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Showing posts with label Suspense Techniques. Show all posts
Showing posts with label Suspense Techniques. Show all posts

Sunday, November 11, 2007

Suspense Technique Contest: The Trail of Breadcrumbs...and the Winner is:


You probably thought I forgot about the Suspense Techniques Contest! Nope. I was just snowed under by a deadline. But now that I am up and breathing again, I'd like to announce the winner of the 5th Segment of the Contest: Trail of Bread Crumbs. This is when an author employs foreshadowing to hint at larger, more important events to come.

I know this was a struggle for many of the writers who frequent EtDW. But in the end, I think we ended up with some VERRRRY promising work. I could totally see some of these being published--that is, of course, if the authors can fill a manuscript with such high-caliber material.

Afters several reads, I must grant the well-earned win to...{waits for suitable drum roll and fanfare} {Beautiful wife Mary Lu hands him envelope, sealed with gold trim.} {Slowly, unbearably slowly, he tears at the seal.} {He yelps after enduring a level 5 Paper cut.} {Opens the envelope and clears throat}

And the winner is...
Everlasting Scribe

Here's her winning entry:

“Lie down ole bones, lie down”
“Lie down old bones, lie down,
Don’t you know that you are dead?
You are, dead and buried dead and buried,
And so you can not dance, no, you can not dance”

The words piped out, tangling the brightness with mischief, and seemed to scuttle along the before Mynasthoa. He frowned slightly, and left the shade where he’d been playing hide and find with the nooning brightness of Aledal’s suns. The intensity of the light rolled over him like honey filling up all of his senses and threatening to overload them. Mynasthoa took several deep breaths, blinking in the brightness, and the light finally gave up the disorientation slid away.

“Lie down ole bones, lie down”
“Lie down old bones, lie down,”

The rhyme he’d known in his childhood repeated itself in a breathy taunt, though it sounded as if it were coming from behind rather than in front as it had when it started. The singer had to be very near him.

Mynasthoa turned slightly as several people pressed pass him; there were two venders trotting behind their push carts of wares, headed to the scarlet awnings on the other side of the avenue to show their goods to those trapped there by the brilliance of the nooning hour, a man and two small girls that held hands tightly and ran along the near side of the street, perhaps looking for the other half of their family, and a pair of street artists running for cover their caps jingling with coins they’d earned from telling stories to the stranded shoppers.

No Aledalian child would be familiar with the chant, he ran a hand through his hair smearing his fingertips with grit and sweat, before giving his locks a gentle tug as if that would release the answer from where it was hiding in his mind. It wasn’t something that a merchant would sing; it was too provoking and rude to be found in a salesman’s mouth. No Talebearer would start off their roll of stories with something so archaic, stories of heroes and daring escapes and kings and princesses running afoul of luck and then having everything turn out well, were what people wanted to hear.

“Don’t you know that you are dead?
You are, dead and buried dead and buried”


Mynasthoa scowled and turned on his heel moving back under the protective awning but as he did so, his long coat brushed up against his back and then whispered out again as someone insinuated an arm between his ribs and inside coat pocket

“Stars take it” he swore and spun with the motion of the intruder, catching a wrist and yanking the thief hard against himself. Dust scuffled up from the cracked stone road, and he felt the gazes of the clustered citizens snap to him as his prisoner writhed and twisted.

“Ah, there will be no biting, for I will bite you back and you’ll go home with half a hand” he warned as the pick pocket lowed their head and he felt teeth set against his knuckles. There was a hoarse word and he laughed. “Manners now, manners. And I caught you out, so by law you owe me seven times what you took” There was a hard inhale from the small frame and then Mynasthoa’s leather courier roll dropped onto the ground. So that’s what they’d been after. Odd.

“Now that’s a start, much better one than trying to rob this old man” Mynasthoa smiled grimly “Tell you what, I’ll take what is mine and you keep what is yours and we’ll be friends. What do you say to that?”

“I’d say that you never were one for knowing what was yours and what wasn’t” the thief murmured. Mynasthoa’s eyes widened and the tension in his arms slacked on the other frame, just enough. The thief broke his hold and spun away from him, dipping down between his feet a moment to snatch the dropped papers and then she straightened, black hair fierce in the brightness and eyes that were too blue to be purple and too purple to blue looked straight into his own. She slipped the paper down inside her jerkin and straightened her arm. A cylinder twanged into her hand and she squeezed it, out shot two lengths of pole and she stepped to the side, twirling the staff through her long fingers. “I wonder though, dear Rulebook, if in our time apart perhaps finally you’ve learned how to dance.” He backed away, giving ground and fumbled for his own calibone as her collapsible one struck at his boot tips.

Wayne's Take:
Scribe, this is your second win. I'm wondering if you've got a future bestseller squirreled away here. Seriously, the foreshadowing you employ is top shelf. The old poem about bones and death serves to add historical authenticity, but you absolutely must have something planned for that later on. The dialogue also drops hints, I think. The supposed thief and the Mynasthoa have a history, and we readers are dying to know what it is. Brilliant stuff. Email me and let me know what book and for whom you'd like it signed.

