Narrative tension. You can’t create a page-turner without it. If there is no tension, the story won’t be very intriguing. How many of us have always dreamed of reading a book about a man who just sits on a bench the entire story? My point exactly. We want to read something that will pull us in. Give us the story of a man on a bench waiting for his blind date when some aliens suddenly land on Earth. That definitely makes things more interesting. Adding tension to your story can be tricky when you’re first starting out as a writer because it’s all about finding balance. You don’t want to overload your story and make it so convoluted with tension that you confuse your readers, but at the same time you don’t want it so thinned out that your story reads more like a to-do list with different characters than an actual plotted out idea.
So, how do you find that balance? Simple. I’ve come up with some tips for first time writers looking to build tension in their stories. It’s important to keep in mind that tension is something your story should have, no matter if it’s 2,000 words or 200,000 words.
Keep Raising the Stakes:
Okay, so you’ve got an initial conflict that sets your story in motion, but then you need to layer on top of it the smaller complications that arise from that end goal. Let’s dissect a classic plot for a moment. Lord of the Rings. We have the overarching goal that sets the story in motion, Frodo has the ring of power and he has to get it out of the Shire. But he’s only supposed to get it as far as Rivendell, however, the council votes to take it to Mordor and throw it into the fire and Frodo volunteers. Boom! The stakes just got raised for Frodo. Then the mines of Moria happen and Gandalf is lost. Stakes are raised again for the whole fellowship. Then the group splits up when the Uruk-hai attack. Stakes raised even further. Merry and Pippin are taken hostage causing Legolas, Aragorn, and Gimli to go rescue them. More raised stakes – and that’s all just the first book!
But you can see where I’m going with this. One main conflict can have a ripple effect of other conflicts that arise, and your characters have to react to them. Each new minor conflict is you leveling up the tension for your characters, and making your readers want to keep reading because they don’t know how the character(s) will react. Your plot doesn’t even need to have a dragon and five armies to make it tense, every day contemporary stories can be just as intense. It all boils down to your main character wanting something, going after it, and setting in motion a bunch of minor hiccups that arise along the way, making it a constant choice between A or B. Love triangles are a very popular example of this. And a character’s desire doesn’t always have to be this grandiose desire to bring justice and equality to the world and tear down the corrupt system in order for your plot to have a purpose and drive conflict forward. Let us not forget that Shaun of the Dead’s events all started because someone wanted a Cornetto.
Balance Tension with Moments of Calm:
I know I said you need to keep raising the stakes, but that doesn’t mean that you can’t give your character(s) a bit of break every once in a while. In fact, it’s encouraged. You need to give your readers a chance to digest what’s happening in between obstacles. If you have too many problems arising for your characters all at once, it becomes too much. Plus, these moments of “rest” are where you can build the stories in other ways like characterization or revealing bits of backstory. For example, if you have two bank robbers trying to make it down from Montana to the Mexican border, you can slow it down a bit by maybe giving them a flat tire on a remote stretch of highway somewhere like New Mexico or Arizona. You’d still have the tension of a flat tire when they’re so close to achieving their goal, but there is still a chance to have some calm moments. While the two bank robbers are waiting for Triple A to arrive, they can have an in-depth conversation. One can reveal that he’s trying to pay off a loan shark, while the other can admit he’s never changed a flat tire before. Either way, that slow moment on the highway can be a chance to work on backstory and characterization.
Don’t think that a story’s action needs to be all rise all the time in order to create tension. You can get the same effect from a few falls. Tension works best when you have a rise and a fall. Another great idea for tension is these false senses of security. When your character thinks they’ve accomplished their task and they’re home free, that is a fine time to reveal that there’s still a little ways to go. Again, drawing back to Lord of the Rings, Frodo gets the ring to Rivendell. Everything seems chill. Those scenes are very calm for Frodo who thinks he’s soon going home. But then the council happens. The “oh my goodness” moment when Frodo offers to carry the ring to Mordor wouldn’t be so powerful if you didn’t have those calming moments before. While Frodo is in his false sense of security you’re able to digest all that he just went through to get to Rivendell. You feel for him. Which brings me to my next point…
Make Your Reader Emotional:
You can create the most intense plot with the perfect rise and fall pacing, but it won’t mean anything if your reader isn’t emotionally invested in what your character is experiencing. I will admit that a good portion of making your reader like your character, is to create a likeable character (I wrote a blog post on that if you want to read it). But another way to get your readers to like your character is using the plot. Even if your main plot of your book is something big like dismantling the ruling system, it’s a good idea to start small in terms of your character’s desire.
One example of this The Hunger Games. Across the three novels Katniss ends up creating a revolution and bringing down the corrupt government. She’s hailed as a hero. But that wasn’t her initial goal. Her initial goal was quite simple and quite relatable: She wanted to protect her sister. Even if we don’t have siblings, we all have at least one person we’d be willing to volunteer for if we ever found ourselves in a similar situation. Therefore, as readers we are more willing to emotionally invest in a character that wants to protect her loved one from death, rather than a character who right off the bat is ready to take down the government. While something small, like a character wanting to return a library book before the library closes or getting a the last bag of jelly donuts for their sick family member can be what is needed to set a bigger plot in motion, it can also serve to make a character relatable to the reader. We’ve all needed to get somewhere before it closes just like we’ve all rushed to the end of the aisle to pick up the last something because it’s for someone we care about, and it’s these small, universal actions that readers relate to that help them become emotionally invested in your character’s conflict.
Bring the Tension from Various Points:
When we think of tension between characters we tend to think of heroes and villains. And yes, the tension between your hero and your villain is important. But that doesn’t mean that we can overlook the side characters. Some of these side characters can actually help to create tension for your main characters. In fact, some side characters can be integral to subplots that create tension in the story. Never under-estimate the power of secondary conflict. For example, Batman. You have the main conflict of a superhero trying to clean up Gotham’s streets, but at the same, you also have the tension from his personal life as Bruce Wayne to factor in as well. Of course, while you want to bring in tension from all angles, you also don’t want to overcomplicate your plot either. It’s a fine balance.