An Alarming Situation

Last Saturday, my cell phone rang at 8:10 AM. When I picked it up it read “Nancy Next Door.” 

Uh-oh. 

Nancy Next Door only calls when there’s something wrong. A coyote jumping into my yard. A fallen tree on our shared fence. A broken gate…that sort of thing. Naturally, I thought a tree had fallen since A. there are lots of trees in the woods and in my yard that are leaning in a bad way and B. after over a year, I’d finally fixed the fence from the last fallen tree. 

“Are you home?” asked my neighbor. I was not. I was five hours away, at the beach. “There’s an alarm going off in your house,” she said. “I don’t see smoke but it’s been going off for about 15 minutes.” 

No problem, I told her. I’d call my other neighbor who has a key to my house. 

It’s 8:20 or so on a Saturday morning, and my neighbor answers her phone and after hearing my predicament replies, “I’m not home.” She’d had a family emergency the night before and was at her in-laws’ house, checking in. She was 15 minutes away but still, I hated to ask her to drive over to my house. 

“That’s okay,” I say, “I’ll call my daughter.” 

My daughter lives about 20 minutes from my house. But when I call her, she doesn’t pick up. 

Saturday is her day off, I know that she likes to catch up on her sleep. Who knows if she’s even got her phone turned on? And I don’t want to call her husband because…well, what if they’re not asleep, if you catch my drift? So I can call my sons (both of whom live about an hour away and let's face it, they're not going to pick up) or call back my neighbor (with the key). I call the neighbor.

She doesn’t pick up, either. 

It’s now 8:30. My smoke alarm has been going off for at least a half hour, maybe longer. I’m pacing like a lunatic, wondering what to do when my cell rings and it’s my daughter. She listened to my message and she was pulling on her jeans and heading straight over to my house. Whew! 

I call Nancy Next Door who says, yep, the alarm is still going off. She still doesn’t see smoke. But now I am really alarmed. I suspect that the alarm she’s hearing is coming from my basement; I remember that I store paint and all kinds of other cleaning products down there. 

I call my daughter who’s just about at my house and tell her to be VERY careful. “Touch the front door. If it’s hot, just call 9-1-1.” I’m still on the phone with her when she gets to the house. “The door is cool but the smoke alarm is still going off,” she says. “Should I go in?” I tell her to open the door and determine if she smells smoke. And she says, “Mom, you know I still can’t smell normally. I may not be able to smell smoke.”

OH MY LORD. It’s been nearly an hour that the smoke alarm has been blaring! And at this point, like the Calvary riding up, my neighbor who has the key and her husband and full use of her olfactory senses walks up to my door. 

Now, the point to this re-telling is this: how goes the story you’ve been working on?

Because if you don’t have a gripping problem, a couple of interesting characters, and more than a few obstacles to provide a fair amount of tension (and a ticking clock is always good, too), then you don’t have much of a story. You might have some delightfully pretty paragraphs and such but readers need story. 

And P.S. the house didn’t burn down; it was just a faulty smoke alarm. (I’m partial to happy endings but your story can have whatever resolution you like.)

~Cathy C. Hall

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7 comments Cathy C. Hall, Characters, elements of story, pacing, resolution, setting, tension

Layers of Antagonism

If you write fiction, you probably work with layers of antagonism even if you aren’t conscious that is what you are doing. After all, most of us have heard the advice, “Each step of the way, make things more difficult for your character.”

I’ve been thinking about this lately because I just read Vaughn Roycroft’s essay on the topic. The timing was perfect because I was also reading Murder Most Howl by Krista Davis. No one but no one layers antagonism like a mystery author. Read on to see which layer might work in your story.

Warning: This post will contain spoilers for Murder Most Howl.

Killer. In a mystery, the primary antagonist is the killer. As the protagonist, Holly Miller tries to track this person down while the killer does his or her best to remain out of sight. This can mean lying, planting false clues, or hiding actual evidence. Sometimes the antagonist has help.

Killer’s Little Helpers. Roycroft’s term is “Agents of an Active Villain.” In a cozy, they are the friends or family who don’t want to see their loved one punished. This wasn’t an issue in Murder Most Howl because the killer was completely under the radar.

