A great hook from a story, rewritten so that the hook is not inviting or attention-grabbing. Key terms hook Learning objectives Students will be able to identify a topic for a personal narrative and experiment with different hooks for their piece. Take suggestions from the class.
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And if you master these simple principles for shaping great stories, your writing will be transformed forever. Everything in a story must be caused by the action or event that precedes it.
Because you might be surprised by how more careful attention to causation will improve your writing. As a fiction writer, you want your reader to always be emotionally present in the story.
Stories that move forward naturally, cause to effect, keep the reader engrossed and flipping pages.
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|Good explanations and narrative nonfiction resources||Synthesis and conclusion of the thesis Rephrasing main topic and subtopics. Think small; build the full essay gradually.|
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If you fail to do this, it can confuse readers, kill the pace and telegraph your weaknesses as a writer. With trembling fingers she locked the door.
She knew the killer was on the other side. Then he reads on. Oh, I get it, the killer is on the other side. If you find that one sentence is serving to explain what happened in the sentence that preceded it, you can usually improve the writing by reversing the order so that you render rather than explain the action.
The killer was on the other side of the door. She reached out with a trembling hand to lock it. The killer is on the other side of the door.
Think about it this way: She locked the door because she knew the killer was on the other side. If written in this order, the sentence moves from effect to cause. She knew the killer was on the other side of the door, so she locked it. Here, the stimulus leads naturally to her response.
Of course, most of the time we leave out the words because and so, and these are very simplified examples—but you get the idea.
Remember in rendering more complex scenes that realizations and discoveries happen after actions, not before them. Continually move the story forward, rather than forcing yourself to flip backward to give the reason something occurred.
He began to doodle. Suddenly he gulped and stared around the room, embarrassed, when the teacher called on him to explain cause and effect structure. This paragraph is a mess.
As it stands, at least seven events occur, and none are in their logical order. Here is the order in which they actually happened: Greg sits in the workshop. Greg gets called on.
He gulps and stares around the room Each event causes the one that follows it. With all of that said, there are three exceptions, three times when you can move from effect to cause without shattering the spell of your story. First, in chapter or section breaks.
For example, you might begin a section by writing: Immediately, the reader will be curious who is screaming, at whom she is screaming, and why. If this same sentence appeared in the middle of a scene in progress, though, it would be wiser to move from cause to effect: He told her he was in love with another woman.
The second exception is when one action causes two or more simultaneous reactions. In the paragraph about Greg, he gulps and looks around the room.A comprehensive, coeducational Catholic High school Diocese of Wollongong - Albion Park Act Justly, love tenderly and walk humbly with your God Micah A narrative hook (or hook) is a literary technique in the opening of a story that ‘hooks’ the reader's attention so that he or she will keep on reading.
The ‘opening’ may consist of several paragraphs for a short story, or several pages for a novel, but ideally it is the opening sentence.
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– urbanagricultureinitiative.com When I wanted to write an essay about my difficult relationship with my brother I had to figure out a way to make it interesting to other people so I turned to these 10 elements to keep the story rolling.