Tuesday Ten: Ways to Increase Story Tension

I frequently see advice to increase tension, up the stakes, or otherwise make things worse for our characters (poor things), but less often do I see advice on how to do this. Since this has always been a struggle for me, I figured some of you all might wonder, too <grin>. (And if you don’t wonder, don’t tell me—I like to think my foibles are part & parcel of being a writer…)

Here are some strategies I use to increase story tension:

1. Make more bad stuff happen. Yeah, this is probably a no-brainer, but since it's also the starting point for all the rest, I didn't feel right leaving it out. In order to have a story, you need to have conflict; in order to have conflict, your protagonist has to face some sort of challenge—and must surpass numerous obstacles before said challenge is overcome.
   

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Tuesday Ten: Character Development Through Hobbies

This week, I wanted to expand on one of the character quirks I listed in last week’s Tuesday Ten post: hobbies. If you’re like me, you might give your character a hobby simply to add a bit of color. And hobbies do add color: a good hobby will make your character quirkier and more memorable.

As a writer, though, you may want to make this character detail work even harder and, especially as you get deeper into a book, it can useful to think about what a character’s hobby can accomplish beyond adding surface color.

Photo Credit

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Plot: Finding the Threads (or: How to Eat an Elephant)

Last week, fellow YA author and blogger Julie Musil wrote a terrific post on how to use a spreadsheet analyze and improve your novel’s plot: Performing Plot CPR. If you haven’t read it, check it out. In this post, she provides a framework for getting the big picture of your work in progress so you can see what works, what doesn’t, and what you can cut without regrets.

Photo courtesy of GollyGforce on Flickr Creative Commons

I, too, am deep in the rewrite process—and rewriting a 300-page novel, even one that’s already been through multiple rounds of rewriting and revision is an elephant-sized task. When I try to take on the whole thing at once, it’s easy to get overwhelmed.

However, there’s a time-honored technique for tackling any immense task or problem: divide it into smaller pieces and work on one at a time. Julie’s post explains one way to identify individual story elements where you can focus your efforts, and I want to share another technique: tracing individual story “threads” to make sure that each progresses smoothly and logically throughout the book.

After all, how do you eat an elephant? One bite at a time.

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Tuesday Ten: Character Quirks

Geek confession: I used to play D&D (Dungeons and Dragons, for the uninitiated). In fact, I used to play another gaming system that rivaled D&D back in the day, a system designed by Steve Jackson called GURPS (which I believe stood for Generic Universal Role Playing System). It wasn't nearly as complex or detailed as the D&D 4.0, for which my boys now spend hours memorizing rules and character info, but it had one really cool component that's stuck with me over the years: Character Quirks.

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Tuesday Ten: 10 Ways to Craft a Sense of Place

You know the basics of setting creation: describe the who, what, when, and where of your character's surroundings. But how do you move beyond a mere list of details to a setting that draws the reader into your story? 

Setting can—and should—accomplish far more than simply setting a visual backdrop for plot. Setting can:
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Five Writing Lessons I Learned From TV

I used to spurn TV. Why would I waste all that time sitting in front of the tube when there are so many other things to do in life? Why not spend the time writing, instead?

*Photo credit

Well, despite that lovely black-and-white vision of the world, I now watch the occasional TV series. Why? From a writer's perspective, there are numerous reasons to indulge in this visual form of storytelling:

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When Characters Lie: Eight Questions to Ask

Do your characters lie? Lies can lead to additional untruths, misunderstandings, problems that grow bigger each time the character tries to solve things—in other words, lies are a terrific way to build story conflict.

Having your character lie is a terrific plot device—but one that can backfire if you aren’t careful.

Here’s what I mean. In the TV series White Collar, con-man and FBI “consultant” Neal Caffrey tells the occasional untruth. You’d expect as much from a con-man, but the funny thing is that he’s more likely to get what he wants through charm and wit than by lying; and when he has something to hide, he’s more likely to do so by keeping his mouth shut than by concocting an explanation. When he does lie, it’s always for a good reason: to protect someone, to accomplish a purpose that can’t be accomplished otherwise, to hide information from someone he doesn’t trust.

The result? Neal may be a con-man, forger, thief, and professional smooth-talker, but he makes a decent, loyal, and (mostly) trustworthy friend.

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How Plot Development Is Like Navigating a Maze

It struck me, as I was working my way through my latest first draft, that plot development is very much like navigating a maze…

*Photo courtesy of Mecookie on Flickr Creative Commons

…and the similarities give some insight into how to tackle a tricky plot problem.

• A methodical approach can work—but sometimes you just have to go for it. As an avid “plotter,” I usually know in advance the course I want my book to take. There are moments, though, when the muse tugs me off the beaten track. I always follow!
• Sometimes you have to go down dead ends. No matter how well you’ve planned your route, sometimes the only way to know a particular path leads to a dead end is to go there…and sometimes the only way to know a scene doesn’t fit is to write it. Those efforts aren’t wasted: now you know where *not* to go!

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