Round Robin Blog with Ginger Simpson #rndrobin0415

I missed a couple of months because of moving, but I'm in my new home and ready to post again.

This month, Rhobin's question for us is: What glues you to a story start to finish? And/Or what hooks do you use to capture your readers?

Hmmm, I just finished reviewing a book on Reader's Alley, Montana Man, and I have to say I was definitely glued to the story from the beginning.  The author used the hero to hook both me and the heroine.  Finding a unconscious man in repose by a rising river when a flash flood might occur makes you want to keep reading to see what happens.  I was hooked from the first page, and the pacing of the story was rapid and not filled with useless information that made me say "who cares."  All in all, there was just the right amount of everything in the story to keep my interest, and that doesn't happen all that often cause we authors tend to read with a very critical eye.

As for me, I've learned from experience with editors and releasing so many books, that unless you hook the reader from the "get go", you're bound to lose their interest and a sale.  I always thought there had to be lots of backstory to set the scene, so prologues were my thing, but they aren't any more.  I've since discovered writing is much more effective if you weave the backstory into the action and don't overwhelm the reader.

So...I guess in answer to the question, I personally try to create a situation at the beginning that draws
the interest of the reader and makes them curious enough to keep turning pages.  Here's one beginning I've written....this one from First Degree Innocence.  Does it hook you?

“Okay, Lang, strip!” The guard’s bark made Carrie’s stomach roil. She cowered in the corner of the women’s processing area, shivering under the blast of cold air from the ceiling vent.

Here's another from Sarah's Heart and Passion:

Sarah Collins struggled to open her eyes against the glare, but the pounding pain in her head urged her to keep them closed. She swept the tip of her tongue across cracked lips, her mouth as dry as the feathers in her pillow—yet she felt no downy softness beneath her, only an uncomfortable jabbing in her back. Her palms groped along something gritty. Where was she?













I personally would want to keep reading these stories to see how they unfolded...why is CarrieLang  in a women's processing area and why is she having to strip?  Why is Sarah Collins on the ground in pain, and how come she doesn't know where she is?  These are critical questions that need answering.  :)

As far as what glues me to a story...an author has to have a pace that moves along fast enough to keep my attention and a storyline that is realistic enough that I can connect and associate with the characters.  Just a tiny task once you've learned all the tricks...but did I mention that writing is a never-ending lesson?

If you would like to check out my work, the best place to see everything is on my Amazon page.  Check it out and see if I can hook you with something.  :)


Now...hop on over to the other authors who participate in this Round-Robin Blog and see what they have to say:

Beverley Bateman http://beverleybateman.blogspot.ca/
Diane Bator http://dbator.blogspot.ca/
Skye Taylor  http://www.skye-writer.com/
Marci Baun  http://www.marcibaun.com/
Margaret Fieland http://www.margaretfieland.com/blog1/
Helena Fairfax  http://helenafairfax.com/
Anne Stenhouse  http://annestenhousenovelist.wordpress.com/
Fiona McGier http://www.fionamcgier.com/
Connie Vines http://connievines.blogspot.com/
Rachael Kosnski http://rachaelkosinski.weebly.com/
Victoria Chatham http://victoriachatham.webs.com/
Lynn Crain  http://www.awriterinvienna.blogspot.com
Rhobin Courtright http://www.rhobinleecourtright.com/

Soap Operas And Novels - Bed Fellows?

I'm  addicted to General Hospital...have been for years.  Watched it from the beginning have suffered the loss of the original cast and enjoyed the addition of new.  One thing that strikes me is the similarity between watching a continuing saga and reading one.  Ever consider how much the writing plays into whether or not you continue to tune in?