The Primary Suspect. The suspect is usually the suspect for a good reason. In this case, Shadow is on probation after a manslaughter conviction. He doesn’t actively impede the investigation, but he does stay quiet about things he knows. He also distracts Holly from looking for the real murderer.

The Suspect’s Little Helpers. Like the villain, the suspect has loved ones and who don’t want to see him back in jail. They may tamper with clues but, in standing up for Shadow, they are a distraction.

Secondary Suspects. These people may not be the prime suspect but they also want to keep Holly looking at someone other than themselves. They too may have Little Helper.

Law Enforcement. In a cozy, the detective isn’t law enforcement and that often causes problems. Holly and Officer Dave get along but she has to work to maintain this status quo.

Accessories to Antagonism. These characters aren’t related to the mystery but get underfoot. Holly has her ex, her love interest, and her aunt. The town where she lives is holding a murder mystery weekend, so everyone involved in that gets in the way as well as does Holly’s actual job which demands attention at inopportune times.

Inner Demons. Holly is assistant manager of her grandmother’s inn. Her grandmother, the manager, is on vacation so Holly worries that things will go South business-wise under her direction.

Weather and Outside Forces. Anything that restricts movement or time creates a layer of antagonism. The inn’s guests are suspects for various reasons but they are in town for one weekend. They can’t get off the mountain immediately because of a blizzard. That creates two levels of tension – everyone is trapped in town with a murderer but when the roads open the murder can escape.

Even if you aren’t writing a mystery, consider how you can add layers of antagonism to your story. In addition to your antagonist and her allies, you could have people who are creating secondary problems, time constraints, and weather. Or you might come up with something or someone that is unique to your individual story.

Just remember - Each step of the way, make things more difficult for your character.

--SueBE

To find out more about Sue Bradford Edwards' writing, visit her blog, One Writer's Journey.  Sue is also the instructor for Writing Nonfiction for Children and Young Adults. The next session begins May 20th, 2019.

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4 comments antagonist, cozy mystery, layers, Sue Bradford Edwards, tension

Jump right in

I've written about first sentences in the past, but today I want to expand the definition of the beginning to include the first few pages of a short story, or first chapter of a book. For example, when writing a story about a girl going to a dance, how far ahead of the dance do you begin? Do you start with her looking for a dress? Or begin with the tension and nervousness of a boy asking her, or her worry that she won't get asked, or getting her nails and hair done at the salon? There is no one correct way to begin, but I want to give you a few ideas that may help strengthen the beginning so no one will be able to put down your book or story.

I've read a couple short stories lately that begin long before the action, and I've also written a few that way. In the first few paragraphs or pages, I may want to explain a lot about the character, situation, or plot, and end up spoon-feeding information. I often feel the need to explain everything, like where he or she grew up, why the situation is a problem, and some background to help the reader understand what's going on, and why.

My story, The Masterpiece, begins with a child asking his grandfather about a statue in the park. The grandfather explains who the statue represents, and why, except that I stretch out the dialog back and forth between the two for several paragraphs.

Every person who has critiqued the story says I should begin closer to the action. Is the grandpa connected to the story? Why is he even there? My thought was that it would be like the beginning of the movie The Princess Bride, where Peter Falk, as the grandfather, tells the story to a very young Fred Savage, his grandchild. But unfortunately, I can't seem to pull it off like William Goldman, the master storyteller who wrote it.

I've read other books and stories with this same issue. The back story is spelled out, as if the author isn't confident enough in the writing to let the story speak for itself. I've also fallen into the trap of trying to describe a person, or everything that's happened in my protagonist's life. Long descriptions and summaries at the beginning can bore the reader, who doesn't have context. Because we don't care about this person yet, a laundry list describing someone's clothing, cars, or dilemma doesn't provide insight. If an editor is bored, he or she won't take the time to read the entire story or chapter.

Take that backstory and weave it into the first chapter, spread it out to take readers on a journey, teasing out the information a little at a time. Put some of that good stuff at the beginning. Try using an argument: A bill collector knocks on the door after your protagonist has been out of work for several weeks. She wants to pay her bills, but she can't find a job. By creating empathy or sympathy for the character through this dialogue, we are already feeling her pain, and rooting for her. And we'll probably continue reading to see how she solves the problem.

