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joshua-vaughn-tmbw · 2 years ago

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Writing Tension

Hey! It’s your girl— @thecomfywriter— back with another post. Apparently, an anticipated post :) Fr though, before we start, I want to thank you all for the warm welcome and kind comments since coming back to this account. It makes me really happy to see these posts help people, and hopefully I can continue to be a resource for you guys, or even share my own works too! I started doing writing prompts on my instagram, so that’s always an option.

Anyways, today’s post is about writing tension. Perhaps one of the greatest devices you can use as a writer, as it allows you to utilize the narrative to grip your reader, immerse them into your story, and have them truly feel for your characters and the events. Because of its power, it's also not the easiest thing to navigate. Thus, this post is here to help, as rather a launching point or hopefully a guide on how to implement and work tension into your story.

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Tension is a subdevice of foreshadowing, in which readers are made to anticipate the worst occurring and/or face a conflict. Tension adds mood, depth, atmosphere, and engagement with your story. It is a tactic employed to cause emotional distress to your readers and characters alike. There are multiple different facets to developing tension successfully, each with its own purpose in crafting your perfect narrative. Not every story is going to need all of these to build tension but every good story with proper tension that leaves your readers unable to put the book down because, “what’s going to happen next” will have at least more than one.

Conflict:

The foundational aspect of tension is conflict. Your character is experiencing a tense chapter, or the narrative has an increased sense of tension in it because there has been an introduction of conflict, whether that be through internal or external forces. Internal conflict may result in emotional distress and the reader's anticipation of when those bottled up, unresolved emotions will come to fruition and make a muck of character relations (as an example). Or, it can cause the retrograde degeneration of a character’s arc. Meanwhile, external conflict gives your characters a focus, an opposition to combat. Conflict is a natural breeding ground for tension because it festers resistance and opposition. Depending on the type of conflict within your story, the effect and consequences will be different. However, some things to bear in mind for each are such:

Internal conflict:

Internal conflict is the idea of “man vs. self,” in which your character is their own antagonist. When dealing with internal conflict, understanding the character’s motivations (or lack thereof), their personality, their morality/values, and their perspective is key to understanding their reaction and thus the outcome of this conflict. Personally, I love using internal conflict for building tension, because it creates a sense of dichotomy and indecision that puts the reader in a sense of discomfort. It’s powerful because it's uncomfortable, and it's uncomfortable because it's confrontational. It requires the characters to face the most undesirable, the worst, deepest, darkest, most heinous parts of themselves and question how it aligns or rejects against their self-perception. When writing internal conflict, the tension should arise predominantly from the character’s emotions and their struggle, putting them at a crossroads within themselves. Here’s a brief outline of each of the types of internal conflict:

Religion/faith: your character is questioning their spiritual stance

Desires: these can be regular old desires or sexual ones, but your character is left repressing or struggling to accept/control their untamed/scandalous/unacceptable desires

Morality: your character is questioning/forced to confront their sense of morality (or lack thereof), usually inspired by an external conflict

Identity: your character is attempting &/or struggling to form an image of themselves OR they are struggling to accept their self-image, typically in contrast to the image/identity they desire or have been prescribed to

I want to do another post on identity because my sister made this brilliant presentation on the types of identity for her global health class and I think it can really be helpful in understanding how to forge your character’s identity in respect to the rest of the story/society

Love/guilt: these are two of the most powerful emotions a character can feel, specifically emotions that drive action, which is why I grouped them together. Also because they’re often connected, whether it be the internal conflict of rejecting love, repressing it, being in denial, trying to force or reject it, or feeling the guilt of lost love, unrequited love, unethical love, or hurting a lover. Or, of course, the entire ballpark of dealing with guilt itself. Guilt is the needle for a person’s moral compass; remember that when exploring the dynamics of a character's internal struggle when it comes to guilt, regret and shame.

Existential: the character must face themselves and come to a decision about their purpose/the meaning of life. This type of conflict typically involves an internal struggle against what the character knows or is prescribed to believe versus what they themselves truly find meaning in.

Interpersonal: kind of like identity and existential, interpersonal conflict is a struggle in which your character opposes their role or their identity and its place within a larger context. For example, your character grappling with their sense of identity versus the societal norms and expectations is considered interpersonal because it goes beyond their own self-image, but instead of how their identity contributes to a larger scale.