I know how difficult it is to write a novel, but I have no idea the stress TV writers must endure in order to keep the plot moving, the interest growing, and coming up with hooks that make you either record the next episode or put aside your daily duties to tune in. I want their secrets.  *laugh*

Each Friday's soap opera episode is a most critical time for a so-called 'cliffhanger'.  Watchers have two whole days to get distracted from the daily routine or mull over what the outcome will be. Soap writers want them to mull, but such is the chore of a author with their novels.  We are charged with having a beginning to our books that HOOK the interest of the reader and make them want to keep turning pages.

I can't count how many times I've heard readers express what they do with a book that bores them from the beginning, and I'm not talking about mine. *smile*  If you don't grab and hold a reader's interest, you've not enhanced the chances they'll even finish what they started.  If I've learned one thing in my years of turning out novels, it's to start each story with a scene that snags interest in the plot and main character(s).

Equally important, ending each chapter with enough intrigue that the reader who reads at night won't want to stop or can't wait to pick the book up the next morning.  Exactly what Soap Opera writer's want to happen.  For me, it's hard enough to decide where to end a chapter, let alone end with  a scene that's a page turner, but it's critical.  Imagine ending a chapter with your heroine being home alone and hearing the creaking of an opening door.  Will the reader stop there, or will he/she be tempted to read on and see what is going to happen?  My bet is that won't be a stopping place.

I'd like to share the opening scene from my "best seller," First Degree Innocence.  See if it hooks you:


“Okay, Lang, strip!” The guard’s bark made Carrie’s stomach roil. She cowered in the corner of the women’s processing area, shivering under the blast of cold air from the ceiling vent.

“I said strip! Don’t make me have to tell you again.” The pudgy, uniformed female slapped a baton against her palm in a constant rhythm. In the empty room, the sound bounced off the depressing gray cement walls and echoed in Carrie’s head. She forced herself to take a faltering step out of her shoes. Her frigid fingers fumbled with the buttons as she struggled to remove her favorite pink cotton blouse. She unfastened her jeans and let them drop to the floor, then gazed through bleary eyes at the other woman, praying she didn't require the removal of anything more.



If this stirred your interest, you can find out more about this novel at Books We Love.  Beginning this month, BWL has expanded availability from the Amazon KDP program to Smashwords, Barnes & Noble, the Reader's Store and All Romance Ebooks.

Let me know your thoughts.  Comments might just motivate me to finish my current WIP which has been sidelined by life issues. I already have a beautiful cover and have made great progress, just need to get myself back on the writer's road.  I'd love to interview a soap opera writer....if you know one, let me know.  *smile*

I've Highjacked Another Blog

My good friend, Phyllis Campbell, posted such wonderful information on Vivacious Vixens, I asked her permission to post it here as well. She graciously agreed, so without further ado...read and learn. I did: (P.S. She hasn't earned the title, Queen of Sexual Tension, by being timid and shy.)


“Have you ever had sex in an elevator?”

Does this line grab you? Make you want to move on?

James Lawrence slid his palm across the woman’s back and down the swell of her buttocks and squeezed. “Now this is what I call a great hand.”

“I’d rather be thrown in piranha-infested waters than go out with a man!”

How about these next lines? How do you feel when you read them?

Kendra Wakefield smoothed her ice blue silk dress with a single white-gloved hand and sat straight in her chair. Lifting the small opera glasses, she peered through the lenses at the faces of the well-dressed couples entering below her balcony box.

The westbound train from Alabama screeched to a halt in front of the New Orleans’ depot. When Juliana Warren finally stepped onto solid ground, she released a deep sigh.

Hmmm…I really didn’t see anything exciting in these last two, paragraphs, either…which brings me to my point. The purpose of an opening hook is to catch the reader’s attention and make them keep reading. An editor once told me, during my appointment with her at a RWA conference, that if the first paragraph of a query or even a chapter doesn’t grab her attention, she usually puts it in the ‘reject’ pile without reading on. Yikes! This isn’t good at all, especially for struggling writers. So if the first line doesn’t grab the editor’s attention, what makes you think the second line will?

Now try some of these opening hooks. Do they catch your interest? Do they make you want to read on?