Mary Horner is a freelance writer and editor.

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4 comments begin close to the action, Beginning your story, Conflict, dialogue, Fred Savage., Peter Falk, tension, The Princess Bride, William Golman

Conflict, Plot Lines, and The Devil Wears Prada

I teach interpersonal communication, and love the chapter on conflict because of the way it applies to plot lines. One of my favorite assignments is to have students keep a "conflict log" for a week, and then select one example and analyze it.

Most of my students have jobs in the restaurant or retail industry, and/or siblings, which account for many of the conflicts. One of my favorite stories was about the creative way in which a student resolved the scarcity of resources dilemma (same goal) with her brother regarding a bag of peas that included him driving her to the store late at night to replace it. The dialog alone made me laugh out loud. Conflict drove that story, turning it into a funny essay that should be published.

There are three common causes of interpersonal conflict: misunderstandings, different goals, and same goals. Each can propel a story.

Misunderstanding: Caused by a simple miscommunication, lack of communication, or poor listening.

After my daughter's recent wedding, I volunteered to take her friend to the airport. She was staying at my daughter's condo, and I drove there to pick her up. But, she had driven to my workplace, and called me just as I was pulling into my daughter's driveway. I barely had enough time to drive back, take her to the airport, and return to work. This misunderstanding caused tension, and the question, "Would I make it back to work on time?" is a plot device we've seen in every movie that has a bomb with a timer, and some involving a pregnant woman. (Will she make it to the hospital on time?) That tension makes us turn pages, or stay engaged.

Different goals: Many romantic comedies feature couples with different goals, and the conflict drives the story as we wonder whether or not they can work it out.

For instance, The Devil Wears Prada plot focuses on a "glamourous" job in the fashion industry, but conflict arises from the goals not shared by Anne Hathaway and her boyfriend. He is unhappy about the time she spends on the job, with little time left for their relationship. He wants her, she wants the job. Different goals.

Same goals: Two people want the same thing. Scarcity of resources.

Same movie, Anne Hathaway and Emily Blunt had the same goal, to be the essential assistant to Meryl Streep. In the beginning, we watch Blunt navigate the job smoothly as Anne flounders, but then the tables turn. Each resents the other while competing to get in the good graces of their boss. One job, two people. We've also seen this plot when two women compete for the same man, or vice versa.

So, the next time your plot is stagnant, consider conflict. Or, try keeping your own conflict log to see if you can spot any plot lines that might turn into a great story. And, if you take my class, you'll get credit for it!

Mary

Mary Horner is a freelance writer and editor, and the author of Strengthen Your Nonfiction Writing. She also teaches communications at St. Louis and St. Charles Community Colleges.

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10 comments Conflict, different goals, interpersonal communication, lack of communication., misunderstandings, poor listening, same goals, scarcity of resources, tension

What's Her Secret?

Don't you just love a good character flaw? How about a big, fat, juicy secret that your protagonist wants to hide? Was there an embarrassing affair, or is she a high-school drop out who conveniently forgets to disclose that information on job applications? Did she get a DWI, or play a role in an unfortunate “incident” that could stand in the way of a security clearance?

In my last post I wrote that good writing is about putting yourself in the audience's shoes, and letting the reader experience what the character feels. And often, what we see and feel isn't comfortable. Many popular protagonists are barely hanging on due to a shady past, bad relationships, self-destructive habits, or character flaws.

Conflict builds tension. Will the secret get out? Will the protagonist be able to keep her job long enough to save the company from bankruptcy? The clock is ticking as information that could get the hero fired is sent to the Human Resources Department. The H.R. clerk (Clerky) who normally checks these emails is at a seminar, (whew) and won't be back until tomorrow.

But wait, her nosy colleague's computer is broken, (or is it?) so he decides to check email on Clerky’s computer. And he knows Clerky’s password. And did I mention he wants Clerky’s job? Meanwhile, our hero is meeting with the bankers, trying to make a deal to keep the company afloat. What will happen? Will the deal be negotiated before the email is opened and she's automatically fired? Turn the page to find out.

