Captivate Your Audience: 5 Proven Techniques to Hook and Hold Them

EPISODE DESCRIPTION – How do you hook your audience? How do you keep them engaged from the start of your story through to the end? And how do you keep them from getting bored and tuning out? Hooks don't have to be elusive in storytelling. Tune in to this week's episode where Zena gives you 5 practical tips to hook 'em and hold 'em!

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Transcript

[00:00:00] Listen up, storytellers. If you're not hooking your readers, you're losing them. Stay tuned as I reveal five insider secrets to keep readers glued to your story until the very end.

[00:00:12] Hello and welcome to the Storytellers Mission with Zena Del Lowe, a podcast for artists and storytellers about changing the world for the better through story.

[00:00:22] today what I want to go over is how you can really hook your writer and keep them engaged, keep them captivated in your story all the way through to the end.

[00:00:33] But before I get started, I want to take a moment to ask you, Would you please subscribe to this podcast right now and leave me a comment in the notes. Let me know what topic you would like to hear from me next.

[00:00:44] Just go ahead and leave a comment right now as we're getting started. Okay, that said, let's dive in.Today, what I want to talk to you about is how to hook your audience. Everybody talks about it. All writers know that it's an essential thing to do. But I don't think we all have a very good grasp on how to do it. So I want to give you five tried and true methods that you can use to effectively hook your audience, to grab their attention, 

[00:01:13] and to hold their attention all the way through the rest of the telling.

[00:01:17] And of course, the number one way to do this is to start with a compelling opening. Now what do I mean by start with a compelling opening? Well what I mean is you need a hook. You have to begin your story with a hook. Something that grabs the reader's attention right away. But what does that even mean?

[00:01:37] What is a hook?

[00:01:38] Let's start by defining it. A hook is an exciting or intriguing opening of a story that grabs the reader's attention, draws them in, and makes them want to keep reading. And by the way, it doesn't matter if you're a novelist or a screenwriter, you need a hook.

[00:01:59] It's like the bait on a fishing hook. It's what lures the reader in and keeps them invested in the story. Hooks can come in different forms. For example, you might have a shocking statement, or a vivid description, or a mysterious situation. But the key is to make it interesting enough that your reader is curious about what happens next, and they want to turn the page.

[00:02:28] Now, in a novel, it's often the opening line of the story.

[00:02:33] For example, in 1984 by George Orwell, he wrote, It was a bright, cold day in April, and the clocks were striking thirteen. This opening line immediately sets a strange and unsettling tone, making readers curious about the world In which the story takes place.

[00:02:53] They want to learn more. In the Hunger Games by Suzanne Collins, it starts with the line, when I wake up, the other side of the bed is cold. Now this line plunges readers into the protagonist's perspective and hints at the dystopian world that they inhabit 

[00:03:13] It sparks our curiosity about what kind of place this is and what challenges the character might face. in Harry Potter and the Sorcerer's Stone by J. K. Rowling, the opening line is, Mr. and Mrs. Dursley of number four Privet Drive were proud to say that they were perfectly normal.

[00:03:32] Thank you very much. Now this opening sentence introduces us to the mundane world of the Dursleys before we're whisked away into the magical realm of Hogwarts, creating a stark contrast that intrigues readers. 

[00:03:48] Of course, we all know the opening line at the beginning of Pride and Prejudice by Jane Austen. It's one of the most famous opening lines that exists, which is It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife.

[00:04:07] Now this famous opening line immediately introduces us to the novel's central theme of marriage and sets the tone for the social satire that's going to follow. In A Tale of Two Cities, who doesn't know the opening line of A Tale of Two Cities? By Charles Dickens. It was the best of times. It was the worst of times.

[00:04:28] It was the age of wisdom. It was the age of foolishness. Now, these opening lines not only are memorable, but they set up the novel's exploration of contrasts and contradictions in society. And it's a very intriguing opening to read. Now, if you're writing a screenplay and not a novel, the problem is, is that opening lines aren't going to work.

[00:04:54] You have to look at something else to hook your audience. And, if you're a novelist, to be honest with you, I think way too much attention is put on the opening line. too many writers spend an exorbitant amount of time trying to craft the perfect opening line, but it still doesn't work because what happens next?

