven,
we were all going direct the other way--
in short, the period was so far like the present period, that some of
its noisiest authorities insisted on its being received, for good or for
evil, in the superlative degree of comparison only.

There were a king with a large jaw and a queen with a plain face, on the
throne of England; there were a king with a large jaw and a queen with
a fair face, on the throne of France. In both countries it was clearer
than crystal to the lords of the State preserves of loaves and fishes,
that things in general were settled for ever.

It was the year of Our Lord one thousand seven hundred and seventy-five.
Spiritual revelations were conceded to England at that favoured period,
as at this. Mrs. Southcott had recently attained her five-and-twentieth
blessed birthday, of whom a prophetic private in the Life Guards had
heralded the sublime appearance by announcing that arrangements were
made for the swallowing up of London and Westminster. Even the Cock-lane
ghost had been laid only a round dozen of years, after rapping out its
messages, as the spirits of this very year last past (supernaturally
deficient in originality) rapped out theirs. Mere messages in the
earthly order of events had lately come to the English Crown and People,
from a congress of British subjects in America: which, strange
to relate, have proved more important to the human race than any
communications yet received through any of the chickens of the Cock-lane
brood.

France, less favoured on the whole as to matters spiritual than her
sister of the shield and trident, rolled with exceeding smoothness down
hill, making paper money and spending it. Under the guidance of her
Christian pastors, she entertained herself, besides, with such humane
achievements as sentencing a youth to have his hands cut off, his tongue
torn out with pincers, and his body burned alive, because he had not
kneeled down in the rain to do honour to a dirty procession of monks
which passed within his view, at a distance of some fifty or sixty
yards. It is likely enough that, rooted in the woods of France and
Norway, there were growing trees, when that sufferer was put to death,
already marked by the Woodman, Fate, to come down and be sawn into
boards, to make a certain movable framework with a sack and a knife in
it, terrible in history. It is likely enough that in the rough outhouses
of some tillers of the heavy lands adjacent to Paris, there were
sheltered from the weather that very day, rude carts, bespattered with
rustic mire, snuffed about by pigs, and roosted in by poultry, which
the Farmer, Death, had already set apart to be his tumbrils of
the Revolution. But that Woodman and that Farmer, though they work
unceasingly, work silently, and no one heard them as they went about
with muffled tread: the rather, forasmuch as to entertain any suspicion
that they were awake, was to be atheistical and traitorous.

In England, there was scarcely an amount of order and protection to
justify much national boasting. Daring burglaries by armed men, and
highway robberies, took place in the capital itself every night;
families were publicly cautioned not to go out of town without removing
their furniture to upholsterers' warehouses for security; the highwayman
in the dark was a City tradesman in the light, and, being recognised and
challenged by his fellow-tradesman whom he stopped in his character of
"the Captain," gallantly shot him through the head and rode away; the
mail was waylaid by seven robbers, and the guard shot three dead, and
then got shot dead himself by the other four, "in consequence of the
failure of his ammunition:" after which the mail was robbed in peace;
that magnificent potentate, the Lord Mayor of London, was made to stand
and deliver on Turnham Green, by one highwayman, who despoiled the
illustrious creature in sight of all his retinue; prisoners in London
gaols fought battles with their turnkeys, and the majesty of the law
fired blunderbusses in among them, loaded with rounds of shot and ball;
thieves snipped off diamond crosses from the necks of noble lords at
Court drawing-rooms; musketeers went into St. Giles's, to search
for contraband goods, and the mob fired on the musketeers, and the
musketeers fired on the mob, and nobody thought any of these occurrences
much out of the common way. In the midst of them, the hangman, ever busy
and ever worse than useless, was in constant requisition; now, stringing
up long rows of miscellaneous criminals; now, hanging a housebreaker on
Saturday who had been taken on Tuesday; now, burning people in the
hand at Newgate by the dozen, and now burning pamphlets at the door of
Westminster Hall; to-day, taking the life of an atrocious murderer,
and to-morrow of a wretched pilferer who had robbed a farmer's boy of
sixpence.

All these things, and a thousand like them, came to pass in and close
upon the dear old year one thousand seven hundred and seventy-five.
Environed by them, while the Woodman and the Farmer worked unheeded,
those two of the large jaws, and those other two of the plain and the
fair faces, trod with stir enough, and carried their divine rights
with a high hand. Thus did the year one thousand seven hundred
and seventy-five conduct their Greatnesses, and myriads of small
creatures--the creatures of this chronicle among the rest--along the
roads that lay before them.