Use secrets and character flaws to build conflict in your story. Determine the one piece of information your protagonist doesn’t want anyone to know, and start there. Then advance the story by increasing the tension that comes from hiding that weakness, flaw, or secret. Although the hero may not like having a secret that could ruin her life, your readers will love you for it!

***

Mary Horner is the author of Strengthen Your Nonfiction Writing, and teaches communications at St. Louis and St. Charles Community Colleges. She also blogs at writRteachR.blogspot.com.

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8 comments Character Flaws, Conflict, Secrets, tension

Everything I Learned About Writing I Learned From Shakespeare

Today marks the anniversary of Shakespeare's birth ... and death. At Stratford-Upon-Avon, 450 years ago, one of the best-ever tale spinners made his way into the world.

As a former English instructor, I see nuances of Shakespeare's style shine through in a lot of books that I read. He definitely influences legions of scribes who create alternate worlds and unique people and shape all those wonderful elements into a breathtaking work of art.

And, when I taught the tales of love of woe to swooning or pretentious teens - Romeoo and Juliet or Macbeth  or Much Ado About Nothing - I guided students to look for the moral lessons behind the story, the applicable story elements that resonated with each of their lives. I pointed out the craftily-worded phrases that were embedded in my memory from my teenage years (when my dad was my English teacher and pointed out the same phrases).

And, one of the most important lessons I taught students was decipher how to balance good and evil within the power triangle of themes: love, power and revenge.

It's a lesson I put into practice every time I open a book or start crafting my own fiction.

For example: Macbeth - my personal favorite when it comes to Shake's work. The quest for power dominates the storyline yet within that quest, forces of good and evil work together and against each other to create tension. Think about the actions of the witches and how they create a sort of fantasy inside Macbeth's head. Once the seed is planted, a bit of tug of war begins in his mind, until ultimately, he's converted to the dark side.

Once that storyline is established, Shakespeare introduces the second predominant theme: love. A strong love story filled with conflict drives any story. Shakespeare is the master. He pits a somewhat henpecked Macbeth against his strong-willed wife. Do they love each other? Yes, but she sees opportunity and uses her warped sense of love and desire to drive Macbeth further into darkness.

Ah, the plot thickens.

For added measure, Shakespeare weaves in strands of the revenge theme. Macbeth takes revenge on those who purportedly kill Duncan. Macduff seeks revenge on Shakespeare. Good triumphs over evil.

If you think about your favorite books, most use a combo of the power triangle because it is the easiest way to set up the underlying movement that moves a story forward. That underlying movement is conflict and tension. Without these elements, a stagnate story is born.

And who wants that?

What Shakespearean writing concepts do you use?

By LuAnn Schindler 

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2 comments Conflict, creating conflict, creating tension, LuAnn Schindler, shakespeare, shakespearean themes, tension, themes, writing like shapespeare

Creating Drama from Reality

Drama Queen.

The pink, black and white sign hangs in my classroom.

No, I don't start drama. (Insert sly, snarky, winking face here.)

I teach the art of acting and production to high schoolers. We spend nearly four months perfecting a 30 minute play for competition. I have 59 students in class; approximately 80 students comprise our high school, so...

It's tough finding a script for a cast this large, so for the second year in a row, I've written our script. Last year, I wrote "Ladder, Engine." The play told the story of the 9/11 firefighters and the aftermath their families dealt with.

This year, I'm telling the story of a boy whose body was found in a Nebraska field nearly 30 years ago. The case, dubbed Little Boy Blue, was found on a cold December morning wearing blue footie pajamas.

I'm putting the finishing touches on the script this week, and then it's time for tryouts!

Creating drama comes easily. The structure of a play is easy to follow and since I've coached drama since dinosaurs roamed the earth (I know some kids think this is true), I've developed characters and refined character traits of Alice in Wonderland, several of Shakespeare's star-crossed lovers, and average Janes and Joes.