Honorable Mentions to: Josh (okay, what lurks below deck?) Patrick (not really the overwhelming suspense--trail of breadcrumbs, per se, but just too good a story not to mention.) Eve (Love the potion concoction and the tension).

There's still time to enter suspense technique #6 and especially #7. I'm not quite sure "The What If Twist" technique came clear. Hmmm....

Write on!

-WtB

Tuesday, August 28, 2007

Suspense Technique #4, Frustration. And the Winner is:

Whew! A plethora of authors entered the contest on Suspense Technique 4: Frustration. {Uh, El Guapo, I do not think plethora is the right word.} Nevertheless, I've debated the winner of this one over and over. One of the potential winners was dripping with powerful suspense. I was reading it and everything got quiet around me...that's when you know you've got something good. But its main competitor made the best use of the actual technique.

So, it gives me great pleasure to announce the winner:
Pais Charos!

Pais, email me your snailmail and what book you'd like signed, and I'll get one to you as soon as possible.

Here's Pais' winning entry:

Laura raced down the stairs, envelope in her hand.

“Mom! I'm going to the post office, I'll be back in a few minutes.”

Her mom walked out of the kitchen, wiping her hands on a towel. “The post office? Why don't you just put it in the mail box and let the mail man get it tomorrow.”

“Because,” she grabbed her keys and purse from the table beside the front door, “It needs to be postmarked by today, or....” she glanced at her watch. 3:50! The post office closes in ten minutes! “I gotta go!” She turned, giving her mom a hurried wave and flew out the door.

She threw her purse and the envelope into the passenger seat of her car, strapped herself in, put the key in the ignition, and turned it.

Nothing.

Laura narrowed her eyes, and turned the ignition again. The car still wouldn't start. She sighed heavily and popped the hood , then flung the door open and walked towards the front of the car. Reaching in she grabbed the oil dipstick and pulled it out, looking at it. She scowled and rammed it back in, then slammed the hood closed. She looked at her watch again. 3:52.

Laura grabbed her purse and the envelope and ran back to the front door. She opened the door a crack and popped her head in. “Mom, my car won't start, can I take yours?”

Her mom's voice floated out of the kitchen. “Sure, honey! The keys are right there on the table.”

Laura grabbed her mom's keys and slammed the door shut behind her, running full speed towards her mother's car, parked right beside hers.

She sat down, buckled in again, and turned the ignition. The car purred to life and Laura smiled. She put the car in gear, and backed out of the driveway, then turned around and took off down the road.

A few minutes later, Laura sat at the second red traffic light. She ran her hands through her hair and rubbed the back of her neck. Only two traffic lights between my house and the post office, and they both had to be red. Her eyes darted to the clock. 3:57.

She scowled again, and glared at the red light. Turn green, turn green, turn green!

The traffic light changed to green, and Laura waited impatiently for the person in front of her to move, then followed it. She was on the homestretch, the final leg of this race to the post office! She smiled again. I might actually make it in time.

She turned the final corner, and pulled into the parking lot, just as her clock ticked to 4:00pm. She parked in front of the post office and looked up at the door with a heavy heart.

Closed.

Pais Charos: Using the time limit mechanism was genius. Nothing ups the frustration like feeling time slipping away. Every obstacle--each one annoying by itself--was amped to the next level with the addition of time. Cool.

Honorable mentions go to:

Patrick: devastating story hook. I was all over this. I'm still wondering how the king was beheaded. Hmmm...

Cecilia: If you'd given your protag something besides a birthday, something that she REALLY wanted or needed--something the readers could buy into--yours might have won. If she was looking forward to that night because her mother was at last due to be back in the castle after years of separation, and it happened to fall on the night of the attack--now what would have been gut-wrenching frustration. Still splendid work.

Amy: Brilliant stuff. He was trying so hard to get out of the kingdom and then to run into the boy with the mysterious past...awesome.

Thursday, July 05, 2007

Suspense Technique #3, Peril, and the winner is...


The 3rd suspense technique was PERIL. I was looking for authors to put their protagonists in danger, and not just the obvious "there's a piano suspended overhead" kind either. Some peril can be implicit. Some peril can play on your imagination and make you all the more frightful because of what you don't know.

The winner this time scared the bejeebers out of me. Way to not completely give away what the danger was, NICK, but your protagonist was definitely in some deep weeds.

