or, How to Put an Elephant into Every Single Room - Tension drives readers to keep reading. But how do you add it to every scene? A few writing tricks.
In my writing, I'm learning to drag out (flesh out?) the tension. Often there are other elements of a story that are prominent in my mind or were the core bit of inspiration for a story, and then the plot points and the tension are bits that, in a first draft, I fill in two or three sentences. And then what happens is that I have teleported the reader right past the tension. I'm learning to avoid teleportation by stretching out the tension.
That's a great point. I think I do that too, or something similar -- goes back to the not liking conflict thing. Perhaps one way (for me, anyway) is to consciously be aware that conflict and tension are the things to concentrate on, not gloss over?
I have Save The Cat Writes a Novel sitting on my desk right now. Have yet to crack it open, but am looking forward to reading it.
As a writer of much young adult romance, I play with "slow burn" storytelling A LOT. Push and pull. Two steps forward, one step back. I also write a lot of dialogue and remember learning something at a conference about how scenes should be in a constant state of flux with regard to who has the upper hand in whatever "fight" or battle of wits is taking place. If one person dominates the whole scene, there's no tension, but if the underdog can turn the tables, there are your fireworks. I love this stuff.
Great piece, Graham. Please consider revamping one of your excellent essays and sharing it on Fictionistas. I'm such a fan of the topics you take on here. Thank you!!
Woah - now there's a good tip about fluctuating the power balance! I hadn't thought of that, but of course, it makes so much sense. That can signal so many things as well as tension.
I've heard about the slow burn, and it's definitely something I need to master. I'm not sure it has to be YA slow, but my pacing -- and especially emotional pacing -- has been basically described as erratic.
I would love to contribute a piece to Fictionistas! I'll follow up with you in an email.
I love A Room With a View,;I even named my first daughter Lucy because of it. But it's been too long since I've seen it. Maybe I will find the book instead, and look for those quiet moments of tension as a learning tool. I too often divert to characters shouting at one another (or worse) when I need to up the tension in a scene. Thanks for a lovely post!
I had someone comment on my first novel that the tension was like a jagged graph - zero to 60 and back again, over and over and over. So I know what you mean!
Creating tension that builds from low-key to high is an art I'm still learning!
Glad you found the post useful, Stace -- and happy to find another "Room" lover!
I agree - she was great in everything she did. Unfortunately, her character in "A Room with a View" was mostly unlikeable, which coloured my perspective. But I watched a conversation with her, Dame Judi Dench, and two other dames talking about their careers together. She seemed to have a wicked sense of humour!
My elephants tend to be small and decorative rather than impossible to ignore beasts. I have a habit of writing where characteristics are shown early in the piece which leaves little tension or reason for the reader to continue. I am working on this. Thank you for the reference material!
In my writing, I'm learning to drag out (flesh out?) the tension. Often there are other elements of a story that are prominent in my mind or were the core bit of inspiration for a story, and then the plot points and the tension are bits that, in a first draft, I fill in two or three sentences. And then what happens is that I have teleported the reader right past the tension. I'm learning to avoid teleportation by stretching out the tension.
That's a great point. I think I do that too, or something similar -- goes back to the not liking conflict thing. Perhaps one way (for me, anyway) is to consciously be aware that conflict and tension are the things to concentrate on, not gloss over?
Thanks for the insight, Lance!
I have Save The Cat Writes a Novel sitting on my desk right now. Have yet to crack it open, but am looking forward to reading it.
As a writer of much young adult romance, I play with "slow burn" storytelling A LOT. Push and pull. Two steps forward, one step back. I also write a lot of dialogue and remember learning something at a conference about how scenes should be in a constant state of flux with regard to who has the upper hand in whatever "fight" or battle of wits is taking place. If one person dominates the whole scene, there's no tension, but if the underdog can turn the tables, there are your fireworks. I love this stuff.
Great piece, Graham. Please consider revamping one of your excellent essays and sharing it on Fictionistas. I'm such a fan of the topics you take on here. Thank you!!
Woah - now there's a good tip about fluctuating the power balance! I hadn't thought of that, but of course, it makes so much sense. That can signal so many things as well as tension.
I've heard about the slow burn, and it's definitely something I need to master. I'm not sure it has to be YA slow, but my pacing -- and especially emotional pacing -- has been basically described as erratic.
I would love to contribute a piece to Fictionistas! I'll follow up with you in an email.
Thanks for adding more ideas to the mix!
I love A Room With a View,;I even named my first daughter Lucy because of it. But it's been too long since I've seen it. Maybe I will find the book instead, and look for those quiet moments of tension as a learning tool. I too often divert to characters shouting at one another (or worse) when I need to up the tension in a scene. Thanks for a lovely post!
I had someone comment on my first novel that the tension was like a jagged graph - zero to 60 and back again, over and over and over. So I know what you mean!
Creating tension that builds from low-key to high is an art I'm still learning!
Glad you found the post useful, Stace -- and happy to find another "Room" lover!
"Putting an elephant in every room" - wow, I just love this point of view.
Also, I've been watching Downton Abbey with my Mom lately, love Dame Maggie Smith in it. The world lost a treasure!
I agree - she was great in everything she did. Unfortunately, her character in "A Room with a View" was mostly unlikeable, which coloured my perspective. But I watched a conversation with her, Dame Judi Dench, and two other dames talking about their careers together. She seemed to have a wicked sense of humour!
My elephants tend to be small and decorative rather than impossible to ignore beasts. I have a habit of writing where characteristics are shown early in the piece which leaves little tension or reason for the reader to continue. I am working on this. Thank you for the reference material!
Ha - "small and decorative" - yep, I know the feeling! Working on bulking them up a bit myself...
Hope the reference material is helpful!
Yes, Graham, thanks for this topic!
Thanks -- glad you like it!