Want your readers to follow you anywhere? Then you’d better
hook them with your very first sentence because that’s as far as most people
will go if they’re not happy with what they see.
I’ve written for seven newspapers, local and national
magazines and had a couple of books published by traditional publishers. But the
best lessons I’ve learned about writing weren’t taught at any of those places. They
came from my very first freelance “employer” ~ MacFadden Enterprises in New
York City .
Most readers have never heard of MacFadden, so let me put it another way: how about True Story, True Confessions, True Love and True Romance. Oh yeah- you remember those. They were the tearjerkers we read back in the 1960s, ‘70s and ‘80s that told about women who loved and lost; loved and won; and those who never found love at all.
Most readers have never heard of MacFadden, so let me put it another way: how about True Story, True Confessions, True Love and True Romance. Oh yeah- you remember those. They were the tearjerkers we read back in the 1960s, ‘70s and ‘80s that told about women who loved and lost; loved and won; and those who never found love at all.
The editors I wrote for at MacFadden never used the word
“lead” like newspapers and (most) magazines do. They called your first sentence
the “hook.” Instead of the “lead, nut graph and body” expected in a news
article or feature story, at MacFadden, the words were always “hook, climax and
conclusion.”
And you know what? That is the concept that has helped me over
and over again in both fiction and nonfiction through story after story in my 30-plus
years of professional writing and editing.
Right in the beginning, an editor at MacFadden told me, “If
you want to sell to us, you’d better leave the reader laughing or crying
because the first and last sentences are critical."
I soon found the conclusion wasn’t anywhere near as
critical to my paycheck as the lead. If I didn’t have a compelling hook, the
editors never got to my climax or conclusion. The stories with wishy-washy (or
down-right poor) leads came back to me in
“SASEs” – the 9-by-12 standard brown self-addressed stamped envelopes
writers used before computerized
submissions became the norm.
You bet your lead is important. And the ways to write it are
as different as the stories that you’ll tell. It doesn’t matter if you’re a news writer reporting on a
dull meeting or writing what you hope will be the next bestselling novel. If
your lead sucks, few readers will get past it.
My late husband owned a commercial fishing business. He used
to say “hey, if they return it, I can always use it to wrap what I sell.”
Bad joke honey, but oh, so true.
In the beginning of any writer’s career, rejections aren’t a
joking matter but eventually we toughen up and learn to listen to editor’s
advice. Successful writers have to have more grits than Quaker and more balls
than a bowling alley to fend off all the rejections that come with “staring to
write.”
So how do we get that super fantastic lead that will make
people pick up your story, or book? It’s really no secret. You have to be creative.
NONFICTION EXAMPLE: Would you rather read “The Johnson
County Commission voted today seven-to-three to begin using an automated
garbage collection vehicle where recycling containers will be emptied using a
mechanical arm instead of workers lifting garbage cans and emptying them into
the vehicle.”
OR: Commissioners talked trash today and it’s going to
affect everyone living in Johnson County . Now give the details, not in the lead. This part is called a
nut graph in news and “the body” in stories. It needs to include the what,
when, where, why and how. You don’t need details in a lead, you need a
fantastic “grabber.” But it has to relate to the story to follow. You can’t
write something like “Godzilla ate Bambi” and then start talking about trash.
If the story is about garbage, you have to write a lead about garbage.
Misleading the reader isn’t only unfair, it’s just plain wrong.
SO HOW ABOUT A FICTION EXAMPLE? FIRST, THE DETAILS WE NEED: Joan Swanson had become a
recluse after a terrible breakup with her lover of seventeen years. Now she
spends most of her time drinking vodka alone, behind closed doors. Humm… how to tell this. There are so many choices. Let’s try a
few.
MAYBE: “Do you want a drink Ma’am,” the butler called from outside
the door to the master bedroom. He knew better than to open it. Miss Swanson would
never approve.
“No thank you James dear. I've had enough.”
Of course it was a lie. Joan had made love to Absolut
far too many times this afternoon and still had another full bottle in her room. But that wasn’t much different than every
afternoon since her breakup. Seventeen
years! I’ve wasted seventeen years on this man! She thought as she sucked
the vodka down with a vengeance.
BETTER YET: Maybe if I drink enough of this I’ll never have
to face this loneliness again, Joan thought as she finished off her second
bottle of Absolut. How long had she been locked away in her room, refusing to
see anyone, even her closest friends? She didn’t know and at this point, she
really didn’t care. Ralph was gone and that was all that mattered. Seventeen
damn years she’d wasted on that man. Seventeen damn years.
There are as many ways to lead a story- fiction or
nonfiction- as there are stories. You just have to decide which one feels right
to you!