Here's Nick's winning entry:

It was twilight, and the sunset sent red and pink rays dancing gracefully over the tops of the immense trees that made up the Great Forest. A lone boy was picking his way through the underbrush. He shivered. It had been a cold day, too cold for the middle of summer. He wore a patched and faded green tunic, brown leggings, and matching boots. The boy's name was Zech, and he was on a mission.
Zech was an unusual boy. Strange occurrences weren't uncommon around him. He had powers, unusual powers. He could do things no other mortal could. He could control weather, change objects' color, and move things without touching them. This is why most people, being superstitious, avoided him as much as they could. All of his life he had been mocked, laughed at, and made fun of.He longed for someone to understand, to be a friend. But no one would.
There was a brotherhood, one of thieves, swindlers, and assasins. Everyone knew of it, but none spoke of it. Even the guards ignored its existence. No one knew who led it, but it was said to be a shadow, quiet as a cat, and quick as lightning. Zech needed some friends, and he knew he would find them there. But how? The answer had come that morning, in the form of a note.
The note had been pressed into his hand by another boy, by the name of Troy. It had instructed him to be in the center of the Great Forest at midnight, and he intended to do just that.
He always had felt a little uneasy in the Forest. Maybe it was the how the forest seemed devoid of life, no light could reach through the thick canopy of leaves above. Or maybe it was the way his footsteps seemed to echo off of the bare tree trunks, filling his ears until he was sure even deaf Aggoroth, the town priest, could hear it. But for some reason or another, this time was different. This time, he didn't just feel uneasy, this time, he was scared.
With the note clutched in his fist, he blundered through the shrubs, thorns clutching at his skin and clothes. He fought on and finally reached the path through the forest. This would at least lead him close to the center. As he walked on, his spine began to tingle. A sense of dread washed over him like a surging wave of ice cold water. Someone's watching me!, He thought. He dove into a bush and sat there watching, waiting. But nothing happened, nothing attacked him. Finally, he reached the point where he must leave the path. Looking furtively behind him, he slipped into the trees.
Zech's feeling of dread slowly grew as he walked through the forest. The trees were only a few feet apart and it was night now, so he could barely see his hand in front of his face. All of his senses were on alert now, every muscle tense and ready to run at the slightest noise. The only noise he could hear was the pounding of his heart and his own breathing. He heard a low whistling high in the treetops. Suddenly, a strong wind whipped through the trees and yanked him off his feet, slamming him into the ground. A blinding light seared his eyes as he struggeled to stand. He saw an angel, clothed in white, standing before him.
"Zech, chosen one, favored by the gods, turn back, or all may be lost. Turn back!" And then she vanished.
That must have been my imagination, Zech thought. Or was it? Suddenly he wasn't so sure about this idea after all. Still, his desire for friendship soon won out over his caution, and he ventured on.
He reached the center of the forest. I made it, he thought. That angel was wrong, I'm fine, and I'm finally going to have some friends. Zech walked over to a tree and rested against it to wait for someone to meet him.
A half hour passed and nothing happened. The sense of dread slowly stole over him, like a tiger stalking its prey. Maybe that angel was right, he thought. I shouldn't be here. Suddenly, the darkness intensified and seemed to press in around him. He heard whispering, as if carried on the wind. There was a rustling in the bushes. Something big, something menacing, rose up slowly in front of him. He cowered against the tree. The prescence stalked purposefully towards him, and the whispering stopped. He opened his mouth to scream, but no sound came out.

Wayne's critique: I love how the suspense builds from the slip of paper being passed to Zech, through the sounds echoing, to the angel's warning (note: if an angel warns you to move along, do it...NOW) to the ah, I'm safe moment at the end, and the uh oh, maybe I thought I was safe too soon...Yipe! Nick you made some great choices about what to tell us and what not to tell us. I was right there with Zech wondering what was coming to get me. Suggestion: Don't give us Zach's biography. Don't tell us what his powers are. Show us. I suspect, in a longer story you would. But the way you've done it here puts the brakes on the mood you are trying to build. Otherwise--awesome stuff. Email me your mailing address, and I'll send you a signed copy of either The Door Within or Wyrm Lord Lost Chapters.

Honorable Mentions:

Pixy: Wow, if yours hadn't already been published, you'd have given Nick a serious run for the top spot. You have a bit of Tolkien's Children of Hurin in this. What I mean is, you put the reader in that delightfully horrible "No, no, don't do it! Please, don't do it!" position. It's gut-wrenching--and powerful. She was just teetering on the edge of oblivion and the poor love interest was desperately trying to get her to safety. You should take that scene and put it into the book manuscript somewhere--wow, I'd send that in a proposal package in a heartbeat.

SarmJorn: Sweet unknown stalker!

Scribe: Things that nest there--really creeped me out.

Amy: molten death--ouch!

JC: You get the OH, CRUD!! Award--you just knew the avalanche was coming.

Eve: Still love the dragonship concept--now that's wild!

Pais: Newcomer Award--your peril was very much a test of faith--a great concept for peril.

Well done all!

I'll post #4 winners after the Tour!

Never alone!


Friday, June 15, 2007

Suspense Technique Contest, Winner #2 is...

