The Quintessential Plot Hooks

A Reference for Fiction & Narrative

A story hook is the plot device that draws characters into the story and gives them a reason to care. It answers: Why is this character here? Why do they bother? A strong hook ties the protagonist (and often the audience) to the plot. In ensemble stories, one character's hook can pull in the rest (friends, allies). Otherwise, you may need several hooks so each major character has a stake.

This list covers classic hook types used in RPGs, novels, film, TV, and other narrative forms. Each entry names the hook, explains it, and notes how it works across genres.

The Quintessential Plot Hooks: A Reference for Fiction & Narrative

A story hook is the plot device that draws characters into the story and gives them a reason to care. It answers: Why is this character here? Why do they bother? A strong hook ties the protagonist (and often the audience) to the plot. In ensemble stories, one character's hook can pull in the rest (friends, allies). Otherwise, you may need several hooks so each major character has a stake.

This list covers classic hook types used in RPGs, novels, film, TV, and other narrative forms. Each entry names the hook, explains it, and notes how it works across genres.

1. Dying Delivery

What it is: A dying person crosses paths with the hero, hands over an object, says a few words, and dies. The hero is left with the thing and the clue, and the story spins out from there.

How it works: The deliverer can be dying from a wound, poison, curse, or something stranger. The object can be a lost artifact, proof of identity (e.g. true heir), incriminating documents, a key, a map, or anything that "shouldn't" be in that person's hands. The dying words point the hero to the next step: a name, a place, a riddle, or an instruction. The hero is compelled to act, whether from curiosity, duty, or because others now want the object (or the hero) dead.

Used in: Thrillers, noir, fantasy, adventure. The Third Man, Ronin, National Treasure, The Da Vinci Code, many heist and conspiracy stories.

2. Grim Necessity

What it is: The hero has no real choice. If they don't get involved, they will suffer, die, or lose everything. Involvement is the only way out.

How it works: Reasons can include: (a) Curse or geas, a spell or obligation forces them to do something that leads into the plot. (b) Framed or hunted, they're accused of a crime or targeted by powerful forces, and clearing their name or surviving means following the story's clues. (c) Poison or deadline, they have limited time to find an antidote, a person, or a solution or they die (or someone they love does). The "ticking clock" and lack of exit make the hook very strong.

Used in: Thrillers, action, horror, fantasy. The Fugitive, Crank, 24, The Ring, Obligation or geas in myth and epic fantasy.

3. Hero Offended

What it is: Someone does something that personally wounds or enrages the hero (harm to a loved one, theft or destruction of something precious, or a betrayal), so the hero pursues that person (and the plot) out of anger, grief, or pride.

How it works: The offender is often a minion or ally of the main antagonist. Offenses include: (a) Injury or death of someone the hero cares about (often when the hero can't prevent it). (b) Theft or destruction of a treasured object (weapon, heirloom, proof of identity). (c) Being cheated, a con (fake deal, fake title, fake cure) that costs the hero money, status, or face. The hero's drive is emotional and personal.

Used in: Revenge stories, westerns, crime, action. Taken, John Wick, The Count of Monte Cristo, Gladiator, Unforgiven.

4. Legend and Rumor

What it is: The hero learns of something desirable or momentous (treasure, a place, a power, a secret) and goes after it. The hook is the promise of gain or discovery.

How it works: Variants: (a) Exact location of a legendary place (map, document, or clue that pins down a lost city, tomb, or realm). (b) Dangerous but rewarding site (a place everyone knows is deadly but that supposedly holds something valuable). (c) Unclear but powerful effect (a ritual, spell, or tech that might transport, awaken, or change the world). The hero has to try it to find out. The hook is curiosity and greed, balanced by risk.

Used in: Adventure, fantasy, sci‑fi, treasure-hunt stories. Indiana Jones, Treasure Island, The Mummy, Jurassic Park, Heart of Darkness.

5. Mistaken Identity

What it is: The hero is confused with someone else (often someone involved in the main plot) and is treated as that person. They receive information, threats, or tasks meant for another, and are pulled into the story while trying to clear up the mistake (or exploit it).

How it works: A villain or ally tells the "wrong" person something important and leaves. Assassins or rivals target the hero. The hero is given a package, a message, or a role. Comedy works when the hero and the "real" person are very similar (e.g. long-lost twin). Drama works when the mistake leads to danger or moral dilemmas. The hook is confusion plus stakes.

Used in: Comedy, thriller, spy stories. North by Northwest, The Prisoner of Zenda, Dave, The Prince and the Pauper, Face/Off.

6. Mystery Woman / Mystery Man

What it is: An intriguing figure keeps turning up in the hero's life in ways that don't quite add up. As the hero tries to understand who they are and what they want, they keep running into the main plot.

How it works: The mystery figure can be: (a) Adventurer or rival, in it for themselves, possibly to take the prize or double-cross the hero. (b) Agent, working for authorities or a faction, hiding their role until a reveal (e.g. warrant, badge). (c) Spirit or ghost, non-corporeal, appearing only in certain places, guiding or warning. (d) Innocent in danger, targeted by the villain but always slipping away before they can explain fully. (e) Lover or child of the villain, torn between loyalty and the hero, helping in secret. The hook is fascination and the need to "solve" the person.

