| Most of the best sellers out there have mastered | | | | However, every once and while you must allow |
| one or more elements of fiction writing. Two of | | | | some down time in order to give the reader a |
| these elements are tension and conflict. In fact, | | | | rest. Too much tension and action at one time |
| some people like to read just because of the | | | | and for too long is tiresome. This may desensitize |
| tension and conflict good fiction creates in their | | | | them to the situation, making them want to skip |
| mind! | | | | to the next part. |
| In order to explain tension we have to realize one | | | | Otherwise, keep it coming. Pile it on--but keep |
| thing first. A story is about a character that | | | | track of what you're doing and don't write |
| wants something. She needs to get to this | | | | yourself into a corner. Always know how you're |
| something at all costs; she's willing to go through | | | | going to get your character out of it. If you don't |
| thick or thin to get to it or attain it. | | | | you may have to start over, or pull a Deus Ex |
| Conflict is the obstacle or obstacles that hinder | | | | Machina (which you don't want to do!). Make |
| the character from reaching her goal, from | | | | legitimate resolutions for the problems created by |
| reaching that thing she wants most in the world. | | | | the conflict in your story. Make the character |
| Tension is the doubt created in the character's | | | | solve them. |
| and reader's mind that the character may not | | | | A good example of excellent conflict and tension |
| make it after all. Tension is the feeling that | | | | maintained throughout a story is Orson Scott |
| something wrong is happening or will happen--it's | | | | Card's "Ender's Game." Every time something |
| what drives the reader to turn the pages. | | | | seems like it might go right, something wrong |
| You need conflict to build tension. Conflict comes | | | | happens, another obstacle or problem is added. |
| in many forms: the elements, a person | | | | Sometimes more conflict is added while the main |
| (antagonist), a beast or monster, a spirit, the | | | | character is drowning in the depths of his current |
| character herself--you name it, if it can keep the | | | | problem! |
| character from reaching her goal, it can become a | | | | In closing, here are things to remember: Give |
| conflict. | | | | your character a goal, then don't let her have it. |
| But not just any conflict will make your story | | | | Add the nastiest kind of conflict you can, and |
| gripping. If you want a page turner you need to | | | | keep it coming, but also allow for short breaks so |
| put your character up against the biggest | | | | the reader can catch his breath. Keep control |
| obstacles, throw her the nastiest stuff you can. | | | | over the conflict you add--make sure the |
| Really make the reader--and the character--doubt | | | | character can find a way to conquer it in a |
| what will happen. Make them hold their breath until | | | | believable way. |
| they get to the next page and find out what | | | | Master these skills, and people won't be able to |
| happens. | | | | put your stuff down! |
| And don't let up. | | | | |