We've heard it several times, but we often forget. In order
to write a great novel, there must be tension on every page.
How do we do that?
First of all, by tension, we don't mean every scene has to be
filled with terror, suspense, or high sexual tension. There will be those, of
course, but what about the pages in between?
Donald Maas says, “There must be tension on every
page. Everyone knows it's necessary, but no one wants to do it. It is a heck of
a lot of work. Tension on every page is
the secret of great story telling. Everyone knows that. Practically no
one does it.”
The secret to doing it is MICROTENSION.
Thriller writer Tess Gerittsen explains that, “In a
story with a high level of conflict, there's an underlying sense that something
important is always about to happen, or could happen.”
She goes on to say, “Microtension is that sense that, on
every page of the novel , there's conflict in the air, or that characters are
slightly off-balance. It needn't be a flat-out argument or a gun battle or a
huge confrontation. In fact, you can't throw in too many major conflicts or
what you'll get is melodrama. But small and continuous doses of tension keep the
story moving and keep the pages turning.
Let's look at some ways to create tension:
Donald Maas says, “No scenes set in kitchens, living
rooms, cars driving from one place to another, or involves drinking tea or
coffee, particularly in the first fifty pages. If there there is a scene in one
of those places, cut it. 99% of those scenes are inactive. If you absolutely
can't cut it, make sure you add tension.”
Rayne Hall adds her “No scenes” list: no restaurants,
bars, kitchens, or boardrooms.
Ways to create tension:
A ticking clock
Inner conflict
Outer conflict
Irrevocable commitment
That no turning back feeling
Continuous microtension
Frustrate your character
In each scene, give every character an agenda, and make their
agendas oppose each others.
Sol Stein calls agendas “scripts.” Other writers call
them “Spins.” We hear about spins and scripts during election time. One
politician takes the actions of another and spins it to their opponents
disadvantage. You can make a character look guilty, immoral, deceptive, or
whatever you want by the spin you give their actions.
So, ask your characters two questions for each chapter or
scene:
1.
What's your agenda in this situation?
2.
What do you believe the other character's agenda
is?
Create a question. Let's say you have given a certain spin on
a character's actions. If it's your MC you'll have the reader thinking, “I
can't believe he'd do that. Did he, or didn't he?”
Rayne Hall says one of her favorite ways to create
tension is drawing out an action. Instead of having your Heroine walk through a
door, you make her wary of opening it. She hesitates. She imagines all sorts of
terror-filled possibilities. The reader knows things she doesn't, which adds to
the tension. Finally you have your reader thinking, DON'T OPEN THAT DOOR!!!
There are other ways to suspend the moment. In a chase scene
or action scene, the pace is fast. Let's say the hero is running for his life.
He turns a corner and discovers he's trapped. At this point, slow the pace by
focusing on a detail unconnected to the issue—a cobweb in the corner, a grease
stain on the table cloth, a lizard sunbathing on the garden wall. Describe and
suspend that single moment.
Characters have expectations. Don't let them get what they
want by throwing in unexpected twists.
The MC is in a strange place. She hears a noise. What is it?
It sounds like . . . .
Add tension in action scenes, suspense scenes, or terror
scenes by using short, choppy sentances, making the reader feel out of breath.
Add tension in dialogue by answering a question with a
question:
“Who was that woman?”
“Why do you want to know?”
“Why won't you tell me who she is?”
“Why are you so obsessed with her?”
Add tension with a zinger: The character expresses not only
meaning, but attitude.
Make the funny parts funnier.
Make the shocking revelations more shocking.
Make the romantic elements more wildly romantic.
Find ways to increase the volume of everything in the scene.
Tension On The First Page
Donald Maas: Over and over, authors bog down their beginnings
with setup and backstory. Perhaps it's because the novelist is getting to know
the characters. The fact is, the author needs to know these things. The reader
does not. The reader needs a story to begin.
Backstory doesn't engage the reader because it doesn't tell a
story. It doesn't move the story forward. Once problems have been introduced,
backstory can be artfully deployed to deepen them. Not in big chunks but a
little at a time.
Ray Rhamey: No backstory in the first 100 words. No
dreams. There MUST be tension in your first sentence.
Rayne Hall's first paragraph no no's:
1.
The MC arises and gets ready for the day.
2.
She stands in front of the mirror, describes her
looks, and contemplates what to wear.
3.
He gazes out the window and reflects on his past
and future.
4.
He sits in a bar or restaurant waiting for
someone to arrive.
5.
She walks, drives, or rides to a place where she
expects to meet someone or do something.
According to Rhamey, the first sentence must:
1.
Set a goal for the MC
2.
Create a question
3.
Create tension
4.
Contain a conversational voice that hooks us.
Check your manuscript and see if the first sentence
will intrigue your reader with tension. Enjoy your writing!
