Categories
Mystery/Thriller/Suspense

Dramatic Tension

What is dramatic tension? Merriam-Webster states dramatic is “sudden and extreme, greatly affecting people’s emotions” and defines Tension as an “inner striving, unrest, or imbalance, often with a physiological indication of emotion or a state of latent hostility or opposition between individuals or groups.”

Put them together and you have “a sudden or extreme unrest which increases emotions, hostility, or opposition between individuals.” Talk about a page-turner. Setting characters up with this type of tension will keep readers engaged.

We could also describe it as a sudden conflict or unexpected change that blocks the character from his mental or physical goals, causing fear, stress, tension, or anger toward others or within oneself.

Dramatic action comes by blocking the goal or task at hand, disagreements or distrust between characters, a shocking, unexpected revelation, or by ramping up the element of surprise.

A myriad of scenarios can cause tension, as in these examples.

1. The hero or heroine mysteriously disappears and causes a sudden fear of the unknown.

2. An unexpected intrusion of a villain creeping through the house or an attack increases tension.

3. Rain turns to ice, making roads impassable amid a hostage situation or a high-speed chase increases frustration and blocks the character’s goal.

4. The hero assumes he’s in control of a situation, but learns he isn’t. His anger skyrockets.

5. Someone’s chasing your heroine, and she finds herself at the edge of a cliff. Does she jump and risk death or find another way of escape?

6. Answering the phone in the middle of the night. The caller breathes heavily, saying nothing or states in an eerie voice that he’s watching you.

7. A sharp knife pressing against your hero’s throat could cost him his life. How will he escape unscathed?

Give the reader a sense of trouble. Build the tension by upping the stakes and putting your characters in unexpected circumstances. The best scenes come about when every decision your character makes is bad. Whatever he does will cost him something.

Dialogue is a good way to show the emotional element and expose the internal conflict. What’s going on inside your character’s head during this intense situation? Some inner thoughts spill out in a heated discussion. Ramping up the drama and maintaining unresolved tension keeps readers intrigued.

Using the five senses is another great way to intensify dramatic tension. The smell of rubber burning, a sour taste of clabbered milk, the sound of a growl close by or a shot fired, seeing a shadow slip passed the window when you’re home alone, or touching the gooey slime on the cold doorknob.

Anytime one or more of these senses enters the picture, readers relate to what your character experiences. They keep turning the page until the risks subside and their desire for an acceptable end is in sight.

Loretta Eidson writes romantic suspense. She has won and been a finalist in several writing contests, including first place in romantic suspense in the Foundations Awards at the 2018 Blue Ridge Mountain Christian Writers Conference, a finalist in ACFW’s 2018 Genesis, was a finalist in the 2018 Fabulous Five, and a double finalist in the 2017 Daphne du Maurier Award for Excellence.

              Loretta lives in North Mississippi with her husband Kenneth, a retired Memphis Police Captain. She loves salted caramel lava cake, dark chocolate, and caramel Frappuccinos.

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Categories
Romancing Your Story

Romantic Tension

In the romance genre, it’s a given that your hero and heroine will end up together for a happily ever after. Or at least a happily for now. The challenge for the writer is coming up with the obstacles (AKA conflict) to keep them apart.

The most satisfying stories are those with organic differences that seem insurmountable, but the couple, because of their love for each other, are determined to find a way. Deanne Gist is a master at this. In Tiffany Girl, it’s 1892 and Flossie Jayne is a New Woman. She’s moved from her parents’ home to a boardinghouse, to take a position at Mr. Tiffany’s glass studio. Most young gentlewomen don’t leave home until they marry. And they certainly don’t work at jobs. Reeve Wilder is a resident at the boardinghouse who disapproves of the New Women and believes all women should stay out of men’s business and their domains. He even writes a newspaper column about the proper place for women in the home and in society. I had to keep reading to see how they would reconcile such differing beliefs and come together.

Susan May Warren is another author gifted at creating characters with deep wounds and flaws that seem diametrically opposed, but ultimately can only find healing in each other. I just finished her The Way of the Brave. Orion Starr was a pararescue jumper who was injured in Afghanistan in a mission gone wrong. He’s angry and wants answers. Jenny Calhoun was the CIA profiler who gave the okay for the mission that cost Orion his knee and his teammates’ lives. How can they end up together? But Susie makes it so that not only can they get past these issues, they must, to heal each other and to move on.

