“The Ambassadors,” by Henry James

Opening paragraph:

Strether called, his second morning in Paris, on the bankers, in the Rue Scribe, to whom his letter of credit was addressed, and he made this visit attended by Waymarsh, in whose company he had crossed from London two days before.

As this comes from chapter five’s opening paragraph and lacks a hook, I included it as an example of a long sentence.  It is exposition, but it puts a lot of water over the dam to then move into the story line.

“The Short Happy Life of Francis Macomber,” by Ernest Hemingway

Opening Hook Paragraph:

It was now lunch time and they were all sitting under the double green fly of the dining tent pretending that nothing had happened.

(My Mentor Howard Pease continues) This introductory paragraph, like Faulkner’s, consists of one sentence only.  While Faulkner’s is made up of fifty-seven words, Hemingway’s is twenty-four.  Yet note the carefully selected information in Hemingway’s sentence.  He does not overload it with facts.  Indeed, he suggests more than he states.  He deliberately chooses to limit himself by using the objective viewpoint. (More about this in the next chapter.) The curtain has gone up on his drama.  Like a theater audience we see the characters, watch their actions and hear what they say.  The author may suggest and give hints, but there is no delving into the mind of anyone, no effort made here to have us identify ourselves with anyone.

This one-sentence paragraph gives us the time of day, and the characters are mentioned, though they remain unnamed and unnumbered.  The word tent tells us that this is an outdoor story, and the double green fly and dining tent suggest wealth.  Knowing Hemingway and his fondness for big game hunts, we suspect that these people are on a safari.  Then comes the hook: they are pretending that nothing has happened.

“A Rose for Emily,” by William Faulkner

Opening Hook Paragraph:

When Miss Emily Grierson died, our whole town went to her funeral: the men through a sort of respectful affection for a fallen monument, the women mostly out of curiosity to see the inside of her house, which no one save an old man-servant—a combined gardener and cook—had seen in at least ten years.

(My mentor Howard Pease continues) Here the author names his protagonist, or main character, who has just died.  Then he throws out a hook to arouse our curiosity about her.  We, too, now want a glimpse inside Miss Emily’s house.  And we get that glimpse—and never forget what we see.

“The Burning,” by Eudora Welty

Opening Hook Paragraph:
Delilah was dancing up to the front with a message; that was how she happened to be the one to see. A horse was coming in the house, by the front door. The door had been shoved wide open. And all behind the horse, a crowd with a long tail of dust was coming after, all the way up the road from the front gate between the cedar trees.
(My mentor Howard Pease continues) The protagonist, or main character, is named, and you see what happens through her eyes. You soon realize that Delilah is a slave, and the incredible hook is her picture of Sherman’s men coming to burn the plantation house. There is no mention or the date. In the simplest language, Delilah’s own language, the action moves forward with no comment from the author. You, the reader, draw your own conclusions.
(from a collection of opening paragraphs at www.secondroot.com)

“The Past,” by Ellen Glasgow

Opening Hook Paragraph:

I had no sooner entered the house than I knew something was wrong. Though I had never been in so splendid a place before—it was one of those big houses just off Fifth Avenue—I had a suspicion from the first that the magnificence covered a secret disturbance. I was always quick to receive impressions, and when the black iron doors swung together behind me, I felt as if I were shut inside a prison.

(My Mentor Howard Pease continues) This story is not to be an intellectual puzzle but a more emotional story, no doubt with chills and thrills. Though this paragraph gives other information, the emphasis from the first to the last sentence is on a hook opening.