This was harder even then the first. After much thought, I narrowed it down to two entries. I decided on one, went to post, but then reread the other again and became torn. There were nuances in both that I couldn't shake. Both entries had characters displaying intense emotion and neither entry told me exactly why--thus, SUSPENSE!! Big time.

But, it's been long enough. I know as an author with a platform to speak, I need to be decisive, and so, I have at last made a decision on the winner.

The winner of the Intense Emotion Suspense Technique is...

It's a tie!

Amy & Scribe

Read their entries below:

Amy's:
The view from the upstairs balcony was of tangled and gnarled branches, parched grass, and the remnants of what was once the most envied rose garden in the entire county. Brach leaned over the rickety wrought iron railing, trying to catch a glimpse of the ancient oak that had once supported his boyhood tree house. It had all started there. As he stood in the warm evening air of July, at the back of the house his great-grandfather had built nearly a century ago, a slight breeze caressed his face. He could almost smell her on that breeze, a sweet flowery scent that drove a chill down his neck and back. He closed his eyes; he could see her face glowing in the sunshine as they wrestled on that very lawn so long ago. His heart began to ache; his legs lost the will to stand. As he collapsed to his knees, Brach felt that he would bleed from the pain of her absence. It was his fault she was gone; his fault her time on earth had been so short; his fault that he would spend the rest of his days alone. His breath came in great gasps as he fought against mounting sobs. Deep in his soul, he knew he had no right to mourn her loss. It was for himself that he wept. Brach swallowed his grief, and inside him, it transformed into anger and rage. Despising himself for his selfishness, he let out a roar of desperation that shook the loose panes of a nearby window. Shattering as they hit the ground, the panes of glass were yet one more casualty at the hands of a man who had caused more pain than joy for those he knew.

WTB's critique: Amy, this is intense emotion. I love how everything in the backyard makes Brach remember--but it's all so bittersweet. Great memories but all tainted with whatever he's done to ruin it all. "No right to mourn" is such a powerful thought. Feeling that way would be deadly hard. The self-loathing is palpable. Bravisimo!

Scribe's:
“It’s not fair!” I sobbed, pitching the inkwell. It exploded against the white rock wall and bled darkness over the smooth stones, “It’s not fair! I worked just as hard as he did! Harder even!” Wetness scorched my cheeks and I shuddered with the sobs “Do you hear me?” I tipped my head back and ran my shaking hands over my bald head “I am better than he is! Better! One day you will be sorry, so ruddy sorry that you left me here!” I shrieked as voices retreated. “One day he will fail you when need him the most and then you will wish that you had taken me but it will be too late, too late.” My knees buckled and I sat down, holding my head. “You’ll be sorry, you will be, you will be.”

WTB's critique: You begin and end with powerful resentment and, I think, lonliness. Your character has been left out...someone else chosen instead. Haven't we all been there? So readers will relate immediately--a very good thing. But this runs deeper in your character. He's been pushed by this neglect and is on the verge of something horrible. "You'll be sorry" is such a desperate, fear inspiring threat. I'm afraid for this fellow and his victims. But best of all, you leave us hanging on the root cause of the sorrow and anger. What has he not been picked for? Who has left him behind? Why is it SO important for him to be included? Coolness.

Amy and Scribe, you have my email. So send me your snail-mail and your preference of a DW lost chapters book--I only have The Door Within so far, but Wyrm Lord is on the way in July. Final Storm in August.

Honorable mentions:

Cecilia gets the Young Gun Award! I wish I wrote like that when I was 16. Wow.

Aravis gets the Promising Concept Award: Killer with the bells is bigtime creepy.

Eve gets the Post Me in Another Suspense Technique Award. Her entry literally was a cliffhanger.

Josh gets the Gutwrencher Award--talking about pulling the rug out from under a poor, unsuspecting character. Mannn...that's harsh!

I'm going to be away for a week in Ocean City, so I won't get to #3 for a bit.

Great Writing.


Never Alone!

-WtB


Friday, June 01, 2007

Suspense Technique #1: And the Winner is...

Wow, this was hard. So many cool story snippets to choose from. Many were artistic, displaying style and serious vocab chops. Most did indeed create suspense using Mystery as a tool. Having poured over the entries for Suspense Technique #1: Mystery, I did at last decide on a victor. And the winner is: Aravis! For this suspenseful entry:

Aravis said...

The wall was fairly unremarkable. It was stone; simple, gray stone. But there was something that the old man was interested in, for he ran his finger down the crack in front of him with a perusing gaze, trying to find something. There was not much to be heard; A mouse here and there, but whoever this man was, he was alone in a rather unsettling, dusty, narrow hallway.

He breathed in through his nose and tilted his back a little, causing his tweed cap to fall over his eyebrows. The man reached into a pocket inside his jacket and pulled out a small blue crystal, and then fitted it into a crack where four stone blocks met.