External Conflict:

This type of conflict is your classic, “man vs other,” in which your character is opposing a force beyond themselves. When dealing with external conflict, setting up a basis for motivation for each party and allowing your readers to understand why these motivations clash is key in developing character intentions, which keeps your story consistent and is also a helpful reference tool for areas where you want to add tension. There are also a plethora of external conflict types, which I will outline here:

Antagonist: this is a character who doesn’t necessarily have to be a villain, but they do have to be in opposition to your character. For example, your character’s antagonist can be the tyrant who conquers and enslaves tribes and cities of these ancient lands, or they can be the crush of your character’s love interest. The crush didn’t do anything wrong. They’re not a bad person. They’re just in the way of the protagonist’s goals in the story, which in this story, would be to woo and romance their love interest.

Nature: natural disasters. The world is ending. Radiation. Alternate planets with weird, mystical, and dangerous wildlife. Surviving the outdoors.

Society: character is combating against society, whether it be norms, authority, or the community itself.

Technology: character against technology that has gone too far. Typically in sci-fi, futuristic settings. Think AI, robots, nuclear bombs/weapons/warfare… the list goes on. You can be so creative with this one, I love it. Technically, Mary Shelley’s “Frankenstein” was character vs. technology.

Fate: character is trying to prevent, oppose, or deter a certain inevitability or destiny they’ve been prescribed to. Think of oracles or prophecies, maybe even soulmates for romance books. I always like to think of Oedipus as the classic example.

For example, character X has lost their father in a lynching after his father spoke up against the corrupt government that was leaching off their already struggling and vulnerable village. Thus, X has a strong vehemence towards the corruption, the government, and specifically the authority + everyone involved in the lynching. His motivation lies in his grief (which, in it of itself is an internal conflict, as he struggles to process the traumatic incident and cope with the violent and public murder of his parent) and thus may motivate his desire to dismantle the government and abdicate the leader that ordered the lynching to begin with. In this example, there are 2 external conflicts. Conflict 1 is the authority who ordered the lynching (antagonist) and conflict 2 is the society that endorsed the corruption that his father was rebelling against to begin with. Your character’s motivation may be to honour his father’s memory by dismantling both corrupt regimes, and his antagonist's motivation may be to silence any acts of rebellion in order to maintain governorship, power, and retain authority. These motivations, when outlined, are in direct opposition to each other, and being able to recognize that can help you as the writer facilitate scenarios in which those motivations and oppositions are exacerbated. By forcing your characters to make a difficult decision that reveals their intentions or puts their intentions on blast, you create tension in the story (i.e. if X had to choose between telling the authorities of a near-broken dam that would flood their village to save the innocents at the cost of increasing their hold on the population by embellishing their reputation, or allow the dam to break, killing the innocents and forcing the authority to go under higher investigation that would rule them out of power. What does your character value more?)

Building the atmosphere:

Okay, lemme explain what I mean about this because I feel like this is a common trope in horror that always has me shitting BRICKS. Basically, there are elements of horror (that's the next point I’ll be explaining, fret not), in which one of them is the overdescription of a scene. Essentially, I like to think of it as, say your character is in the middle of a super tense scene. They’re alone in the house late at night. They live in a cabin wood area, no neighbours for a couple of kilometers. Their phone—blasted! They forgot to put it on charging. The hairs on their spine are rising. An odd sense of urgency has replaced their relaxing movie night when multiple creaking floorboards sound from upstairs. Your character slithers into the kitchen, grabbing the first knife they see, trying to make as little noise as possible as they slowly trek up the stairs. One hand is on the railing, the other raised with their knife ready to stab. Their eyes are darting. Their senses are heightened. Shadows from outside cast onto each step in non-symmetrical patterns, making each step more difficult to see than the last. The top of the stairs is a void. The wooden banister is the only thing illuminated by the shreds of moonlight, and it reflects as though polished. What is that? On the railing? Why does it seem wet?

Your character checks their hand, realizing it too has been trailing over a sticky fluid. Sticky and viscous. They can’t see in the shadows. They don’t want to look down, even for the second it would take to check their hand. Do they look? Do they keep going forward?

