The Place For My Writers Notes

Original Posting 27 March 2012

And another moldy clipping from Writer's Digest!

Writer's Digest, April 1994, pages 31-33 had an article by Billie Sue Mosiman with the title, "Keep Your Readers in Suspense." It starts out with a little paragraph where Billie Sue said, "I'm going to tell you one of the secrets of selling your fiction..."

And right there, you have an example of one technique of suspense. Get the reader to form a mental question. Secrets, and the promise of revealing them, are a great way to get the reader involved and build suspense. Of course, when you make that promise, you need to live up to it.

A lot of people think of suspense as creaking doors or other hints of horror, but wow it's a common and simple way to build suspense, it's only one way.

"If a character in your book has information or a secret that your protagonist desperately needs to know, that creates suspense. Suspense is an expectation. The writer delays giving out the information the reader needs."

What happens when you show something about to happen to one character, and then switch to another viewpoint and character? Of course, the reader wants to find out what happened to the first character. That's suspense.

Anticipation, mystery, unexplained actions. Billie Sue suggests one way to think of suspense is like a wave. It starts with foreshadowing an event, like the wave building up out at sea. Then the stakes are raised and tension rises, just like a wave rolling closer to shore, growing larger. Next, in the moment before the climax, the wave hits a peak and almost seems to stand still. Then the climax hits, as the wave crashes on the shore. Then in the lull between the scenes of suspense, the wave slips back out to sea to build up again. Depending on what kind of a novel or story you're writing, you might change the pace of the waves, and the lulls in between crashes. But you're probably going to still have have some waves, even at low tide, with the sea low and quiet.

Be careful about misdirecting or distracting the reader without a good reason. You don't want your reader to feel manipulated.

How will the hero escape? Will the evil monster, boss, whatever destroy everything that the protagonist loves? Is romance enough? Most of the time the question you want your readers asking is how will this be resolved. What's going to happen next? That's suspense.

Make sure that you keep your promises, and give readers the information they want. Also, make the protagonist struggle -- the reader needs to worry about them.

"If the reader has nothing to find out, nothing to anticipate, be anxious over or expect, he won't read at all."

So make the reader asked questions, anticipate what's going to happen, and then answer the questions, provide information, show that hero dealing with dangers and threats. Just don't leave them...

Billie Sue ended her column with "There is just one more very important secret I think you should know..."

Cliffhangers. And in our next thrilling episode...

Write, and don't forget the suspense! Keep the reader waiting, just a little bit more?

Original posting 17 August 2008

Chapter 17: Action Scenes

(continuing our series from Make A Scene by Jordan Rosenfeld)

Hollywood has taught us to think of action as larger-than-life last-minute escapades. However, small personal actions still count. Action scenes rely on some kind of physical movement in a space or context of the writer's creation, with a sense of time passing. Readers feel as if they are participating in action when:

1. Events unfold in real time, so that the reader feels as if they are participating in the events
2. The pace is rapid, and there is some kind of physical movement
3. The protagonist makes quick decisions or reactions, depending on instinct more than intellect
4. Unexpected consequences raise the dramatic tension

Act first, think later. When the protagonist is caught by surprise, forcing reactions. That's what action scenes are all about. They feel fast and intense. Usually the action is unexpected or surprising. They match well with suspense scenes, epiphanies or contemplative scenes. Readers do sometimes skim through them, so don't expect slow detailed reading. Just like the protagonist, the reader wants to find out what happens, so they aren't going to read slowly and carefully.

Opening action scenes. Most of the scene will be unfolding or exploding action. Even if you want to start slow, think about getting to the action soon.

In medias res - start in the middle of the action -- is a standard recommendation, and works well. Readers have to keep reading to figure out what is going on. Make sure that the reader can follow the essential action, that they know what is going on even if they don't know why or how it will be resolved.

Open with foreshadowing. Small actions or narrative summary that hints at the coming action are sometimes useful. Keep it short, keep the hints subtle, and let the action take over as soon as possible. Be very careful not to make the action an anti-climax by removing the surprise or sizzle.

Character development and plot in the action scene? Action is one way to show the true nature of characters. Every scene needs to involve characters in interaction, reaction, and change, but action scenes force the character to actually walk the talk, acting out their true beliefs. Don't forget that characters can make mistakes, especially in action. Push your characters to discover unexpected facets of themselves through actions. Make sure that the actions are serious, that they can't be undone, so that the character has to face the consequences.

Ending the action scenes. There are lots of ways to end the action. No matter how you do it, though, make sure that the action has changed the protagonist, and that there are consequences that the protagonist will have to deal with. Most of the endings slow down the pace and offer a chance for reflection, increase the tension and suspense so that the reader has to keep going, or end with a bang, a revelation that changes the characters and the plot.

Slow it down. A little bit of exposition or reflection, quietly slowing down the pace, and often ending in a foreshadowing image.

The cliffhanger or suspense ending. Don't stop, run the action right out to the edge and leave the reader turning the pages for the next step. Just delay the conclusion of the action.

A revelation that changes everything. At the very end of the scene, reveal the consequences of the action to the reader and the protagonist. One trick here is that the revelation often is an emotional high point -- action scenes often do not have much emotional impact, but the revelation can change to.

And Rosenfeld's checklist for action scenes:

1. Is the focus of the protagonist on reaction, instinct instead of thought?
2. Is there physical movement that conveys a sense of time?
3. Is there less reflective or emotional content -- keep punching!
4. Does the action change the protagonist and the plot?
5. Do the actions produce consequences for future scenes?

Coming up, we have flashback, epiphany, climactic, and final scenes. But for right now, let's set Rosenfeld aside and consider your very own action scene.

First, of course, you might want to take an action scene apart. Admittedly, we all know them from movies and TV, but dig one out of a novel, and see how it works. How did they start it? How do they keep the action moving and realistic? And how did they end it?

Second, think about writing an action scene of your very own. Where would an action scene make more sense than dialogue? Are you going for the high action of the movies and television or for somewhat smaller tramping around the campsite, rafting down the river, or doing something else that doesn't involve car chases, explosions, and other special effects? How do you start the scene, how do you keep it realistic, and how do you finish it? I still remember reading someone's little battle scene and asking them to walk through the action, because I couldn't figure out how the characters were positioned. We ended up talking about doing a paper chart and actually having the characters move across the chart -- and discovered that at least one character was indeed popping from place to place in a rather incredible way. I won't say that the scene was great after we reworked it, but at least people looked the right direction and so forth.

You might take some simple actions -- getting in the car and turning it on, getting a cup of coffee or tea, buying a newspaper -- and write those scenes up as practice. It can be surprisingly difficult to get the character into the right position, get the keys out of his pocket, and actually turn on the engine. Then consider showing us that the character is happy, upset, or otherwise trying to deal with emotions in the middle of the action.

I think action scenes often are considered pretty simple. But selecting the right parts of the actions to suit your story, and providing enough details without going overboard or without simply sliding over the action, is more difficult than it may appear. Action scenes are some of the bread-and-butter basics for writers, and you might as well practice writing them. You need to be able to convincingly convey that these characters are doing something right now.

So, write!

(or should that be plots, characters, actions! Write that scene?)

The writer's job is to help readers see what's happening now in the center ring -- of your story.