On the series, Quantum Leap , Sam Beckett landed in an unknown body, time, and place, putting him in a crisis situation. This occurred at the end of the weekly program, making us tune in the following week to see what happens. The next week the same hook opened the program, immediately snagging viewer interest. However, the immediate situation Sam found himself in usually had nothing to do with the central conflict of the story. This is a perfect example of a hook as a device to hold the viewer until he is into the story.
Mystery is another excellent device for keeping people involved in the story.
These mysteries slowly unraveled through the entire story. It isn't difficult to put mystery in a story, and even if the basic story isn't a mystery, it can be worked in as a subplot, as in Fried Green Tomatoes . Do-gooders, who have to rectify every wrong they see, usually aren't likable characters. On the other hand, the lazy duff who requires dynamite to move him is not that likable either, except in a comic sort of way. The answer lies in how your character responds to crisis and whether he is reactive or proactive.