In The Wedding Dress by Rachel Hauck, there are two story lines, one contemporary and one historical, (that also intersect with two other timelines). In the historical timeline, Emily is engaged to a suitable young man, Phillip, whom her parents approve of. Daniel, the man she thought she loved once, has returned to town, eager to renew their relationship and upset to learn she’s moved on. Phillip is perfect for Emily and wedding plans proceed. The only problem is Emily and her mother disagree about her dress. And the little things Emily notice that lead her to believe her fiancé may be hiding something from her. If she breaks her engagement, her father will lose his standing in his business and in the community. Her mother will be devastated. Daniel knows Phillip is not what he seems, but if he tells Emily she will be broken-hearted and blame Daniel. Now that’s conflict.

Conflicts and obstacles are not something that can be solved if your characters would just sit down and have a conversation. They’re something deeper and organic. They demand really knowing your characters. They’re hard work. But they make for a richer, more satisfying read that will linger with your reader long after they close the book.

Carrie Padgett lives in Central California, close to Yosemite, but far from Hollywood, the beach, and the Golden Gate Bridge. She believes in faith, families, fun, and happily ever after. She writes contemporary fiction with romance. Carrie and her Stud Muffin live in Central California with their cat and dog and within driving distance of their six grandchildren.

You can find her online at:

Twitter: CarriePadgett

Instagram: carpadwriter

Facebook: WriterCarriePadgett

Amazon Author Page: Carrie Padgett

Categories
Mystery/Thriller/Suspense

Elements of Suspense: Add Tension by Stretching the Moment

Tension is the unresolved conflict in a story that keeps a reader turning pages. All scenes need tension, from edge-of-your-seat action sequences to gentle romantic encounters. How can a writer increase tension in her scenes, especially in those without life-or-death consequences? By stretching key moments.

Slow-motion

Consider what happens when a movie suddenly switches to slow-motion. A few heartbeats of action may be stretched into agonizing minutes, forcing the audience to wait, tense with anticipation, while things slowly crawl toward a resolution. Will he catch the ball? Will she walk out the door? Will they defuse the bomb in time?

A writer can use the same concept to slow the pace by stretching the moment. How? By padding strategic moments in scenes with a few additional details that force the reader to wait just a little longer to find out what happens. How long can you stretch things? It depends on the scene. Typically the more tension already present, the more the reader is hooked, and the longer a writer can stretch out the scene.

Where to consider stretching the moment

Scenes of exterior tension

When dealing with action scenes, look for places where the scene moves rapidly from stimulus to payoff.  For example, “Sarah heard a key in the lock” is a stimulus. Something new is happening. It could be good or bad, longed-for or dreaded. Whatever the situation, the stimulus of hearing of the key will lead to a payoff of some kind. Someone is about to enter the scene and do or say something that will be the payoff.

If whatever is about to happen next is postponed by a few lines it will serve to increase the tension. Compare the two examples below:

Sarah heard the key in the lock. Liam threw open the door. “Thought you could hide from me, did you?”

Sarah heard the key in the lock. Could it be Pat? Did Pat still have the spare key? But wouldn’t he be at work now? She held her breath as the lock clicked. The door jerked open and Liam strode into the room. He looked down at her with a smug smile. “Thought you could hide from me, did you?”

Scenes of interior tension

Emotional tension can be stretched as well. Look for places where a discovery or realization (stimulus) leads to a strong emotional response and stretch the moment by inserting details or inner dialogue. For example, compare the shorter and longer versions below:

Aaron saw the note on the kitchen table. “I’ve gone for a walk.” A lump of fear settled in his stomach as he grabbed his jacket and raced outside.

Aaron saw the note on the kitchen table. Large letters written with red crayon in his little brother’s distinctive shaky scrawl. “I’ve gone for a walk.” Please no. Not today. The ground was a slippery mess with all the rain and the stream would be racing. If Jonny slipped… A lump of fear settled in his stomach as he grabbed his jacket and raced outside.

Your Turn

Choose a scene and look for moments where the stimulus is followed by an immediate payoff or response. Stretch the tension by inserting two or three sentences between them.

