Imagine that you have two sticks held together by a rubberband.  If you add another stick, tension on the rubberband builds.  As you add more sticks, it continues to build until eventually it’s ready to snap.  When you stop adding sticks, all is well, and it all stays together.

In writing a novel, you start out adding conflict that causes tension.   As your novel progresses, the added tension grows to a very uncomfortable stage, eventually reaching a point where things can’t get much worse.   You continue to blast your story with conflict until the tension peaks.  That’s when it’s time to back off, you must lead your characters to a place where a conclusion can be reached and all is well. 

An important thing to remember is that the tension gets undermined when an unnecessary line is thrown in.   

I’m in the midst of revising Tessa and Claudine, my current novel about my two sisters.   I’ve spent some time reading over past workshop notes.  I was delighted when I found the great example from Johathan Rabb of the sticks and the rubberband and especially loved being reminded about undermining the tension.   

In the chapter I just revised,  Tessa’s sister, Claudine is about to get married.  Tessa doesn’t like Frank, her sister’s husband-to-be.  Actually, she can’t stand the guy and for good reason.  Should she tell Claudine why feels so uncomfortable around him?   It might ruin her sister’s future.  There’s plenty of opportunity for conflict in this chapter.   Now let’s just hope I can identify those uneeded lines.  If not.  Thank goodness I have great friends who critique for me.  We trade off reading manuscripts.  Sometimes it takes another eye to see what needs to be whacked. 

Good luck with adding tension to your own writing.  And be sure to cut out those lines that don’t move the story forward. 

Enjoy the springtime, Lisbeth

I’ve got more writing tips.  The good news is that there weren’t as many pen marks on my manuscript at the second workshop.  There are two things I want to pass along.

1.  Let the reader SEE the scene.  In other words, show don’t tell.  I know you’ve heard these words over and over.  But let me give you an example.  In my novel Tessa and Claudine, Tessa is in the hospital and her Dad shows up.  Sounds fairly normal, right?  But it isn’t because she’s sixteen and hasn’t seen her dad since she was a toddler.  Her parents are divorced.  She’s a mess after an accident, and she;s shocked when he comes to visit her.  He’s about to leave, and I jump in and tell the reader why he’s leaving.    It turns out that this is a bad move.  I need to let the reader see the scene instead.  It’s better to  show the action, indicate just what the Dad is doing at this point  — after all he has to feel uncomfortable around her.

2.  Next tip.  Do not undermine the tension.  Okay, now I have a tense scene going.  Tessa’s Dad has just left her hospital room, and she hears a loud commotion in the hallway.  It’s her mother yelling and screaming her head off at her dad for coming to see the daughter he barely knows.  I slow the story down by throwing in a line about how the nurses tell her mother to keep her voice down.  (My workshop leader says NO, don’t do that, “It undermines the tension.”)    The  mother needs to walk into Tessa’s hospital room as if the confrontation with her dad never happened.  Great advice, I think.

I’m learning a lot by having my work critiqued and by listening to the critiques of others.  Stop in after my July workshop for more  tips.

Right now I’m spending hours revising my novel, but hey, it keeps me out of trouble.  It’s good and hot here in Savannah, but I love it.  I think those summers  growing up in Southern Illinois without any air conditioning prepared me for the hot, humid South.  

Happy writing to one and all.  And safe travels if you are hitting the road this summer.

Lisbeth