More tension... never let a plot sputter

A good start to the story always has strong tension.

I would define tension in a story as words or actions that create an expectation that something will happen. It produces in the audience the need to know what comes next. It comes in different levels with multiple issues throughout a book.

This past week, book 22's opening was holding me up from writing past a certain point because it needed more tension. I had some tension in the story that started great but quickly faded so it wasn't enough for my expectations.

This is why in some of the books of Forgotten Worlds I start at a pre-climactic point and then go back (or back and forth) in the timeline to (usually a slow point) where the decision was made to start the characters down the path that led to that point, then the story reaches that opening scene and continues into the climax and denouement. In those cases, such story structures create two questions--how did this happen and how will the characters resolve it? This creates a strong tension immediately where it wouldn't have existed in a linear timeline. This can be confusing for the reader, but if done right works very well (such as adding a time stamp at each new scene or break so the audience knows where in the story the scene takes place).

This technique is a bit different than simple flashbacks. It incorporates flashbacks heavily but focuses on an earlier timeline to bring the story from a quiet beginning into the conflict of the present timeline. It is a true in media res start to a story; but to understand the progress, the audience needs to know the backstory to that point too and gets it in pieces as flashbacks at key points in the present timeline. I've liked it in many SF shows and sought to use it in writing some of these books. I don't like to use it all the time, or it loses its luster and becomes a crutch instead of a novelty; but I have used it in a handful of the books. (I'm expecting that Book 21 is the last book in this series to use that structure, and that one is all over the place, because it uses scenes from previous books in the series amid the structure of flashbacks explaining how L'Ni designed his plan.)

Most of the Forgotten Worlds stories have linear, normal flowing plots that open at the true beginning with some degree of flashbacks that aren't directly in the timeline of that particular story plot or other sequences (from the Starfire memories, a different type of flashback). In these stories, I need more standard writing techniques. That means a way to get reader's attention. Not every story needs to begin with a big conflict or risk of death. That gets to be too cliche. My goal is to keep the series moving while having some fun with the characters in any way I can but to introduce tension as early as I can.

By this point in the series, the readers know my style and the characters and series plot. I decided I could let my hair down a bit with the opening of Book 22... or it seems that way. I had some fun with the conflict that comes into play and the setup for the story. It creates tension, just not the life or death type that I have in many of the book openings. I hate slow stories, but other pieces of the lives of the character than fighting the bad guys all the time have developed.

The problem I had with the first few chapters was that the tension wasn't adequate for my tastes. It sputtered out. The rule I discovered in reading SF thriller books was to never let the reader completely rest on the down beats of the action. There must always be an unanswered question such as "Will it work?", "How will the characters resolve this?", "What did they mean by that?", and/or "Did that really happen?!" Always keep something unanswered and layer those so the reader is always hanging until the end.

In the opening of Book 22, events are misleadingly normal. However, by this point readers can expect in the series that what seems like a normal event won't stay that way for long. The interactions of the characters are fun and, as I mentioned in the last writing post, opened a big door for character development. But when that sputtered a bit, I felt it. It nagged at me.

This past week, I found an answer. I started rewriting a couple of scenes to bring in more conflict to increase the tension but then realized how much I would lose of the good stuff I wanted to keep. So, I moved the new conflict to a different point and added a bit to the older scene, all to increase the opening tension until I get into the big stuff, which is the only way to describe it without giving anything away. Now I feel like I have something to move the story forward again; the writing block is resolved. (This happens frequently while writing and at different stages of every book, but this time, it inspired an explanation using this particular point as an example of resolving the issue.)

Through all the writing and rewriting and organizing, the word count didn't increase as much as I would have liked, but after all of that, Book 22 is at about 11K words, or about a quarter done. I don't have a title for this one yet and probably won't until it's done. I'm waiting to see how the main theme plays out. Every book in the series gives me a few surprises.

Thanks for reading!