[bctt tweet=”By adding little snippets at strategic spots, you can increase the tension in any scene.  #writetips #writers” username=””]

Lisa E. Betz believes that everyone has a story to tell the world. She loves to encourage fellow writers to be intentional about their craft and courageous in sharing their words with others. Lisa shares her words through dramas, Bible studies, historical mysteries, and her blog about intentional living. You can find her on Facebook  LisaEBetzWriter and Twitter @LisaEBetz

Categories
Mystery/Thriller/Suspense

Elements of Suspense: The Cliffhanger

Once upon a time writers actually left their characters hanging from cliffs. In the early days of movies, when theaters ran serialized episodes of a story, a cliffhanger ending was a good way to ensure viewers would make the effort to come back next week. The same was true for serialized novels run in newspapers and magazines. Writers intentionally left characters hanging (not necessarily from a cliff) to entice readers to purchase the next installment.

Today’s readers and moviegoers may roll their eyes at Pauline hanging by her fingertips from a cliff, but the cliffhanger technique is still very much in use. If we change the definition of cliffhanger from:

a situation of imminent disaster usually occurring at the end of an episode of a serialized film

to the broader concept of:

a moment of unresolved danger or conflict

then a cliffhanger can happen anywhere a writer needs to crank up the tension. The key here is unresolved. Something is left hanging.

Consider the commercial breaks in a typical detective show. When do the breaks happen? Just after some new evidence is discovered that threatens to take the investigation in a whole new direction. Viewers are left hanging during the commercial, wondering what the hero will do with the new information.

In a similar vein, writers use the cliffhanger technique at the end of a chapter, scene, or beat to keep readers turning pages.

How to use the unresolved tension of a cliffhanger to increase suspense in your manuscript

  1. End a scene in the middle of danger. The tried and true cliffhanger ending—a bad thing has happened and the character is left some kind of danger at the end of a scene. You might switch to a different set of characters in the next scene and leave the poor hero hanging for a scene or two, or you might continue the action in the next scene. Either way, the reader must keep reading to find out how the situation is resolved.
  2. End a scene by hinting that a bad thing is about to happen. The doorknob turns… A shadowy figure appears in the window… The heroine hears the voice she’s been dreading for pages… This is similar to number one, except the danger is only implied, leaving the reader to imagine all sorts of horrible things that are about to ensue.
  3. End a scene by hinting that a bad thing might be about to happen. A subtler variation of number two. Instead of the heroine hearing a voice she recognizes and dreads, what if she hears a voice she doesn’t recognize? Is it a friend or a foe? The reader doesn’t know until they read on.
  4. End a scene on an ambiguous note. Instead of making it clear exactly what happened and how that affects the main character, try leaving things a little less clear. Sometimes a writer can accomplish this simply by backing up a few sentences. Instead of ending the scene with the sleuth deciding she needs to question the shop clerk, back up a few sentences and end with the information that could be interpreted to mean the clerk was guilty.

The cliffhanger technique isn’t just for the end of chapters or episodes, however. You can use subtle touches of cliffhanger anywhere in your story.

  1. End a conversation with a tantalizing bit of information. Imagine the sleuth is talking with an informant who tells him about a new clue that’s come to light. But instead of giving all the details right away, the informant says, “I found something in the wall of the garage. You’d better come take a look.” The sleuth will naturally ask for details, but the if informant refuses to give them, both sleuth and reader will be dying to find out what’s been unearthed. Ratchet up the tension further by forcing the sleuth to finish his current task before he can go take a look.
  2. Leave a character in a high emotional state. Tension is not only created by external danger. Sometimes the conflict is within a character.  Examples: The hero gets word his wife has cancer while in the middle of a meeting, or the heroine has an argument with her fiancé but has to break it off to interview a key suspect. These bits of unresolved life issues can add tension even when they have nothing to do with the main plot.

Bottom line: Look for places in your story where you can leave a situation unresolved, however briefly. Closure is important at the end of story, but unresolved tension is what keeps the reader turning page after page to get there.

Lisa E. Betz believes that everyone has a story to tell the world. She loves to encourage fellow writers to be intentional about their craft and courageous in sharing their words with others. Lisa shares her words through dramas, Bible studies, historical mysteries, and her blog about intentional living. You can find her on Facebook  LisaEBetzWriter and Twitter @LisaEBetz