As a writer of literary fiction, I am alleged to be unconcerned with such things as hooking my reader and making my novels into "page turners." Fie upon such allegations, I say. To paraphrase literary great Salman Rushdie, you can do whatever you want in the way of digressions and word play and formal innovation as long as you hang it all on a good story. And a good story, in my opinion, keeps the reader turning the pages to see what happens next.
Now, some of that "page turning" quality has to do with the premise and the characters. Heck, most of it. But some of it has to do with pacing and structure, which are purely mechanics. That is to say, there are some tricks you can play on your reader to keep them turning the pages, reading "just one more chapter" when they should be getting to bed.
In my current book (and in the MS I finished before my current project) I have been experimenting with different ways to add suspense to the structure of the storytelling. Suspense refers to the reader wanting to know what happens, or how the questions they are forced (by you, the author) to ask about the story will be answered.
I add suspense on two levels: the story level, and the chapter level. At the story level, I throw out the big Story Question ("Will X manage to do Y before Z happens?") and then as I tell the story, I throw out questions to the reader in the form of mysterious statements. "Pity about your dog," A says to B, but nobody explains what that means. Add more references to the dog as the chapters go by and, if you do it right, the reader starts to really want to know WTF is up with the dog. (Bear in mind that this is entering into a contract with the reader: if the payoff--the relationship of the dog to the story--isn't very interesting when you get to it or if it makes no sense or isn't really part of the Story Question, you have cheated your reader. Don't.) Basically you tantalize the reader with little mysteries as you go along, the answers to those mysteries revealing the nature of the Story Question.
At the chapter level, I have been experimenting with cliffhanger endings. These are pretty easy to do, at least the way I've been working it. Suppose you have a scene or a sequence of scenes leading to a Very Exciting Climax. Let's visualize the movement of the scene/chapter/whatevs toward the climax like this:
There is likely a temptation to make this into a single chapter, with the end of the chapter coming after the climax. You might be tempted do all your chapters like this, ending them at the conclusion of some exciting action or reveal. Let's use an asterisk to represent the chapter breaks:
*-------CLIMAX!-> * -------CLIMAX!-> * --- et cet.
This sets up a regular rhythm where the action always falls off at the end of a chapter, and gives the reader a place to put the book down and go to sleep. In one book I wrote, half the chapters ended with the protagonist going to bed at the end of the day. This structure did not exactly catapult the reader into the following chapter. Catapulting the reading along is, however, just what we want to do.
What I'm doing now is ending the chapters IMMEDIATELY BEFORE the exciting climax, so that the reader hits the chapter break and wants to know what happened and maybe will keep reading. So the structure looks like this:
* -CLIMAX!->--- * -CLIMAX!->--- * -CLIMAX!->--- * et cet.
Three things happen here. First, each chapter begins with something exciting. Which is good in and of itself. Next, you move on from the climax of one dramatic arc to building the next dramatic arc, giving the reader another little mystery and another question of "what happens next?" You hook them into the next scene/sequence and pull them forward into the story by raising the tension and then WHAM you end the chapter again without resolving any of the tension you've just built up.
This might be cruel to your reader and you might want to put in some slow chapters and vary the pacing so it's not exhausting and all being pitched forward through action. If you want. But you should never end a chapter at a point of rest in the story. Ask a question, or throw a grenade, or kidnap a princess, and then run like hell to the next chapter. If you do it right, your reader will stay hot on your heels, trying to catch up with you.