Creating
Tension In A Scene
Tension
is what keeps the reader turning pages. Caring about what happens to your
character is the most important hook a writer creates. There must be something
happening and something at stake in every scene. Because of the importance of pacing,
tension isn’t appropriate for every scene. We need peaks and valleys. Our
audience must be able to recognize the calm spots in order to recognize high
intensity.
It’s
important to build traits into the characters that will lead to trouble in
important scenes. Impetuousness, independence, pride and naiveté are all
qualities that can get your character into jams. Make the character’s conflict an
inherent part of him. Starting with solid conflict assures tense scenes will
occur throughout the story.
Set
up the tension. Keep saying “No” to your character. Whatever it is he wants,
hold it back. Don’t try to fix things--that comes later. Much of the time I
don’t even worry how I will fix a problem. If I don’t know, I can usually
figure I’ve kept the reader guessing. The best conflict is that which appears
unsolvable, so heap situations on your story people so they can prove their
mettle. Don’t make their situation easier, always make it more difficult.
Look
at your character’s goals and ask yourself, “What’s the worst thing that could
happen?” Then take the worst thing a step further. For emotional intensity, conflict
should be directly related to the character’s internal goals and to their
backstory. Don’t rely on “incidents” to carry scenes or conflict. Heaping one
calamity after another can end up leaving the reader breathless and without
direction. By an incident, I mean something that could happen to anyone and
doesn’t really have emotional importance to this particular character.
Here’s
a simplistic example: A torrential thunderstorm with hail that destroys
property or crops would be devastating for anyone. But if your character’s goal
is to become a success by growing the largest tomato for the state fair, and
her parents died when a storm washed out a bridge when she was young, you’ve
got the basis for a tense scene.
Jayne
Ann Krentz once suggested that in pivotal scenes you should think “larger-than-life,
emotion and contrast.” A plot is basically a series of pivotal scenes that will
cause your two main characters to confront each other frequently on an intense
emotional level. Arrange these scenes in your story so that they escalate in
terms in intensity.
Leaving
details about the character in question is an effective way to intrigue your
reader. Don’t fill in all the answers, but give them enough so that they’re not
frustrated. With most techniques, what to use and what to omit is a balance,
one that depends on your story and your characters.
You
can’t leave out something and then just throw it in at the end because it needs
to be told or because it’s the end of the book. You must make the reader want
to know the information by planting a seed, alluding to this mystery and using
it as a teaser. Like this line: “She hated funerals.” Someone dies, but your
heroine won’t go to the services. The reader is left knowing there is a reason
and wanting to know the reason. The lure of the unknown draws the reader
further and further into the story. Revealing too much takes away the seductive
lure of discovery.
The
reader must know something is missing. We don’t want to make him feel as though
he’s had something pulled over on him once the story ends. We don’t want him
surprised that something is revealed, we want him surprised at what that
revelation is.
Another
approach is the Hitchcock technique: Let the reader know something that none of
the story people know. This is successful because it keeps the reader guessing
when the character will find out and how they will react.
In
a romance, love scenes are action scenes, and if you’ve kept sexual tension
high throughout the first chapters, the reader is eagerly awaiting this scene. If
the love scene happens at the end of the book, it’s a resolution--by now the
hero and heroine have realized they love each other and are culminating their
physical relationship. All external conflicts should have been tied up by this
time.
If
a love scene takes place before internal conflict is settled, as a plot point
or as an added dilemma, then you must follow the scene with a new problem or
hook or story question that keeps the story moving. If tension is allowed to be
dropped, your story will stop moving forward.
The
classic example, of course, is where the hero/heroine declare their love,
everything seems blissful, and then one of them discovers some truth about the
other that pushes them apart again. This is used so much in books and movies
because it works so well, but it’s always fun to think up something new, so
give freshness another thought when you’re plotting.
Change is what keeps the reader
turning pages: New challenges, new information, new twists and added
complications.
Backstory
in a scene of tension slows the pace. Save it for sequels and then use only
sparingly. If you need to reveal information, you can do it through a quick
flash of internalization or a secondary character’s dialogue.
Hint
at things to make the reader want to know.
Keep
the reader wanting to know more.
In
a faster-paced scene avoid speech tags and use action instead. “I can’t take
this any more!” James slammed his fist on the table.
Use
shorter sentences, shorter paragraphs and clipped dialogue. This is not the
time for descriptions or internalization or lengthy speeches. Use shorter,
simpler words that don’t distract the reader from the action.
Don’t
be wordy. Don’t echo dialogue with exposition. As you should always do, use
specific adjectives, vivid nouns and strong verbs.
Use a hook at the end of a paragraph.
Use a hook when you switch point of
view.
Use a hook at the end of each scene.
And of course, use a hook at the end
of each chapter.
How is this done? Say something or allude to
something that makes the reader ask herself “Why?” Make her want to see a
character reaction. Make her want to find out what happens next.
Keep
the reader in suspense and expecting by not giving answers. Present questions
and give just enough information to keep the story moving forward. If you do
answer a question, then it should be information that only opens up a bigger
question.
As
a rule, don’t end a scene with hope or acceptance or resolve--those are for internal
narrative or decisions. Do end the scene with a story question, worry, pain,
anger, frustration or a negative reaction. Our goal is to keep the reader turning
pages because he has a question, is engaged and wants to see what happens next.
Tension is the state of excitement, nervousness or concern over the outcome
that doesn’t allow the reader to relax until he gets to the end.
Wrap
it all up at the end. Don’t leave any loose threads and show your reader a
satisfying conclusion. We don’t like tension in real life. We want to experience
all the chaos and drama through our characters’ viewpoints and know that in the
end everything will turn out all right.
Writing With Emotion, Tension,
and Conflict: Techniques for Crafting an Expressive and Compelling Novel
Today's highly competitive fiction market
requires writers to imbue their novels with that special something - an element
that captures readers' hearts and minds. In Writing With Emotion, Tension
& Conflict, writers will learn vital techniques for writing emotion
into their characters, plots and dialogue in order to instill that special
something into every page.
"...essential knowledge and
practical exercises which combined, create a tool-kit that no aspiring author
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in these pages."
- Kelly L. Stone, author of THINKING WRITE:
The Secret to Freeing Your Creative Mind
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"I've been a fan of Cheryl St.John's
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LA Mystery
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