Anticipation
The suspense is terrible. I hope it will last.
âOscar Wilde
Tension is the engine that propels your story. Tension is what keeps readers turning the page to find out what happens next. Tension is stressful, even painful. When readers turns the page, they seek release from that pain. How, then, does an author create tension?
Anticipation and Conflict
There is no terror in the bang, only in the anticipation of it.
âAlfred Hitchock
A pre-requisite for tension surely involves anticipation. The reader needs to see different ways the story might evolve. The reader needs to be able to imagine these alternatives before they appear on the page, and to anticipate the consequences.
Tension almost always involves some form of conflict. Conflict can arise in many ways. It can be internal to the characters, it can be between characters, it can be with the physical or social world, it can be spiritual, or it might be with the supernatural. These are just a few of the ways conflict arises. Conflict puts parts of your fictional world in opposition. Conflict encourages readers to imagine how the conflict resolves, so conflict and anticipation are intimately connected.
Notice that your protagonist might want two conflicting and mutually exclusive thingsâthe conflict might be internal. Oscar Wilde said that the only thing worse than not getting what you want is getting what you want. Emotional conflict is among the most disturbing and compelling.
But anticipation is just the first step. The outcome has to matter . In particular, it has to matter to your characters. These are the stakes. Conflict almost always involves your protagonist surmounting obstacles to resolve the conflict. The stakes must be significantâtrivial stakes wonât energize your readers. Typically, your protagonist faces disaster if the conflict doesnât resolve successfully. You can increase tension by increasing the stakes or increasing the obstacles. Rising tension is one of the features of compelling fiction.
The conflict has to matter to your characters, but it also has to matter to your readers. If your characters are passive or donât care about the outcome, why should the readers care? Your readers need to care enough about your characters to cheer for them, or at least understand them. Your characters donât have to be perfectâwho is?âbut should be humanized enough for readers to care about what happens to them. Your characters might have a strong moral sense. Maybe they do a gratuitous good deed despite having other faults. Maybe they are helpless victims and we want them to stand up against their abusers. Thomas Harris managed to give even Hannibal Lector a back story  that is both tragic and horrifying.
Scene and Sequel
Tension propels the story, but unending, relentless tension is exhausting. Stories need lulls in tension. The main conflict can still be there, lurking in the background, but characters need time to interact with each other, to fall in and out of love, to laugh and cry, and to form and break bonds.
The basic elements of tension involve goals, conflict, and outcomes. A novel involves, in part, repeated packets of rising tension. But the characters also need time to react to the outcomes of these packets. The places where the characters react are slower and occur after the most recent bit of tension has resolved. In these interludes, the characters react to whatâs just happened, they puzzle over what to do next, and concoct a plan. This sets the stage for the next packet of tension in the novel. This is the basis of the scene/sequel notion of writing, with the âsceneâ being the packets of tension and the âsequelâ being the packets where the characters react. Alternating these two provides a natural pacing and rhythm to your novel. The interludes between crises can make each new conflict more compelling and urgent.
Itâs not uncommon to end a chapter with a cliffhanger, a disaster. Thatâs the packet of tension resolving, albeit in a way unfavorable to the protagonist. This sets the stage for the characters to react at the start of the next chapter. The characters form a plan and act on it. That plan confronts reality and the chapter again ends, usually with disaster, which starts the cycle over again. The hook at the end of a chapter usually involves a disaster, but might also be something else: dilemma or decision can be equally compelling, for example. But the end should set the stage for the cycle to start anew.
Point of View and Suspense
Mystery is when the spectator knows less than the charactersâŚSuspense is when the spectator knows more than the charactersâŚ
âAlfred Hitchock
Point of view can also contribute to tension. Thatâs properly a topic for an essay all to itself, but consider this example. In one chapter, a detective might discover that a terrorist has planted a bomb in a restaurant that will go off at noon. Itâs 11:59, and the detective frantically calls the restaurant as the chapter ends. In the next chapter, we might be in the point-of-view of someone eating in the restaurant. We know what the detective knows, but the person munching on her Salade Niçoise does not. The clock is ticking. Our special knowledge adds to the tension since the readers can anticipate the bomb going off. The character dining on her salad will be surprised by the bomb, but the readers will not. The âsequelâ interlude is so short itâs almost missingâitâs the detective making the phone callâbut itâs there.
The point of this little example is that you can employ multiple points of view to give readers special knowledge and thus better anticipate events. You donât have to use omniscient narrators or otherwise violate good craft to achieve this end.
Conclusion
I donât care if a reader hates one of my stories, just so long as he finishes the book.
âRoald Dahl
Get it down. Take chances. It may be bad, but itâs the only way you can do anything really good.
âWilliam Faulkner
To find your own voice, you may have to forget about it being heard.
âAlan Ginsberg
The main idea of this little essay is that you can use tools like anticipation, conflict, tension, and release to keep the reader engaged, turning the pages of your story to the end. Itâs natural for writers to yearn for readers. But if you donât first write for yourself, why would anyone listen to you? These tricks of the trade can be useful, but first find your own voice. Write what brings tears to your eyes or warmth to your heart or anger to your soul. Take chances. Find your voice. Most of all, write! |
For Authors: October 21, 2020 Issue [#10422]
View Portfolio
Visit Notebook
Send Gift Points
Awards
Badges
Send Email
Community Newsfeed
General Discussion
Sponsored Items
Book of Trinkets
Static Items
Books
Groups
Interactive Stories
Audio
Campfire Creatives
Community Notes
Crossword Puzzles
Documents
Folders
Images
In & Outs
Madlibs
Photo Albums
Polls
Product Reviews
Quizzes
Survey Forms
Web Pages
Word Searches