A creak sound behind them. They spin around, slicing the knife into the air. The whoosh of it cutting empty space rattles their bones. It was only their own foot behind them. Though, when they look back up towards the banister, they notice the railing isn’t reflecting as much as it used to. Whatever liquid had stained it had matted to dullness.

This is stupid. I should be leaving. Your character pivots swiftly, rushing down the stairs, when suddenly, a firm hand covers their mouth and yanks them back.

In that uncalled for example, the environment is built through perceiving the entire scene in the character’s frantic and limited vision. We are following their frantic eyes, processing all the information and observations they make, whether they make conclusions with the observations, or set them aside for later use. I dunno what it is about this device, but it gives me the heebie jeebies everytime because DAMN stop describing the shadows in the corner of the room and the chills up your arms at the brisk wind that shouldn’t be indoors considering you locked all the windows. I dunno, that kind of writing puts me on edge, and that’s exactly the point.

Elements of Horror:

Briefly, I will outline some of the elements of horror and perhaps make a more detailed post on it separately, if y'all would like that.

Overdescription

Being vague with crucial details (limiting the characters and readers POV)

Loss of senses

Overstimulation (creates a sense of anxiety)

Emphasis on a character’s reaction to the events around them // bodily fear (the pit in her stomach clawed into her chest, lodging itself in her throat. A sick acidity overcame her in waves as the sharpness of his fingernails traced along her collarbones. His hot breath feathered the cold skin of her neck, rendering her paralyzed within his clutches)

Varied sentence structure:

The actual construction of your sentences influences the tone and fluidity of your writing // the scene. General rule of thumb: if you want to draw out a scene, use longer, connected sentences to build anticipation, anxiety, and atmosphere. On the contrary, if you want to blast your readers with a quicker, faster pace, short sentences can jar your readers and give the “loss of sensation” effect to help stun them.

Personalization:

This is the idea of creating stakes for your characters by making whatever event is occurring to them personal. When thinking of personalization, the key questions to ask yourselves are:

What does (character) have to lose?

Why is losing (thing being lost) significant to (character)/the narrative?

How will (character) change as a person/the narrative change its course if (thing being lost) was lost?

Why is (insert character goal) worth the risk of losing Y?

What other risks is (character) willing to take for (insert character goal)? How do these risks interact with each other?

What are the consequences of these risks/decisions/actions? Consider emotional and narrative consequences.

By personalizing each risk to your characters, you are upping the stakes of their goals, thus increasing the tension because there is more of a gamble to it now. NOTE: in order for this to work, your readers must truly believe that real consequences exist in your story. Not half-assed. Real, proper, committed consequences. Don’t give your character this deadly illness only to immediately present them with a cure. Don’t give them this life altering injury and have them heal within a week. Do NOT give them the easy way out. If you want to increase your stakes, show your readers you are willing to make your characters hurt. Show them that real consequences exist. Your characters, no matter how darling they are to you, should not be immune to the laws of your world. When in doubt, always remember the genius case of Ned Stark— he was the classic hero protagonist who everyone loved and rooted for. And then he died, and he stayed dead, because the story had consequences and he took unforgivable risks. An added weight, a sense of gravity was added to every character’s decision and the reader's perception of safety after that, because if Ned wasn’t safe, no one was.

Readers on edge:

Taking away your reader's sense of certainty is one surefire way to build a source of tension and anxiety, as it removes the sense of security that allows them to otherwise remain comfortable in the narrative. By decreasing the sense of security, you increase the tension within the narrative, allowing it to drive the plot forward and increase reader engagement. It also forces the reader to question everything. Will they make it out alive? How did she escape? Who was on the stairs? What was the mysterious reflecting liquid? What happens next?

If you are able to keep your reader asking these kinds of questions, you are able to maintain their apprehension, which seeks to lock them in and truly sell your story as immersive.

How do you pull this off? When building tense scenes, consider yourself in the character's shoes. What in that situation would make you feel secure? What would make you feel like you were aware of what was going on? That you could rely on your wit and foresight to help you in your quest? What would give you confidence?

Now take that away.

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Anyways y’all, I’m spent. Hope this helps! Feel free to suggest more posts through my asks and inbox. Until then, I’ll be working on some super in-depth posts for my buymeacoffee page.

Happy Writing! :)

#writing tips #conflict

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