“The Autobiography of Malcolm X,” with the assistance of Alex Haley

Opening Paragraph:
When my mother was pregnant with me, she told me later, a party of hooded Ku Klux Klan riders galloped up to our home in Omaha, Nebraska, one night. Surrounding the house, brandishing their shotguns and rifles, they shouted for my father to come out. My mother went to the front door and opened it. Standing where they could see her pregnant condition, she told them that she was alone with her three small children, and that my father was away, preaching, in Milwaukee. The Klansmen shouted threats and warnings at her that we had better get out of town because “the good Christian white people” were not going to stand for my father’s “spreading trouble” among the “good” Negroes of Omaha with the “back to Africa” preachings of Marcus Garvey.
(My Mentor Howard Pease continues) If you study this opening paragraph you’ll find that the protagonist is the “I” person, Malcolm Little, born in 1925; later he took the name Malcolm X. The setting is the home of a black family in Omaha. The hook has the quality of shock, toned down by the mention of the teachings of Marcus Garvey.

“The Feminine Mystique,” by Betty Frieden

Opening Paragraph:

The problem lay buried, unspoken, for many years in the minds of American women. It was a strange stirring, a sense of dissatisfaction, a yearning that women suffered in the middle of the twentieth century in the United States. Each suburban wife struggled with it alone. As she made the beds, shopped for groceries, matched slipcover material, ate peanut butter sandwiches with her children, chauffeured Cub Scouts and Brownies, lay beside her husband at night—she was afraid to ask even of herself the silent question—“Is this all?”

(My Mentor Howard Pease continues) Notice how the author mentions an unspoken problem, then gets down to specifics. The protagonist is the young married woman who lives with her husband and children on an income evidently not too small. The setting is any suburb. The hook is the question she is afraid to ask even of herself. Surely thousands of feminine readers will not only be caught on the author’s hook, they will also identify themselves at once with the protagonist, whose fixed activities are their own.

The Course of Europe Since Waterloo, by Walter Phelps Hall, PhD, and William Stearns Davis, PhD.

Opening Paragraph:

On August 7, 1815, a stately British ship of the line glided out of the harbor of Torbay, and turned her prow southwestward, seeking the broad Atlantic. Upon her quarterdeck paced a little man, stout and heavy-shouldered, with a thick neck and head set low. He was clad in a much-worn green uniform of a French army officer, and the young naval lieutenants watched him curiously, yet with awe, as he walked the deck hour after hour, or stood at the porthole of his cabin, his face pale and set, his deep bloodshot eyes looking across the sea—“eyes that seemed to look at everything, and yet at something beyond.” The ship of the line was the Northumberland. Her passenger was Napoleon Bonaparte. He was bound for St. Helena, there to die a most unresigned prisoner on May 5, 1821.

(My mentor Howard Pease continues) Here is proof, I think you’ll agree, that a textbook need not be dull and need not be poorly written. The late William Stearns Davis, one of the authors, was a novelist as well as a historian, and he used fiction techniques when collaborating upon this textbook. Notice that he starts on a definite day and gives a picture of a ship in motion. Next he focuses upon the ship’s deck and shows us a little man in action. Suspense, beginning with the reaction of other officers to this man, mounts steadily until the hook is finally tossed out—the man’s name.

Take away the last part of the final sentence, which jumps ahead in time, and you have a professional first paragraph for a novel. Thus, were it fiction instead of a history text, your paragraph might end with the sentence: Her passenger was Napoleon Bonaparte, bound for St. Helena.

“A Jury of Her Peers,” by Susan Glaspell

Opening Paragraph:

When Martha Hale opened the storm door and got a cut of the north wind, she ran back for her big woolen scarf. As she hurriedly wound that round her head, her eye made a scandalized sweep of her kitchen. It was no ordinary thing that called her away—it was probably further from ordinary than anything that had ever happened in Dickson County. But what her eye took in was that her kitchen was in no shape for leaving: her bread all ready for mixing, half the flour sifted and half unsifted.

According to my Mentor, Howard Pease, this satisfies 3 requirements:

1. Name your protagonist, your main character.

2. Mention setting, so the reader will immediately know the story’s background: a farm, a city street, a boardinghouse, a hotel, a plane. The time element is often included as an important part of the setting—the time of year, the time of day.

3. Throw out a small hook to catch the reader’s interest.