Many beginning writers mistakenly believe they are creating tension when they withhold certain pieces of information, and that the reader’s desire to know more — to fill in those blanks — will keep us going. This is, quite simply, not true. Withheld information is far more likely to create within us feelings of great annoyance that the author is trying, with heavy-handed tactics, to manipulate us. Worse, much of the time the missing details keep us from becoming fully invested in a character’s well being.
Don’t misunderstand me. If you’re writing a mystery novel, where the point is to figure out whodunit, then you shouldn’t tell us who the villain is. What you should tell us, however, is *anything the viewpoint character knows*. In effect, we’re solving the mystery with the hero, following leads with him, uncovering clues with him, and falling into traps with him. It is fair game to withhold any information your point of view character doesn’t know. This is how you create mystery. But holding back information your POV character knows isn’t a puzzle for us to solve, it’s an obstacle to enjoying the story.
True tension comes from knowing exactly what is going on, and caring very deeply about the outcome.
Usually, the more we know, the more we care. Obviously, there are limits, but these limits are best defined by structure rather than a deliberate attempt to hide facts. If you don’t want us to know who the killer is, then put is in the head of someone who doesn’t know, and keep us away from the heads of people who do know.
Otherwise, give us details, and don’t hold back. I don’t want to guess that the reason your hero hates women is that his mother abandoned him as a child. Guessing makes me annoyed at best, hate him at worst. Knowing for sure makes me sympathize, and hope he will find a way to overcome his issues.
Multiple viewpoints, each providing new knowledge, can also increase tension in dramatic ways. If you have two characters with compelling but diametrically opposite goals, knowing the details of each will make my heart ache to see them find a way to each get what they want.
On the other hand, sharing the perspective of the villain, such as in the suspense novel, can increase my fear for the safety of the hero. If I know the villain is insane, and that he plans to stop at nothing to kill the hero, I will be on the edge of my seat to find out if he survives.
So fill our minds with knowledge, and trust that we will care about compelling characters going through interesting or tragic situations.
Many beginning writers mistakenly believe they are creating tension when they withhold certain pieces of information, and that the reader’s desire to know more — to fill in those blanks — will keep us going. This is, quite simply, not true. Withheld information is far more likely to create within us feelings of great annoyance that the author is trying, with heavy-handed tactics, to manipulate us. Worse, much of the time the missing details keep us from becoming fully invested in a character’s well being.
Don’t misunderstand me. If you’re writing a mystery novel, where the point is to figure out whodunit, then you shouldn’t tell us who the villain is. What you should tell us, however, is *anything the viewpoint character knows*. In effect, we’re solving the mystery with the hero, following leads with him, uncovering clues with him, and falling into traps with him. It is fair game to withhold any information your point of view character doesn’t know. This is how you create mystery. But holding back information your POV character knows isn’t a puzzle for us to solve, it’s an obstacle to enjoying the story.
True tension comes from knowing exactly what is going on, and caring very deeply about the outcome.
Usually, the more we know, the more we care. Obviously, there are limits, but these limits are best defined by structure rather than a deliberate attempt to hide facts. If you don’t want us to know who the killer is, then put is in the head of someone who doesn’t know, and keep us away from the heads of people who do know.
Otherwise, give us details, and don’t hold back. I don’t want to guess that the reason your hero hates women is that his mother abandoned him as a child. Guessing makes me annoyed at best, hate him at worst. Knowing for sure makes me sympathize, and hope he will find a way to overcome his issues.
Multiple viewpoints, each providing new knowledge, can also increase tension in dramatic ways. If you have two characters with compelling but diametrically opposite goals, knowing the details of each will make my heart ache to see them find a way to each get what they want.
On the other hand, sharing the perspective of the villain, such as in the suspense novel, can increase my fear for the safety of the hero. If I know the villain is insane, and that he plans to stop at nothing to kill the hero, I will be on the edge of my seat to find out if he survives.
So fill our minds with knowledge, and trust that we will care about compelling characters going through interesting or tragic situations.