[00:05:16] An opening line is great. If you can craft a great opening line that draws readers in, that's great. But it will only get you so far. a better and more secure tactic is to write an opening chapter or opening scenes or opening sequence that absolutely hooks your audience.

[00:05:38] So how do you do that? Well, first of all, let me give you a few examples of opening chapters that serve as hooks. If you've ever read the book Gone Girl,

[00:05:51] The entire opening chapter of Gone Girl sets the stage for the mystery that's going to follow. It introduces us to the disappearance of Amy Dunn on her fifth wedding anniversary, and it leaves readers eager to uncover the truth behind her disappearance.

[00:06:09] In the opening chapter of the Da Vinci Code,

[00:06:12] Jacques Saunier is brutally murdered in the Louvre, and it sets off a thrilling chase for clues and secrets hidden within the world of art and religion. In the book, The Hobbit, By J. R. R. Tolkien. 

[00:06:28] Tolkien's opening chapter is entitled, An Unexpected Party. And it kicks off the adventure with the surprise visit from the wizard Gandalf. And a band of dwarves who enlist in the party. the reluctant hobbit Bilbo Baggins for a quest to reclaim their homeland from the dragon Smaug. Now each of these opening chapters grabs the reader's attention by plunging them into the heart of the story's conflict or mystery and it sets the stage for the journey that's going to come.

[00:07:00] now again, in a screenplay, you have to hook your audience in a different way. Audiences don't read the opening lines of a screenplay, so that can't be the hook for your story. 

[00:07:11] if you're writing a screenplay, you're not focused on describing the internal thoughts and feelings of the characters like you might be in a novel. Instead, you're primarily focused on visual storytelling and dialogue and character relationships. Screenplays need to be consistent. Precise and action oriented.

[00:07:30] They need to capture the essence of a story in a way that can be translated onto the screen as the crew films your story. so while you're still telling a story, you're doing it in a different medium with different techniques compared to what you might do when you're writing a novel.

[00:07:48] a good hook in a screenplay. has to come from the opening sequence or scene.

[00:07:55] But you have to think of it as the moment that something Sets the tone and captures the audience's interest from the start. So again, the hook is more about the initial visual impact and the emotional impact that that visual image has in terms of how it engages the audience's attention. And there are three primary ways to hook the audience in a screenplay.

[00:08:20] It might be action sequences, it might be suspense and mystery, or it might be introducing intriguing characters. Let me give you some examples. So, Inception. In the opening sequence of Inception, we are immediately plunged into a high stakes heist set in a dream world. There are stunning visual effects and intense action.

[00:08:49] the tone for the mind bending journey that's ahead. In The Dark Knight by Christopher Nolan, the opening bank robbery scene is a masterclass in building suspense and tension. It also introduces the audience to the Joker and sets the stage for the cat and mouse game between him and Batman that's going to work itself out through the rest of the film.

[00:09:20] A classic example. is Pulp Fiction by Quentin Tarantino. The diner scene is a dialogue scene, and it kicks off the entire story. it's filled with sharp dialogue, quirky characters, and a sense of impending danger. viewer's attention, in a very unconventional way, certainly in a screenplay.

[00:09:45] It's unconventional storytelling. And it leaves us curious about how the various storylines will intersect. Now, each of these screenplays hooks the audience with its gripping opening sequence, whether it's through action, suspense, or intriguing characters.

[00:10:03] These examples demonstrate how effective hooks can set the stage for an unforgettable cinematic experience. And by the way, I would say that Quentin Tarantino is an absolute genius at this. Inglorious Bastards, for example, the opening scene is Phenomenal.

[00:10:23] Where there's so much suspense as this German soldier goes to this house. It feels so calm, but it is infused with so much subtext. It feels so dangerous. There is something so intriguing about it and that absolutely hooks us and draws us into the story. Okay, so all of those are ways in a screenplay, but notice That leads us to another way to hook.

[00:10:50] And that is basically about providing in these opening scenes or opening sequences, suspense. You must build suspense. You have to keep readers on the edge of their seats by introducing tension and conflict. early on. You have to drop hints, raise questions, and gradually reveal information to keep them guessing and eager to find out what happens next.