“Come on, open the door, honey.” Jace Corbett pounded on the solid oak, rattling the gold number 10 hanging in the middle. The late winter wind whipped against his bare skin and underneath the small towel wrapped around his waist. “I’m freezing my ass off.” Literally.

This particular opening is supposed to make the reader wonder why he’s freezing his ass off. And why is he wearing a towel out in the freezing weather? Hmmm… Did this opening work for you? Did it make you want to know more?

Kristine Olsen had never seen so many naked bodies in one place. Considering all the avenues her line of work took her, she didn’t expect a scene like this would shock her.
It did.

And what about this one? Sex sells, which means the words “naked bodies” should grab the reader immediately. But not always do you need sex in your opening to catch the reader’s eye. Using action as your hook is also very good to do! Take a look at the next two story openings…

He’s going to kill me!
Breanna Loveland gripped the shoulder-strap of her seatbelt, her knuckles turning whiter the harder she hung on. Through the windshield, she focused on the snow-packed road ahead. The heavy flakes hit the glass faster than the blades could remove it, making it almost impossible to see. The blinding storm covered the streetlights and darkness surrounded the car. She silently prayed this vehicle had an airbag just in case her fiancé’s reckless driving ended them in some ditch – or worse, head-on with another car.

“I’m going to kill him with my bare hands,” Monica Lange raged in a mixture of anger and sorrow as she paced the floor in her father’s den.

So, now we know what an opening hook is – how can we write one? Take a look at the first paragraph in chapter one of your story. Have you started it where you need to? Is this a place that’s going to make the reader wonder what’s going on and why or have you written too many descriptions or dialogue that doesn’t go anywhere?

Let’s do an exercise. We’ll take one of the boring sample paragraphs and try to make it a good opening hook. Let’s work on poor Kendra Wakefield. We know she’s at an opera and that she’s watching the others arriving below her box. How can we make this more active? Interesting? Why don’t we give her a shaky hand? Kendra Wakefield smoothed her ice-blue silk dress with a shaky hand. Or let’s add some internal thoughts here. Where in the blazes is that man? Or maybe she isn’t looking for someone, but hiding from someone and wonders if others will recognize her. She took a ragged breath. Will they know I’m not who I portray? At this point, if it’s done right, the reader will want to know why she is pretending and what is making her so nervous. Therefore – those unanswered questions will keep the reader from nodding off.

In a workshop given by Donald Maass of the Maass Literary Agency, he says readers will allow you only three lines before their mind begins to wander. That’s not very encouraging, is it? So why not grab the reader immediately?

Never begin with the heroine sitting and thinking. Get her butt off the chair and add some action and unanswered questions! Never open with long descriptions. Never open with weather – unless the pouring rain has flooded the roads and your characters are on their way to the hospital to have a baby… You get the picture. Never begin with backstory. That’s too much information to tell right away, especially when it can be woven into the rest of the story. Instead, open with conflict or just before a moment of change. Say your hero is minutes away from walking down the aisle to his own wedding, but he overhears his soon to be father-in-law making plans with a hitman to kill him after the wedding. Yup, I’d say it was time to make your character change his plans – and fast!

Closing hooks are similar. When you close a chapter, you should try to pose a question or set up a situation that makes the reader want to keep reading. The point is to end your chapter in a manner that encourages the reader to continue with your story. If you end your chapter with your character going to bed…so will your reader. This is not advised. It’s far better for your heroine to be knocked unconscious than to knock your reader into this state. Pose a question and don’t answer it until the next chapter. You may not want to end every chapter this way, but ask yourself “Does this end in a way that encourages your reader to keep reading?” If your answer is yes, then you’re ready to write the next article on hooks. (Big Grin)

**samples taken from my stories and some quotes taken from Donald Maass’ workshop.**

Visit my website to see other stories I have with great opening hooks! www.phyllismariecampbell.com

~Vixen Phyllis~