If you are interested in writing drama, you may want to consider some of these tried - and so far, successful - tips:

1. Create empathy. Establishing a connection with the audience is important. I like to begin in tableau, with almost every character on stage, to create an amazing stage picture AND to develop that sense of empathy between actor and audience.
2. Beef up the tension. What works for me - and I try to create this dual threat on stage through staging elements - is to create two lines of tension and conflict. If you would look at a graph of the first line of conflict, it would be filled with peaks and valleys. Obviously, it keeps the audience guessing, but that wave of emotion helps tip #1 happen. Then, I like to use a secondary character as a means of conflict. Add this line of tension to the graph mentioned above, and you'll see a flat line of sorts. That's not bad, though! It means the tension and conflict is right there, always present, always a problem. Drama NEEDS drama!
3. Use the onion effect. One of my favorite movie lines comes from Shrek when the ogre is talking to Donkey and the convo turns into "I'm like an onion, you have to peel back one layer at a time. Do the same thing with characters. Strip away the outer shell and show the audience what makes the character tick.
4. Develop a timeline. Since the plays I've written follow current events/real-life true crime, I draw a timeline of actual events that can be incorporated into the play. Don't forget to add some pop culture elements. For example, in last year's play, I searched for hit music from 2001, viewed wedding pics from that time to see what trends were in style, and discovered Bratz dolls were popular. These tiny staging elements help solidify the overall effect of the play.
5. Come full circle. I tend to use flashbacks when writing drama. Why? It's an easy way to tie past events to the present. It also becomes an effective tool to use to wrap up the storytelling. In last year's production, the play began with five firemen rushing toward the Twin Towers. The audience heard their panicked conversation before the men entered the Towers. The play ended in the same way: the firemen stormed the stage and went into a freeze before entering the Tower. The circular motion keeps action moving.

If you enjoy theater and can't locate a script that clicks with your cast, why not try to create more drama and write your own production.

Then you, too, can join the Drama Queen ranks.

by LuAnn Schindler.  Read more of her work at http://luannschindler.com.

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3 comments characterization, Conflict, creating conflict, drama, LuAnn Schindler, staging elements, tension, writing a drama

Generating Suspense in Fiction

It happened. Again.

I picked up a new novel, excited to dive in, only to find myself disappointed almost from word one.

What was the missing element?

Suspense!

A strong sense of suspense snakes its way around you, through your mind (and maybe sense of reality), and pounces immediately.

Need to get a grip and add a tinge (or ton) of suspense to your WIP? Try these tips. They'll get the hair to stand up on the back of readers' necks and cause them to cheer for your characters!

1. Begin immediately. It's common sense, but think about the number of times you've read or written a scene that doesn't begin with tension. Instead, you (or the author you are reading) start with casual details, attempting to create backstory or establish setting. Face it. It's not working. So, why not jump right in and show what's wrong? One of the best examples I've read that begins building suspense from the first word on the page is Love You to Death by Shannon K. Butcher. (Check out my interview with Shannon.)
2. Develop empathy. Does character drive suspense or does suspense drive character? Until the reader feels a sense of empathy for the character and the impending conflict, the writer should be building suspense. Sure, the suspense doesn't have to pound you on the head; it can be subtle, but it should create a empathy, devise and spread a sense of understanding the motivation of a character. One of my favorite examples of a subtle use of suspense is in Caroline Leavitt's novel, Pictures of You. I read it in an afternoon sitting, crying while I read, because of the empathy I developed for one of the characters. 
3. Find the flow. Building suspense reminds me of listening to music. Action builds to a crescendo before it plummets to the abyss, then builds again, sometimes adding staccato, sometimes extending a whole note for an extra beat. Suspense thrives on flow and rhythm. Strong comedic pieces create  suspense, too, utilizing rhythm and flow to keep readers off guard. One of my favorite examples for establishing rhythm comes from author Claire Cook. Just when you think you've reached the pinnacle, her words take you to another level, and that gentle, lulling rhythm keeps you tuned in. Check out Best Staged Plans as an example.

These basic storytelling elements will add a strong, suspenseful presence that's sure to hook readers...and keep them coming back for more!

How do you create suspense? Suggest a novel that starts with a suspense-building scene.

by LuAnn Schindler

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2 comments creating rhythm, creating tension, develop empathy with character, empathy, generating suspense in fiction, LuAnn Schindler, suspense, tension, writing suspense

Where Should I Break My Chapter?