The crystal started to shine, reacting to the miasma in the air in the hallway, and then burst, breaking down the wall. The man brushed some dust out of his white mustache, and proceeded through.

Beyond the opening was not much, only some old copper pipes in a space the size of a small room. The man wasn’t too happy that he used one of his crystals to only make it to a maintenance room.

“Where are you…” he mumbled to himself, putting his hand to the stubble on his chin. He stood there, contemplating his situation, and then turned his back to explore further down the hall. Once his back was parallel with the wall he had just broken, a rush of air flew past him, with a sound like a giant breathing in. Light, too, drifted past him, and a shadow drifted forth from the room he had just left.

This man knew what was happening, and quickly turned around to see a figure of shadow.

“Johannes Wächter, not this time,” exhaled the figure of shadow, growing ever more solid, but it was still translucent, it was still the thing that Johannes had come here to find: a ghost.

The first three paragraphs here are electric. The old guy searching the wall for something the reader doesn't see or understand hooked me right away. The concrete description was perfectly visual. All the old man's motions spoke of his character. I felt I sort of knew him, though I hadn't a clue what he was looking for. And then the explosive blue crystal--very cool. Let's the reader know there's a supernatural bent in this story. All in all a very good hook. One constructive bit: the last line where you tell us it's a ghost...I don't think you need it. Your description tells us that. We're savvy readers, you know. lol We writers often are so determined to make sure that our readers "get us" that we tell them, when we should merely imply.
Aravis just email me your snail mail address, and I'll send you a signed copy of The Door Within Lost Chapters Edition. Oh, and let me know for whom I should sign it.

So many good entries…I want to recognize a few more just for unique features (no slight if I don't mention someone.)

Everlasting Scribe for the Best One-Liner "…noxious humans."

Eve for the Most Subtle suspense: the flight goggles and the disapproving father.

Gwenn for the best inner tension: What did Annek do? And what will happen when Maddie finds out?

Margaret for the "You piqued my interest award." Love the folksy feel to the characters, and I think you underplayed your hand a little. I think the library is going to be very interesting.

Josh for the "Oh, mannnn....someone is in a bad place award." Who is this sadistic "Mr. 9?" And what's going to happen to poor Cary?

If you're new to Enter The Door Within, definitely take some time and check out these entries! One of these folks could be on the bestseller list someday.

Sunday, May 20, 2007

Suspense Techniques Challenge: It's Winner Time!

For those of you who have been regulars around Enter the Door Within, you know that back in January, I wrote a little clinic series on how to add Suspense to your writing. I explained 7 Suspense Techniques that many authors use to keep their readers flipping the pages. The series culminated in a contest.

All writers had to do wastry the suspense technique and post their best {short} scene. Winners were due toreceive either a signed copy of The Door Within, Lost Chapters Edition or a signed copy of Isle of Swords.



I've let the contest sit for a good long time, but now, I've {finally} received my author shipment of Door Within, Lost Chapter Editions. So, beginning June 1st, I will start announcing the winners of each Suspense Technique Contest. I will reveal one winner per week. Which means...

There's still time to Enter!

If you are new here and didn't know about the contest OR if you've entered some but not all OR even if you've entered all the contest but have not submitted TWO separate entries, you can still enter. Just visit the links below for details and then POST your suspenseful scenes.

Suspense Technique #7: The What if Twist

Suspense Technique #6: Mood and Atmosphere

Suspense Technique #5: The Trail of Breadcrumbs

Suspense Technique #4: Frustration

Suspense Technique #3: Peril

Suspense Technique #2: Intense Emotion

Suspense Technique #1: Mystery


I won't say "Good Luck" because I don't believe in it, but
I wish you well in the contest. Now, don't just sit there...
Get Writing!


Thursday, April 05, 2007

Suspense Technique #7: The Best for Last

You ever hear an author or a teacher respond to the question: How do I come up with an idea for a story? So often, the answer--even from well-known authors and experienced teachers--is "Write what you know." Now that's all good, in theory, because it reduces the amount of research needed to pull off the story. If you play competitive beach volleyball, write about that. If you run a home business, write about that. Great. This suggestion may work well if you're writing nonfiction, but what about for fiction? Uh…well, not so much. Think about it. Most of what we know--the routines of life--are not the makings for a bestseller.

If you happen to work for a top secret branch of the government, sure, go for it. But most of us don't have that kind of background. Not to worry. Read on.

The final suspense technique in my arsenal I call "The What If Twist." No, it's not a dance that I perform around the computer before I write. Nor is it a specific bodily contortion that, once activated, allows more power to flow to the creative centers of my brain. It is actually a technique that I borrowed from Stephen King. Now, don't misunderstand me. I don't shoot pool with Steve on Wednesday nights. Never met him actually. But I've read lots of his work, and read still more of his writing instruction. If Stephen King has something to say about writing, it might not be a bad thing to listen.