Used in: Noir, romance, thriller, supernatural. Laura, Vertigo, The Maltese Falcon, Casablanca, Ghost.

7. Old Enemy

What it is: The hero learns that a past enemy is active again and up to something big. The hero's history with them is enough reason to investigate and get involved.

How it works: The enemy's return can be announced (taunt, rumor, attack) or discovered (evidence, witness). The hero's motive is unfinished business: stop them, beat them, or understand what they're doing. The hook needs little setup if the audience already knows the rivalry, or one scene can establish it. Subplots can involve the enemy's new plan, new allies, or personal change.

Used in: Sequels, superhero stories, action, crime. The Dark Knight, Star Trek II, Die Hard sequels, Sherlock Holmes vs Moriarty.

8. Old Friend

What it is: Someone from the hero's past (childhood friend, former partner, family friend) reappears and pulls the hero into the story by asking for help, by dying, or by being in trouble.

How it works: (a) Asks for help, the friend or their family is threatened, in debt, or mixed up in the antagonist's scheme. The hero agrees out of loyalty. (b) Dies, on the hero's doorstep, in the hero's arms, or in a way that leaves clues the hero feels bound to follow. A twist: the friend may have become a villain and been killed by someone else, complicating the hero's mission. The hook is obligation and emotional debt.

Used in: Crime, drama, thriller, western. Chinatown, L.A. Confidential, The Big Sleep, True Grit, The Godfather.

9. Pressing Buttons

What it is: The writer uses the character's stated goals and values. Something the hero wants is blocked, or something they hate is done, and the villains (or the situation) are responsible. The hero is pulled in because the plot "pushes their buttons."

How it works: Goals: A villain steals the hero's research, ruins their reputation, wins the promotion, or woos the person the hero cares about, so the hero has to go through the villain to get back on track. Values: The hero witnesses or learns of something they cannot accept (harm to the vulnerable, corruption, betrayal of trust), and the villains are behind it. The hero's need to set it right or punish the wrongdoers drives them into the story. This hook works best when the character's desires and limits are clear early.

Used in: All genres. Jaws (Brody's duty to protect), Silence of the Lambs (Clarice's drive to save victims), Mad Max, Kill Bill, many heist and revenge stories.

10. The Quest / Mission Assigned

What it is: An authority, client, or mentor gives the hero a task. The hook is the job itself, the hero is "on the clock" or under orders.

How it works: The assigner can be a king, general, employer, parent, or god. The mission might be fetch, escort, find, kill, or protect. Stakes can be reward, duty, oath, or punishment for refusal. The hook is simple and flexible. Complexity comes from what the hero discovers while doing the job (the mission is not what it seems, or it conflicts with their morals).

Used in: Epic fantasy, military fiction, heist, spy. The Lord of the Rings, The A-Team, Mission: Impossible, The Dirty Dozen, The Magnificent Seven.

11. Wrong Place, Wrong Time (Witness / Accident)

What it is: The hero is present when something important happens (a murder, a theft, an explosion) or accidentally sees or overhears something they shouldn't. They become a witness, a target, or a loose end, and must act to survive or to do the right thing.

How it works: They don't choose the adventure. The adventure lands on them. They may be chased, framed, or recruited because of what they know. The hook is chance and consequence: one moment ties them to the plot.

Used in: Thrillers, noir, conspiracy. North by Northwest, Enemy of the State, The Bourne Identity, No Country for Old Men, Fargo.

12. Debt or Favor

What it is: The hero owes someone (a favor, a life debt, money, or honor). That person (or their heir/agent) calls in the debt by asking the hero to do something that leads into the main story.

How it works: The hero may not like the task but feels they cannot refuse. The creditor can be ally, antagonist, or morally gray. The hook is obligation. Tension comes from the cost of paying the debt and whether the hero will keep their word.

Used in: Crime, martial-arts stories, fantasy. The Godfather ("someday I'll call in a favor"), Yojimbo, Kill Bill, John Wick (owed to the wrong people).

13. Inheritance or Legacy

What it is: The hero inherits something (property, title, object, secret, or enemy) from a dead relative or associate. Dealing with the inheritance forces them into the plot.

How it works: The inheritance can be a house with a secret, a company with hidden crimes, a weapon everyone wants, or a curse. The hook is the past claiming the hero. They must understand or resolve the legacy to move on (or to survive).

Used in: Gothic, mystery, family saga. Rebecca, Jane Eyre, The Haunting of Hill House, Knives Out, Succession.

14. Prophecy or Destiny

What it is: A prophecy, oracle, or "chosen one" idea marks the hero as the person who must face the threat or fulfill the quest. They are pulled in by fate, belief, or the expectations of others.

