So far, we’ve looked at character arcs on a macro level—characters changing over the course of a story. At the beginning of the series, however, Deb pointed out that characters can also have arcs within a single scene, where they go from one emotion to another, possibly opposite, emotion.

Character emotions are always delicate things. It’s so easy as a writer to push the emotions a little harder than we should, so that they end up unnatural—especially in a delicate transition. Now, of course it’s always possible to use the events of the scene to create a very natural change in a character’s emotion—but it’s not the only way.

Jack Bickham delves into both kinds of changes in his book Scene & Structure. The first kind of change relies on external actions and scene structure. The basic structure of any scene, Bickham says, is Goal – Conflict – Disaster.

The Goal is the POV character’s goal at the start of the scene, for just that scene. (For a story and characters that feel purposeful and driven, have the character state the goal near the beginning of the scene.) The Conflict is what happens as the character pursues the Goal and meets resistance—dialogue, movement, pursuit, etc.

The Conflict builds to the climax of the scene—the Disaster, when the character’s goal is frustrated. Naturally, when the character is frustrated, s/he will have an emotional reaction—for example, she might go from hopeful or determined at the beginning of the scene to discouraged at the end.

So external events can obviously help to bring about a micro character arc. But there’s another way to show emotional change within a scene that we’ll look at tomorrow.

What do you think? How have you handled drastic emotional changes in scenes?

Photo by Tony Case

I’m brushing up today on creating tension in a scene. There are lots of “tricks” and techniques to get the “tension in every page” Donald Maass recommends. While I don’t really go in for resorting to tricks to create suspense, little techniques can really establish, increase or build the tension within a scene.

The list:

1. Give a character a goal in each scene
2. Setbacks to a character’s goal in a scene
3. Uncertainty—often from a lack of information
4. Worry—plenty of bad information
5. Doubt, especially in one’s self (the character, not the writer )
6. Raise the stakes—put more people or a bigger, more valuable objective in danger



7. Increase the odds against the character
8. Make the characters care more—greater emotional stakes
9. Make things more challenging
10. Surprise character or event to change things up
11. Nonhuman obstacles—setting or weather interfere
12. Using the POV of a character that doesn’t know something vital (something we’ve established in another POV)
13. End the scene with a foreboding foreshadowing
14. Play on a character’s inner anxieties—push them to the limit (and beyond)
15. Let the characters blow up—what are the consequences?
16. “Minidisaster”—a preview of what could happen in the big disaster, by showing a small version of their impending doom.
17. A close call
18. A character purposefully withholding info from another
19. Jump cutting to another scene/storyline immediately after a disaster
20. Make characters’ goals look impossible. Or just make them impossible.
21. Stating a chilling fact.
22. Danger—dangerous, skillful work.
23. Deadlines approaching
24. Foreshadowing a coming confrontation



25. An unfortunate meeting
26. Trapped in a closed environment (perhaps a crucible?)
27. Fears coming true
28. Set up any of these situations and prolong them, rather than relieving the tension
29. Remove characters’ supports
30. Disable characters’ strengths
31. Undermine characters’ belief systems (not necessarily in a religious sense, but in a “I’m fighting for the greater good—holy crap, what do you mean the victim’s a bad guy?” kind of way)
32. Move up the deadline
33. Avoid low-tension scenes (sequels, really):
    • Thinking (esp while driving between one scene with live action and another)
    • Decompressing or cleaning up
    • Coffee breaks
    • “Aftermath” scenes
    • Sometimes, even love scenes—a sex scene releases all the sexual tension you’ve established, so then you have to reestablish that tension with something to keep them apart. Though this can be done well, often, this is where we get the contrived or entirely external conflicts that just aren’t that compelling.
34. Leave out the parts people skip —distill scenes to their essential parts
35. Cut small talk (unless you’ve worked hard to establish that the small talk is covering something else, something with a lot of tension, or you’ve got a lot of subtexting)
36. Make one character’s scene goal conflict with another’s scene goal
37. Make us root for the other guy—make the antagonist a sympathetic character, so we want both sides to win.

Sources: Revision And Self-Editing by James Scott Bell, Stein On Writing by Sol Stein, Writing the Breakout Novel by Donald Maass, and me, of course.

What do you think? What do you do to create or increase tension in a scene? How can you implement these ideas in your work?

Photo credits: nail biter—Cavale Doom; knuckled grip—Alex Schneider