Suspense Technique #7:
The What If Twist


King explained that he always gets asked where he comes up with his off the wall, macabre story ideas. He went on to explain about "What if." What if works like this: Take any normal everyday activity: Taking out the trash, washing the dishes, raking leaves, bedtime stories with the kids, etc. As I said above, these activities would rarely produce a bestseller. But apply the magic two words: What if? And something cool will happen. Just begin the normal, routine activity with "What if" and then come up with the wackiest, weirdest twist you can think of. Be a mad scientist and experiment. Write everything down--even if it sounds unbearably stupid.

Example: Take the routine chore of raking the leaves

Apply What if: What if while raking the leaves...

Twist it: What if while you were raking the leaves…you uncover a trapdoor that hadn't been there the day before?

What if while you were raking the leaves…you discover a map?

What if while you were raking the leaves…a tiny dragon escapes from a hole in the ground you just uncovered?

What if while you were raking the leaves…you find a skeletal arm?

What if while you were taking out the trash…a dark figure ran into your house?

What if while you were washing the dishes…a tentacle reached out of the drain and grabbed your arm?

What if while you were sharpening your sword…it began to sing?

Get the idea? This what if twist draws the reader into the story in much the same way that an accident scene on a highway draws you to look even though you don't really want to see. Readers will flip through the pages like crazy, hoping to find out, just what's going on.

Now, it's your turn. Write an opening line, paragraph or two that
will really hook us using The What If Twist and Post it here.

Once I have twenty or thirty of them, I'll have my veteran Quality Fiction Team {IE: my lovely wife and me} select a winner who will receive a signed copy of Isle of Swords OR
The Door Within Paperback with "Lost Chapters!"

Only two entries per person, so get crafting and submit them when they are ready!

Sunday, March 18, 2007

Suspense Technique #6: Snoopy May Be On To Something!

So far, our efforts to conjure up suspense have leaned mainly on things happening: characters in danger, something unknown or unexpected occurring, depriving our protagonist of his/her goal, etc. But suspense can be built in your descriptive elements as well. While Snoopy rarely got past his famous opening lines, I think even he understood that developing mood and atmosphere creates suspense.


Suspense Technique #6:
Mood and Atmosphere

Your goal is to describe things with a certain reader-response-emotion in mind. Foreboding, fear, anxiety, disquiet, anticipation, etc.--all ideally will keep your readers flipping the pages. This is why movies have soundtracks, right? Would Jaws have had you on the edge of your seat without "Duhhh, nuuuh, duh-nuh, duh-nuh?" And John Carpenter just about scared me out of my skin with his spine-tingling piano-key chiller in the movie Halloween.

But writers don't have the luxury of a soundtrack to put along with their words. Words are all you've got. Fortunately, words are more than enough to send the imagination spinning. An aside: this ability to use words to bring about an emotional response was one of the things that drew me to writing in the first place. I remember as a teenager reading Stephen King's Christine up in my bedroom and being scared to death. Now, Christine is about a deadly, demonic car…A CAR!! And there I was on the bed in my 2nd floor room--afraid of a car! What was Christine supposed to do…drive up the stairs and knock on my bedroom door?

Still, Mr. King created such a freaky atmosphere that I kept reading late into the night, and…I kept buying his books. To make a reader feel a certain emotion takes talent and skill--but more than anything it takes a willingness to experiment with language. Begin with the emotional atmosphere you are trying to develop. If it's fear, you could throw some dark, shadowy places into the scene. Maybe the hoot of an owl, the scrape of a blade on stone. Make it cold. Invoke as many of the senses as you can. If the mood is discomfort, make it hot, humid, and sticky. Let there be little gnats or mosquitoes buzzing around the protagonist's head.

Another mood-building trick is to make the most of end words (words that end lines, paragraphs, and pages. Here's why. The reader's eye lingers on the word at the end word of a line or paragraph for a few seconds while it does a return sweep (like an old typewriter drops down to the beginning of the new line). The reader's eyes linger even longer on the last word of a page because it takes the reader a moment or two to physically turn the page. The end word floats there in the reader's subconscious…where it paints a lovely mood!

Here's an example of Mood and Atmosphere from my next book, Isle of Swords:

Clouds gathered over Dominica, casting a pall on the stained glass window of the church in Misson. Brother Jerome, one of the monks who helped Father Espinosa care for Misson’s faithful, wiped the sweat from his brow and continued sweeping the stone walk that divided the graveyard behind the church. Father Espinosa, of course, had gone to help fight the fires that sprang up all around what remained of St. Pierre’s mill. And that left Brother Jerome alone in the graveyard. Not that he was afraid to be there alone. After all, Jerome was in the prime of manhood, strong and confident. And it was, in spite of the new cloud cover . . . daytime.