How it works: The hero may embrace it, resist it, or doubt it. The hook can be literal (prophecy says they will do X) or social (a community or mentor insists they are the one). Tension comes from whether the prophecy is true, misinterpreted, or self-fulfilling.

Used in: Epic fantasy, myth, sci‑fi. Harry Potter, The Matrix, Dune, Star Wars, The Omen, Greek tragedy.

15. Professional Duty

What it is: The hero's job requires them to investigate, protect, or confront the situation. They are "just doing their job," but the case becomes personal or far bigger than they expected.

How it works: Cops, journalists, soldiers, doctors, lawyers, bodyguards, or spies are sent into the situation by role. The hook is duty and routine. The story deepens when the case becomes dangerous, morally complex, or personal.

Used in: Procedurals, thrillers, war stories. All the President's Men, Spotlight, Zodiac, Sicario, The Wire, MASH.

16. Recruitment (Drafted into a Cause)

What it is: An organization or leader recruits the hero (by choice, manipulation, or force) into a mission or cause. The hero is pulled in by the group's goals, methods, or the fact that they're already "in" once they know the secret.

How it works: The recruiter may appeal to ideals, offer a deal, or threaten exposure or harm if the hero refuses. The hook is belonging and commitment (or entrapment). Loyalty and doubt about the cause can drive the story.

Used in: Spy fiction, revolution stories, conspiracy. Mission: Impossible, The Recruit, V for Vendetta, The Parallax View, Captain America: The Winter Soldier.

17. Family Obligation (or Family Secret)

What it is: A family member is in danger, missing, or mixed up in the plot, or a family secret (crime, identity, curse) resurfaces and forces the hero to act.

How it works: The hero intervenes to protect a sibling, parent, or child, or to clear or avenge the family name. Alternatively, they learn that their family is tied to the villain, the treasure, or the curse, and must deal with that legacy. The hook is blood and identity.

Used in: Family sagas, crime, horror, soap opera. The Godfather, Succession, Sharp Objects, Hereditary, Ozark.

18. Redemption or Unfinished Wrong

What it is: The hero is drawn in by a past mistake, sin, or failure they have never made right. The current plot gives them a chance or forces them, to face it.

How it works: Someone from the past returns, or a situation echoes the old failure. The hero's motive is to do better this time: save the person they couldn't save, fix the wrong they did, or face the truth they hid. The hook is guilt and the need to redeem oneself.

Used in: Westerns, noir, drama. Unforgiven, The Searchers, A History of Violence, Manchester by the Sea, The Shawshank Redemption.

19. Curiosity or Obsession

What it is: The hero is driven by the need to know, to solve a puzzle, understand a person, or uncover a secret. The hook is intellectual or emotional obsession. They can't leave the mystery alone.

How it works: They might be a detective, scholar, journalist, or simply someone who can't let go. Each answer leads to a deeper question or greater danger. The hook is strongest when the obsession is specific and costly.

Used in: Mystery, thriller, horror. The Conversation, Zodiac, True Detective, Memento, The Name of the Rose.

20. Coincidence or Serendipity

What it is: The hero stumbles into the story by luck (a wrong turn, a missed train, a chance meeting). Once in, they choose to stay (or can't get out).

How it works: The initial contact is random. What keeps them in the story is character (curiosity, kindness, stubbornness, or being marked by the antagonist). The hook is "it could have been anyone, but it was them."

Used in: Romance, comedy, adventure. Romancing the Stone, Before Sunrise, Slumdog Millionaire, Amélie, many meet-cute or "stranger in a strange land" stories.

Summary Table

Hook	Core mechanism
Dying Delivery	Dying stranger + object + clue = hero has the MacGuffin and a direction.
Grim Necessity	No exit: curse, frame, poison, or deadline forces involvement.
Hero Offended	Villain hurts someone/something the hero loves. Hero pursues.
Legend and Rumor	Promise of treasure, power, or discovery. Hero goes after it.
Mistaken Identity	Hero is treated as someone else. Gets their info, enemies, or role.
Mystery Woman/Man	Enigmatic figure keeps appearing. Hero's interest pulls them into the plot.
Old Enemy	Past foe returns. Hero is pulled in by history.
Old Friend	Friend asks for help or dies. Obligation pulls the hero in.
Pressing Buttons	Plot blocks the hero's goal or violates their values. They react.
Quest/Mission Assigned	Authority or client gives a task. The job is the hook.
Wrong Place, Wrong Time	Hero witnesses or stumbles into the event. Becomes target or witness.
Debt or Favor	Someone calls in a debt. Hero must do the task.
Inheritance/Legacy	Hero inherits something that ties them to the past and the plot.
Prophecy/Destiny	Fate or "chosen one" marks the hero for the conflict.
Professional Duty	Their job puts them in the situation.
Recruitment	Organization or cause recruits (or drafts) the hero.
Family Obligation	Family in danger or family secret demands action.
Redemption	Past wrong or failure resurfaces. Hero seeks to fix it.
Curiosity/Obsession	Need to know or solve something drives the hero.
Coincidence	Chance encounter or accident. Hero stays by choice or necessity.