For my latest WIP, a middle grade fantasy novel, I tried something different in terms of chapter breaks. In the first draft, I didn’t use any. Sentences and paragraphs worked as they usually do and I inserted an extra line wherever I needed to indicate a passage of time or some such.

I didn’t do this because I intended to leave my manuscript chapter free. I did it because of my writing goals. While I was drafting the manuscript, I set a daily page goal. I know myself well enough to realize that if I finished a chapter and it was one or two pages short of my daily goal, I would probably stop for the day. My solution was to simply get the story down. I’d worry about chapters later.

I didn’t bother with chapters until I was well into the rewrite process. Doing it only after the plot was more or less set and I had my scenes in order, I was more aware of how I used chapters to break up my story.

Scene by Scene
Normally, each of my chapters is a separate scene. When I move on to the next scene, I add a chapter break. This works well because I tend to write scene-by-scene. Even in this manuscript some of my chapters begin and end with an individual scene. But as I inserted chapter breaks, I realized that this wasn’t always the best use of my chapters in terms of building tension.

Reversals
At the beginning of the chapter, my character always has a goal, something she wants to find or hopes to accomplish. But, as often happens in life, someone or something comes along and messes everything up. This isn’t a moment of physical danger. It can be as simple as getting a message with a key bit of information. Whatever it is, my character needs to set a new goal. My job is to decide which builds the tension – including that goal at the end of one chapter or at the beginning of the next.

Cliff Hangers
Sometimes my character is struggling to meet the goal that she had at the beginning of the chapter and she is put in danger. All of a sudden, the rope she is climbing breaks. Or, she’s supposed to be alone, and someone speaks behind her. Or an alarm goes off. When I pick a time like this to add a chapter break, I create a cliff hanger and drive my reader to turn the page to read what happens next.

As you work on your current project, look at how you use chapter breaks. Are you making the best use of your chapter breaks?

–SueBE
SueBE blogs at One Writer's Journey.

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1 comment chapter breaks, chapters, creating tension, tension

The Importance of Rising Tension in Your Story

The other day, my son discovered Maury Povich, and it wasn’t just any topic. This was “whose the baby’s daddy.” I decided to watch with my tween son and use the show to drive home a few cautionary points. What I didn’t expect was a lesson in building tension.

First, they would bring out the young woman. She would tell her story and swear up, down and sideways that the guy they were about to meet was the father and she was going to prove it. THE PROTAGONIST had a GOAL.

Then Povich would interview the “father” who would swear that there was no way the child was his. He became the ANTAGONIST.

This alone would just be a case of he said, she said. But the producers made sure we got RISING TENSION. One guy said the baby didn’t look like him. Another pointed out that she had pulled this before; he had proved the first baby wasn’t his. The ANTAGONIST has a GOAL that goes against the protagonist’s goal.

At last, Povich held the envelope with the DNA test in his hand – the TURNING POINT. Invariably the man in question was not the baby’s father. Why invariably? To keep the TENSION high, and, believe me, with the tears, screaming and name calling, there was plenty of tension.

As writers, you need to manage the tension in your stories as if you were a producer on Maury Povich.

Start with your PROTAGONIST. What is her GOAL? If you are going to use it to create tension, it has to be a big deal. What is at risk if she fails? She doesn’t have to look foolish on national television, but the bigger it is the more tension you will create.

There also has to be someone or something in her way. If you use an ANTAGONIST, vs. nature or time, your antagonist doesn’t have to be evil. His goal just has to be at odds with the goal of your protagonist.

Before the end of the story, you need to INCREASE THE TENSION. The reader could learn something about the protagonist that puts her goal in question. Or another character could surprisingly side with the antagonist. In some way, the protagonist must meet a REVERSAL.

This is where so many of us fall down on the job. We like our characters and don’t want to be the cause of their suffering. We make things too easy. We make things boring while Povich and his producers keep throwing more and more trouble into the mix.

Do this and, like Povich, you will keep your audience on the edge of their seat, shouting, cheering and maybe even booing. The one thing they won’t be doing is putting aside your writing to watch something on TV.

–SueBE

Author Sue Bradford Edwards blogs at One Writer's Journey.

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5 comments character goals, climax, plotting, raising the stakes, tension, turning point