Brother Jerome stopped sweeping a moment and adjusted the collar of his brown robe. The stone walk before him stretched over a hill and followed the graveyard down into a semi-wooded hollow. Brother Jerome swallowed. Wisps of smoke had drifted down into the low-lying areas and now curled slowly around the skeletal trees, the ever-staring statues, and the looming monuments. “Ah! Ridiculous pagan superstition!” he scoffed aloud, finding the sound of his own voice a little bit comforting. “It is nothing. Smoke from a dozen little fires being put out.”

He continued sweeping, whistling a favorite hymn, as he worked his way over the hill and down into the hollow. It seemed to grow quieter as he descended. The gloom deepened as well as he worked his way down the stone walk that wound under the canopies of trees and ended near the shadow of the higher hills. Brother Jerome looked back up the hill to the church, which suddenly seemed a hundred miles away. Feeling as if someone were watching him, he spun around. But the only thing there was a stone angel. She guarded a grave site with outstretched wings. Her large blank eyes made Jerome shiver. Calm yourself! You’ve been down here a thousand times, he told himself.

Then, he heard a short scraping sound—like stone grating against stone. Brother Jerome wheeled around holding up his broom like a weapon. He looked at a large stone sarcophagus just ten feet away. The name engraved there identified the deceased as Jourdan Sebastian Prewitt. Born 1659. Died 1712. Dead only a few years, thought Jerome. The inscription along the side of the stone coffin was in Latin. Thanks to the expert teaching of Father Espinosa, Jerome could read Latin very well. Just this once, he wished he hadn’t been such a good student. The inscription read: Venio cum gladio de mortuis.

I come with sword from death. Jerome started to shake. He heard the scraping sound again. This time longer. And he noticed the slab lid of the sarcophagus had shifted. Then, he heard an otherworldly voice, spoken from far away and yet, still near.

“ . . . waited long enough,” said the voice, heavily accented in French. Jourdan Sebastian Prewitt, thought Brother Jerome. That is a Frenchman’s name!
The stone lid began to move. He could now see a dark gap where the slab had moved away. Tendrils of dust drifted out and curled like fingers around the sarcophagus. “Time to escape this foul tomb,” said the voice. “Time to rise . . .”

Now, it's your turn. Write an opening line, paragraph or two that
will really hook us using Mood and Atmosphere Post it here.

Once I have twenty or thirty of them, I'll have my veteran Quality Fiction Team {ie: my lovely wife and me} select a winner who will receive a signed copy of Isle of Swords OR
The Door Within Paperback with "Lost Chapters!"

Only two entries per person, so get crafting and submit them when they are ready!

Saturday, February 24, 2007

Suspense Technique #5

You ever play the Hot & Cold game? A friend hides something in the room/house while you aren't watching. Then, you begin the hunt. As you travel, your friend calls out warm, warmer, hot, hotter, hottest, red hot as you draw near to the hidden object or cool, cooler, cold, colder, coldest as you travel father away. There's a ton of suspense and anticipation in this game. You follow your friend's prompts like a trail of breadcrumbs, all the while trying to guess where the object is hidden. If that could be done in your writing, imagine the suspense you could build. You place a winding path before the readers and leave a trail of breadcrumbs for them to follow. Suspense Technique #5 is:


The Trail of Breadcrumbs

The technical/literary term for this technique is foreshadowing, literally meaning to cast a shadow of something yet to come. You want to make the shadow indistinct, so that the reader won't know for sure what it is, but…they can and will guess. And whenever you can get your reader making inferences and predictions, you will draw them in. Think about it this way: your reader wants to be clever, wants to figure things out, and wants the payoff to a) discover they were right or b) have the author fool them in a really surprising (OH, I didn't see that coming) kind of way. You, the author, drop a trail of breadcrumbs for the reader to follow.

There are many ways to pull off this technique. You can have a detail, a character's softly spoken words, a prologue, etc. stand out like a sore thumb from the story at large. The Movie War of the Worlds (Tom Cruise version) begins with this very odd microscopic view of water droplets (voiced over by Morgan Freeman, I believe). And at the beginning of the movie, you find yourself wondering, "what was that all about?" Then, at the end, you discover that water (or was it germs in the water) kills the alien invaders.

Another way is much more subtle…a hint dropped early in the story that comes to fruition. I loved Gandalf in the Mines of Moria telling Frodo, "For good or ill, Gollum may still have a part to play in this tale." Boy did he.

I am a big fan of this technique and attempted to use it heavily in The Door Within books. In Book 1, the reader discovers that Falon (and all mortiwraiths) must remain underground because exposure to sun or moon will kill all of her race. But…if something could cloak the sun and moon, then lookout! And in book 3 we see Falon unleashed. The who first chapter of The Door Within is massive foreshadowing for the climax of the series.

Because you use this strategy a little at a time, spread out over the course of your story, it's a little more difficult to pull off in a short text example.

"We're all friends here," said Kellen the Storm Leader. "Most of us have fought and bled together. I do not believe the traitor is among us."

