I guess that's the problem with over-emphasis - hooks in the narrative are sooo useful for plot development, but only if they're written subtly enough for the reader not to wait for further development of all of them. In Summer Term
I always wonder what was supposed to happen with Emilia Casabon: it's said that the prefects had had no reason to notice her, but were to make up for it on the ramble. What was that, then? It sounds fairly dramatic.
I get the impression that EMBD's way of writing was very intuitive, the sort of thing that she has Jo say in Joey Goes to the Oberland
'...Oh, I suppose a day will come when I just can't help myself. I'll have to sit down at my typewriter and be a loud-speaker again.'
'That's what you always say,' Robin returned thoughtfully. 'Do you really and truly feel that way about it, Jo?'
Jo nodded. 'Exactly that. The people in my stories are alive and kicking and longing to make friends in this world. They tell their own story. I'm just the - the instrument used for broadcasting it.'
This is why I take my hat off to anyone who writes fiction: not only relating the narrative but getting all the techniques like hooks and plotting straight, avoiding anachronisms and having no inconsistencies in your characters is no mean feat.