Cyn

I've spent a lot of time reading other writers' work. I've judged contests, been a crit partner, helped younger writers tighten their work. Two things crop up on a regular basis. First is the issue of Point of View (POV). When you do it right, you only see the story unfold through the eyes of one person in a single scene. The other problem that creeps in often undetected is that of chapter ending hooks.

Chapter ending hooks are exactly what they sound like. Some of you can relate to the analogy of fishing. You bait, toss the line in the water, and hope the hook catches you a fish.

Not into fishing? Think of a movie scene, or some story you read that you really enjoyed. You know the kind ... the one that leaves your heart pounding, and you holding your breath.

Every chapter in your book is at least one scene in length, maybe more. You arrange the setting, you place the story actors on the stage, and you have them act. They go through what they need to, and the tension builds. You can't wait to see or read what happens next.

And then, you find out.

Then chapter ends.

You look at the watch on your cell phone, or the clock in your bedroom and yawn. Time for bed. You shove a bookmark into the paperback, set it on the bedstand and go to sleep.

Yikes!

No. No! NO! You don't want your reader to breath easy at the end of the chapter (or a scene for that matter). You don't want to put their mind at rest.

What do you want? You want to agitate them with the question that keeps them reading on into the next chapter. You want them to ask, "What happened next?" What did s/he decide? How are they going to get out of THAT situation?

How do you do it?

Simple. Write the scene, complete with the logical consequences of the tension of that section of your work. Then reread what you've written with an eye to the tension you've built. Take it to the pinnacle, where there is no way at that particular time you can make things any worse, and then, end the chapter.

Here is a sample from my novel, 15 DEGREES OF HEAT:

Diego pointed the gun in Rob’s face as he attempted to stand. “To the desk, Doctor.”

Cold steel slapped onto his right wrist when Diego handcuffed him to the crossbar between the front and rear desk legs. Rob rattled the chains, tried to loosen them. Diego laughed and left him in the thickening smoke.

A scream followed. Cali’s. Muffled thumps, another crash, and then Rob glimpsed Diego with Cali slumped over his shoulder. The villain stopped in the doorway. With a leisurely look, he took in the conflagration that would soon consume the entire clinic. He tsked with mock sadness. “Such a shame you have to die, Doctor, but the clinic, I will make sure it is rebuilt, someday. Buenos dias, Señor.” Diego grinned and closed the door.

This scene personified "out of the frying pan into the fire."

The reader doesn't know what happens to Dr. Rob. He's trapped, handcuffed to the desk, the fire roaring around him.

Of course, I, as the author, know precisely what is going to happen next. Rob is going to escape, but my reader doesn't know how. They must read on to find the answer.

That is what a hook is supposed to do. Use them. You'll have readers up to all hours of the night racing to the end of your novel.