The story does not let up for an instance, in spite of the fact that Mr Dickens tends to go overboard at times in his prose.

But beginnings? Really? What about the ENDING of A Tale of Two Cities? Dickens was a true master at tying it all together and not sparing his readers one bit, from beginning to end.


They said of him, about the city that night, that it was the
peacefullest man's face ever beheld there. Many added that he looked
sublime and prophetic.

One of the most remarkable sufferers by the same axe--a woman--had asked
at the foot of the same scaffold, not long before, to be allowed to
write down the thoughts that were inspiring her. If he had given any
utterance to his, and they were prophetic, they would have been these:

"I see Barsad, and Cly, Defarge, The Vengeance, the Juryman, the Judge,
long ranks of the new oppressors who have risen on the destruction of
the old, perishing by this retributive instrument, before it shall cease
out of its present use. I see a beautiful city and a brilliant people
rising from this abyss, and, in their struggles to be truly free, in
their triumphs and defeats, through long years to come, I see the evil
of this time and of the previous time of which this is the natural
birth, gradually making expiation for itself and wearing out.

"I see the lives for which I lay down my life, peaceful, useful,
prosperous and happy, in that England which I shall see no more. I see
Her with a child upon her bosom, who bears my name. I see her father,
aged and bent, but otherwise restored, and faithful to all men in his
healing office, and at peace. I see the good old man, so long their
friend, in ten years' time enriching them with all he has, and passing
tranquilly to his reward.

"I see that I hold a sanctuary in their hearts, and in the hearts of
their descendants, generations hence. I see her, an old woman, weeping
for me on the anniversary of this day. I see her and her husband, their
course done, lying side by side in their last earthly bed, and I know
that each was not more honoured and held sacred in the other's soul,
than I was in the souls of both.

"I see that child who lay upon her bosom and who bore my name, a man
winning his way up in that path of life which once was mine. I see him
winning it so well, that my name is made illustrious there by the
light of his. I see the blots I threw upon it, faded away. I see him,
fore-most of just judges and honoured men, bringing a boy of my name,
with a forehead that I know and golden hair, to this place--then fair to
look upon, with not a trace of this day's disfigurement--and I hear him
tell the child my story, with a tender and a faltering voice.

"It is a far, far better thing that I do, than I have ever done; it is a
far, far better rest that I go to than I have ever known."



My poînt is, while a good opening might be required, if it is not sustained, then the author will lose readers to the Page Fifteen Club, whose members are those who could not get beyond page15 of a given book.
Quote by Rumple_deWriter
Thanks, Alan. As always, your bibliographical brilliance is breathtaking. smile



Rumple, I am disappointed. You used three 'a', and three'b' words - couldn't you have finished the sentence with three c's?
"Any book not worth reading twice was not worth reading the first time." Oscar Wilde
Speaking of finding that perfect hook...had to share this one with my writer friends here today...

I once knew a drinker who had a moderating problem...

From the opening chapter of Anthony Trollope's 19th century novel The Eustace Diamonds:

VOLUME I

CHAPTER I

Lizzie Greystock


It was admitted by all her friends, and also by her enemies,--who
were in truth the more numerous and active body of the two,--that
Lizzie Greystock had done very well with herself. We will tell the
story of Lizzie Greystock from the beginning, but we will not dwell
over it at great length, as we might do if we loved her. She was the
only child of old Admiral Greystock, who in the latter years of his
life was much perplexed by the possession of a daughter. The admiral
was a man who liked whist, wine,--and wickedness in general we may
perhaps say, and whose ambition it was to live every day of his life
up to the end of it. People say that he succeeded, and that the
whist, wine, and wickedness were there, at the side even of his dying
bed.
Can't ever go too wrong quoting Trollop. That opening sentence is a gem. Thanks, Gypsy.

"It was admitted by all her friends, and also by her enemies,--who
were in truth the more numerous and active body of the two,--that
Lizzie Greystock had done very well with herself."

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Here's one for you Reverend...not sure I would spend years writing an opening sentence, but who am I to argue with Stephen?

Why Stephen King Spends 'Months and Even Years' Writing Opening Sentences
http://www.theatlantic.com/entertainment/archive/2013/07/why-stephen-king-spends-months-and-even-years-writing-opening-sentences/278043/?utm_source=Publishers+Weekly&&utm_term=0_0bb2959cbb-5e3718848f-304828229[/size]
I once knew a drinker who had a moderating problem...