[00:11:18] This is why, by the way, you don't want to make the mistake of doing exposition dump in the front of your story. A lot of writers make this mistake, whether they're writing a novel or whether they're writing a screenplay. They tend to want to give all the backstory, all the exposition of that world. but the ironic thing is when you do that, you actually undermine this entire process of hooking your audience because part of the hook is to keep them guessing.

[00:11:49] If you write the story, but you write it high context so that the readers aren't being spoon fed and they have to engage, they have to participate in sorting out the mystery of what's happening to your character. It helps. It helps hook them and it helps draw them into the story. So you need to resist the temptation to give them too much information.

[00:12:14] Just start letting the story unfold.

[00:12:18] We know that most action films, for example, are going to start With some high, intense adrenaline rush. chase scene or action oriented scene that builds suspense and tension right from the get go. 

[00:12:33] But, not all stories are action oriented. And therefore, not all stories should start with a high impact action scene. There might be a different kind of action scene that you use to kick off the story that still includes suspense and tension.

[00:12:51] But a better way to think about an action sequence is that your character is already engaged in some emotionally gripping situation. It has to include dynamic movement, or an event that's going to propel the story forward, or something that is It's really, really emotionally intense for your character.

[00:13:14] It usually has to do with the main character. So in the examples that I've already mentioned, in Gone Girl, the disappearance of Amy Dunn immediately thrusts the reader into the central mystery. We are curious, but it doesn't start with this huge action sequence, per se. It's just about being inundated or dropped into the middle of this huge mystery.

[00:13:40] After the murder of Jacques Sagnere in The Da Vinci Code, we We are immediately set off in a fast paced pursuit of clues and secrets. In The Hobbit, the unexpected visit from Gandalf and the dwarves signals the start of Bilbo's adventure. 

[00:14:00] It's not necessarily that it's an action scene. It's still conflict oriented, emotionally impacted storytelling. So again, action packed openings can definitely be effective hooks. But they're just one of many techniques that writers can use to grab a reader's attention. Which leads me to the next way that we can do this.

[00:14:24] Develop interesting characters. You simply have to develop interesting characters. You need to create characters that readers can connect with emotionally. Give them depth or flaws or relatable motivations that keep readers invested in their journey throughout the story. Now, I think 

[00:14:44] great example of this is the character Jack Reacher. In the very opening of the Jack Reacher series, you meet Jack and he's not like anybody we've met. He does things differently. And so right away, the author hooks us because of how interesting Jack Reacher is. The same thing applies with Ripley in The Talented Mr.

[00:15:08] Ripley. He is so intriguing, so interesting, so unique, so unlike any other characters that we've met, that we're fascinated by him from the very beginning. In film world, an excellent example of this would be Jack Nicholson's character from As Good As It Gets.

[00:15:25] Right away, we are meeting this character that is simply not

[00:15:30] politically correct in his social dealings. He right away insults all sorts of people groups. He's a homophobe. He's a sexist. He's a racist. He puts a dog down a garbage chute. I mean, he's just a terrible person and we are intrigued by him right from the get go. 

[00:15:52] Tyler Durden from Fight Club. Tyler Durden is a charismatic an enigmatic character who immediately captivates the audience with his unconventional philosophy and rebellious attitude. That's how we open the novel, and that's how we open the movie.

[00:16:11] We show his magnetic personality and his unpredictable behavior. And that draws viewers immediately into the world and makes them eager to unravel the mystery surrounding him. Another character that does this, which is why it's one of the most famous stories in American novel history.

[00:16:34] and that is the character of Holden Caulfield in The Catcher in the Rye. Now, here's what's interesting. Not much happens. I mean, it basically follows Holden as he gets kicked out of yet another prep school right before he goes home to tell his parents.

[00:16:49] I mean, it's a couple of days worth, so not much happens. It's not like an action oriented book. And yet the way he phrases things, his own observations, The things that he's obsessed with, whether or not another character or another person in that world is phony. We are immediately drawn into this character.

[00:17:12] He's one of the most fascinating characters that have been created in 20th century literature. So it's not that it has to be action oriented. It just has to be intriguing in some way. Interesting. Unique. 

[00:17:26] Now, the next thing that you can use to really hook your reader,

[00:17:30] is the use of vivid imagery and descriptive language.

