Hooked

1. Begin with the Inciting Incident, Not Backstory

The story simply doesn't exist before that point.

Immediate immersion. Start your story when the trouble begins, not before. Avoid lengthy backstories or setups that delay the inciting incident. Readers want to be immediately engaged in the action and conflict that drive the narrative. Think of it like a movie: you wouldn't start with a character's childhood before the main plot begins.

Action over exposition. Instead of telling the reader about a character's past, show them the character in the present, reacting to the inciting incident. This creates a more immediate and compelling experience. For example, instead of describing a character's troubled marriage, show the moment when the character decides to leave.

Modern structure. Contemporary stories begin with the inciting incident, which creates the initial surface problem and introduces the story-worthy problem. This approach is more engaging and aligns with modern reader expectations. Anything before that is backstory or setup, which should be introduced strategically later.

2. Trouble is the Heart of Every Story

There is simply no reason for a story to ever exist unless it's about trouble.

Conflict is essential. Every story needs conflict, and that conflict should be introduced early. This conflict can be external (a physical threat) or internal (a psychological struggle), but it must be present to drive the narrative. Without trouble, there is no story.

Two types of trouble. Stories involve both surface problems and story-worthy problems. Surface problems are the immediate issues that arise from the inciting incident, while story-worthy problems are deeper, more psychological issues that the protagonist must confront. For example, a character might face the surface problem of being robbed, but the story-worthy problem might be their inability to trust others.

Trouble is not melodrama. True trouble in fiction is not about sensational events, but about the internal psychological changes a character undergoes. Focus on the character's emotional response to the inciting incident, not just the event itself.

3. Surface Problems Reveal Deeper Story-Worthy Issues

The story-worthy problem is always the paramount problem; it's what the story is really about in the final analysis.

Interconnected problems. The initial surface problem should be directly linked to the story-worthy problem. The surface problem is a vehicle for exploring the deeper, more complex story-worthy problem. For example, a character's surface problem of losing a job might reveal a deeper story-worthy problem of their self-worth being tied to their career.

Protagonist's awareness. The protagonist may not fully understand the story-worthy problem at the beginning of the story. Their understanding of this problem should grow as they struggle to resolve the surface problems. The reader should also come to understand the story-worthy problem at the same time as the protagonist.

Multiple surface problems. A story can have multiple surface problems, but they should all stem from the initial surface problem and be connected to the story-worthy problem. Each surface problem should lead to the next, creating a chain of events that drives the narrative forward.

4. Setup is Minimal, Backstory is Strategic

Give only the amount of setup or backstory that's absolutely necessary, and not a word more.

Setup is brief. Setup should provide only the bare minimum information needed for the reader to understand the inciting incident. Avoid excessive detail or description. The goal is to ground the reader in the scene without slowing down the narrative. For example, a brief description of a restaurant is sufficient, not a detailed account of its history and decor.

Backstory is strategic. Backstory should be introduced only when necessary and should be woven into the action of the scene, not presented as a separate block of exposition. Avoid long, boring explanations of the protagonist's past. Instead, reveal backstory through the character's actions and reactions.

Trust the reader. Don't underestimate the reader's intelligence. They don't need to know everything about your characters to understand what's going on. Provide just enough information to set the scene, and let the reader fill in the rest.

5. Characters are Defined by Actions, Not Descriptions

Introduce your reader to your characters by showing the characters' reactions to the inciting incident.

Actions reveal character. Characters are best revealed through their actions and reactions to the inciting incident, not through long, boring physical descriptions or tangential stories. Show, don't tell. For example, instead of saying a character is miserly, show them counting pennies in a candy machine.

Telling details. Pick a few telling details that reveal a character's personality, and let the reader fill in the rest. Avoid introducing too many characters at once. Focus on the protagonist and antagonist first, and introduce other characters gradually.

Reactions define. The opening scene is where you introduce your protagonist and usually the antagonist. Show their reactions to the inciting incident. Those reactions reveal and define their personalities, creating a first impression as strong as any in our own lives.

6. Language and Setting Should Foreshadow the Story

The opening is where you should create your most memorable language.

Memorable language. Craft your opening with strong, original verbs and concrete nouns. Avoid adverbs, excessive adjectives, and clichés. The first sentence should be the best sentence of all. For example, instead of "He ran quickly," write "He bolted."

Setting as a character. Include a glimpse of the setting in the opening, but only include details that are important to the story. The setting can be a character itself, but it should be brief and serve a purpose. For example, a description of a dusty, abandoned town can foreshadow a story about isolation and decay.

Foreshadowing hints. Use your opening to foreshadow upcoming events or obstacles. Hints about upcoming perils create page-turning reads. For example, if a character will need to jump a chasm later, mention their past as a long jumper in the opening.

7. Openings Must Hook, Establish Rules, and Hint at the End

In my beginning is my end.

Hook the reader. The opening must hook the reader and make them want to read further. This can be done through a compelling inciting incident, intriguing language, or a unique character. The hook should be something that makes the reader want to know what happens next.

Establish story rules. The opening must establish the rules of the story, including the tone, voice, and narrative style. Be consistent with these rules throughout the story. Don't try to fool the reader.

Hint at the ending. The opening should contain at least a hint of the ending. The seeds of your ending can often be sown in your beginning. Look back at your beginning when you're stuck on how to end your story.

8. Avoid Common Opening Mistakes

The single biggest mistake writers make is that they simply don't trust the reader's intelligence to “get” what's going on without providing lengthy backstory.

No dream sequences. Never open with a dream sequence. It's a cliché that signals a lack of originality.

No alarm clocks. Avoid opening with an alarm clock buzzing or a character waking up. It's a boring and overused trope.

No unintentional humor. Avoid sentences that are unintentionally funny or awkward. Be clear and concise.

No too little dialogue. Avoid opening with too little dialogue. Dialogue is a key element of a good story.

No opening with dialogue. Avoid opening with dialogue unless the context and speakers are immediately clear. It can confuse the reader.

9. Transitions Should Be Seamless and Invisible

The way submitted material begins is almost always indicative of what's to follow.

Jump cuts. Use jump cuts to transition between scenes. Avoid lengthy descriptions or explanations.

Seamless transitions. Transitions should be seamless and invisible. The reader should not be aware of the transition.

Modern techniques. Use modern techniques for transitions, such as those used in movies and television. Avoid old-fashioned literary transitions.

Focus on the next scene. Instead of focusing on the transition, focus on the next scene. The transition should be a natural part of the narrative.

10. Editors and Agents Seek Specific Qualities in Openings

Always open with scenes that immediately engage us emotionally.

Emotional engagement. Editors and agents want to be emotionally engaged from the very first page. Open with scenes that immediately draw the reader in.

Clear protagonist. Clearly identify the protagonist early in the story. The reader needs to know who they are and what their goals are.

Strong voice. Establish a strong and unique voice in the opening. The voice should be consistent throughout the story.

Originality. Avoid clichés and overused tropes. Be original and creative.

Trust the reader. Trust the reader's intelligence. Don't over-explain or provide unnecessary backstory.

Last updated: January 31, 2025