Yesterday we established that conflict is the source of suspense and tension, and what gives meaning to surprise. Combined with structure, we can create a plot with enough suspense and tension to keep our readers engaged.
In Raymond Obstfeld’s Fiction First Aid, he looks at the intersection of conflict, suspense and plot, taking it act by act in the three-act structure. This week, we’ll take a look at his structure for creating suspense.
Obstfeld defines suspense creation as “a series of . . . promise-payoff scenes.” In act I, the setup, we establish the conflicts and the stakes to create suspense. Says Obstfeld:
- Plot conflict. This focuses on what the characters are pursuing. It could be a romantic relationship, money, a new job, an education—anything they think will make them happier.
- Character conflict. This focuses on the internal/emotional problems that get in the way of the characters achieving what they think will make them happier. In fact, this conflict may involve the characters pursuing the wrong goal, one that the reader realizes won’t make them happier.
- Stakes. This focuses on the intensity with which the plot conflict affects the characters.
Now I’ll turn it over to you. How do these elements work to create suspense in the first quarter of a book?
Photo credit: Damon Brown
I think (hope) I did a good job with that:
Plot Conflict: My MC leaves town to find a man
Character Conflict: She has very high standards
Stakes: People at home are depending on her success
One piece advice I’d add:
Don’t beat around the bush. Just tell the reader what the issue is, preferably from the first line/paragraph with the main character. I call this the “problem statement.” This statement leads to something known as the “story question.”
So if my First Line was something like, “John slammed the phone down, severing the connection with his wife.”
the problem statement could be, “John is having marital issues” and the story question could be, “does John reconcile with his wife or move on?”
The sooner you bring the reader in, the better.
(I hoped I did, too—but the beginning is where I need the most help, sadly.)
I agree—set up a central problem ASAP. Use something to pull the readers in, and establish that suspense. Suspense, after all, is unanswered questions.
On the other hand, of course, don’t give them too much. In Maass’s Breakout Novel, he uses the example of John Grisham’s The Partner, where Grisham withholds a main character’s motivation until very late in the novel, but keeps suspense by keeping the stakes and motivations high for the other characters looking for him. Sounds like a pretty tough balance to hit, of course.
Well, I only mentioned the “outer” stakes.
Her inner stakes are much larger, and get revealed throughout the book.
Definitely withhold the backstory as late as possible, but give the reader something to hold onto in the mean time.