[00:17:36] And by the way, you do this in both screenplays and novels, which is one of the reasons why so many people writing screenplays aren't writing good ones, because they haven't mastered this technique.

[00:17:46] They tend to think of screenplays as more a technical document and miss out on how you can turn it into this marvelous work of art flowery or wordy because a screenplay is all about economy of language and powerful word choices. So what you're looking to do here is transport readers into your story by appealing to their senses and immersing them into the setting using vivid imagery and descriptive language.

[00:18:20] Here are a few examples of stories that use vivid imagery and powerful language to hook readers into the stories. The Great Gatsby. So, Fitzgerald uses vivid descriptions of the opulent parties and the lush landscapes and the glamorous lifestyles of the characters in The Great Gatsby to paint a vivid picture of the roaring 20s era.

[00:18:50] The Lord of the Rings by J. R. R. Tolkien is an epic fantasy saga that is filled with vivid imagery and descriptive language. And what it does is it brings the fantastical world of Middle earth to life. hills of the Shire to the towering peaks of Mount Doom. Tolkien's rich descriptions transport readers to a world filled with danger, adventure, and magic.

[00:19:20] In The Handmaid's Tale by Margaret Atwood, Atwood's dystopian novel is known for its vivid and chilling portrayal of the oppressive society of Gilead, and it uses detailed descriptions of the totalitarian regime, the stark landscape, the protagonists inner thoughts and emotions, Atwood creates a haunting and immersive world that hooks readers from the very first page.

[00:19:51] the screenplay for The Shawshank Redemption. Now, in the opening scene, 

[00:19:56] It describes Andy Dufresne in his car drinking bourbon while the rain pours down, which sets the tone for a dark and somber story. And we're immediately fascinated by Andy. There's something about him that draws us in. so we're combining descriptive, vivid imagery.

[00:20:16] along with intriguing characters to really try to hook your reader or viewer. Another example is the screenplay for Jurassic Park, which opens with a vivid description of a mysterious and remote island where dinosaurs roam freely, which immediately captures the reader's imagination.

[00:20:40] Again, in these examples, it's the use of vivid imagery and descriptive language that the author uses to paint a rich and immersive picture of the world of that story. And it draws the readers or viewers in and makes them eager to explore further.

[00:20:58] Now before I give you the final clue, which is probably one of the most important and one of the most difficult to categorize,

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[00:22:25] All right. Now that said, let's go into the very last point, And again, remember, this is not exhaustive. There are more things you can do, but these are the best, the five best things that you can do. And that is.

[00:22:39] you have to maintain a steady pace. 

[00:22:42] Whether you're writing a screenplay or a novel, it's all about pacing. Pacing has the ability to hook your readers or keep them there. If you don't pace your story well, you will lose them. So, what you want to practice doing is knowing when to cut away to other subplot storylines. It's a wonderful technique that you can do when you have a high intense action sequence 

[00:23:11] And you know you've got your reader's attention, 

[00:23:14] end the scene and cut away and you start on another part of the story that maybe is a little quieter. It keeps us hooked. It keeps us hooked. We want to turn the page or we want to keep the movie going or if you're writing a television show, this is where you would end on a particularly high intense boom, the gun goes off and then we cut to commercial break, but that keeps the reader wanting to come back and see what happens next.

[00:23:44] And sometimes when we come back, we might not even start on the scene, even though they came back because they wanted to know who shot or who got shot or whatever. You can still start on a subplot or a different part of the story. And it will still keep our attention. And so pacing, it's all about pacing, finding the right times to tune away.

[00:24:05] And nobody can really teach you that. That's something that you have to feel, but you can get help from your first readers when they read it. They can tell you if the pacing felt off or if you spent too much time here, or if they got bored here, that's what you really want to know. At what point did your readers start to tune out?

[00:24:26] Did you start to lose their attention? Because you can fix those things if you ask people before you release it to the powers that be or to the vast audience. 

[00:24:36] so, The overall goal here, obviously, is to hook readers and to keep them hooked all the way through the rest of your story. If you're not able to do that, you won't be successful. You simply won't. 

[00:24:50] So this is crucial. It's essential that you learn these things.

[00:24:55] I hope this has been helpful to you as you go about writing your project. If it has, please do like and subscribe to this podcast and share it with others so that they too can benefit from the lessons herein. 

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