Nods were exchanged throughout the circle of warriors assembled in Gale Keep. But so too were uncertain glances. Suspicion still lingered and, like a slow acting poison, it threatened to weaken the group. If not for Kellen's unassailable will, they would have foundered long ago.


As they funneled out of the keep, every knight met Kellen's gaze and returned his grim smile. But Vesyr kept his interaction with the Storm Leader short, hoping Kellen would not notice the slight twitch that had developed under Vesyr's right eye.


YOUR TURN: Create a story excerpt where you drop a trail of breadcrumbs for readers to follow. Two entries per person. The author with the best use of Suspense Technique #5 will receive a signed copy of either Isle of Swords OR The Door Within, The Author's Cut!

Saturday, February 17, 2007

Suspense Technique #4

I don't know what kind of person you are. Maybe you're easy going. Things just roll off your back. Something doesn't go your way…no sweat. There's always the next time. Not me. Now in general, I am pretty easy going. I am a good listener. I'm calm. I rarely get so upset that I yell and scream or any of that. But when I set my expectations on something and it doesn't pan out…awwwwww shucks. I'm as mad as a hatter. I rant. I rave. I tell you if there's something I'm after I put "missile lock" on it and anything that gets in my way gets vaporized. I'm like a bull dog clamping down on a bone.

So why do I bring this up? Cheap therapy, you say? Well, maybe. But I really was just trying to preface the next Suspense Technique:

FRUSTRATION

The whole expectations thing is pretty universal thing (maybe not to the degree I experience), but by and large when people set their hopes on something and it doesn't happen, we hurt or we get angry or in some cases, we try to get even. Heh, heh, heh.

When things don't meet our expectations, we get FRUSTRATED. Folks, this is the heart and soul of suspense. And not just at the beginning to hook the reader, but throughout the story to keep them hooked.

Here's what you do. You make it clear that your main character has some kind of goal he/she wants to achieve. Then you put every obstacle you can think of in the path of sed character to frustrate his/her efforts. You get to play God with the "smite" button as in the famed Far Side cartoon. Remember the golden rule of fiction: Just when you think it couldn't possibly get any worse for the main character, you make it worse.

But be careful. You can overdo this one. Every so often you throw your main character (and the reader) a bone. You let them have just a taste of fulfillment. And then…you yank the rug our from under them, and make them turn the page.

Here's an example:

There she was: Alison Wingate. She always walked home from school with the same group of her girlfriends. But at the corner of Maple St. and Elvis Lane, she always bid her friends a fond adieu. Six months, Bryce had planned it--since the beginning of summer. He'd had a crush on Alison since the 7th grade. Now they were seniors. And she'd finally dumped that meathead football player, Jake Thunder--butt or whatever his name was. Now was Bryce's chance. Every aspect of his plan had been meticulously mapped out. Nothing could go wrong.

Except that it could. Alison turned the corner, and Bryce stepped out into the sidewalk with the dozen exotic purple roses he'd ordered. But when Alison turned the corner, she wasn't alone. One of her girlfriends was still with her. Oh, no! Not Becky Snodgrass! Bryce looked at the roses and up the sidewalk to Alison and Becky. What if Becky thought they were for her? She would think that too. Becky had slipped him a most disturbing note during newspaper class. Bryce freaked. But what could he do? He saw Alison look up. Did she see him? He wasn't sure.

Roses and all, he dove into the bushes…and put his elbow right into a hornets nest. The black and white bees streamed out in an angry flood. He felt their stings even as he tore himself free from the bushes. Screaming, he came through the other side of the hedge, saw sparkling water and leaped for it.

He plunged deep into the swimming pool. The bees drowned but they stung him a few more times for good measure before they died. Bryce finally came up from the water and found himself face-to-face with a pit bull.

This is the 4th Contest in the Suspense Techniques Series. Come on, you know you want to make your characters miserable. Have at it. Winner gets either a signed copy of Isle of Swords or Door Within extended dance remix. ;-) Btw, I have not judged the previous entries. I'd still like to see a few more authors get involved first. And I use author correctly. Published or not yet published, you are authors.

Sunday, February 11, 2007

Suspense Technique #3

The term "cliffhanger" embodies the concept of the 3rd Suspense Technique. It brings to mind visions of a main character (Sylvester Stallone, maybe?), dangling by one hand from the edge of a precipice. One wrong move, even a breath of wind, and your hero will plummet to a most unsavory death. And unlike the Coyote in the Roadrunner cartoons, this death will be pretty final. ;-) And on TV, the words "To be continued..." usually pop up at the worst possible moment leaving the main character in his/predicament (and you the viewer as well) until the next episode. Putting a character in peril is a great way to hook your readers. The 3rd Suspense Technique:
PERIL
Certain genres are more conducive to this technique. Fantasy is certainly wide open for it. There are a couple of ways to pull off peril. One is obvious physical peril--an unsuspecting lass walking beneath a falling piano, a young guy racing his motorbike towards a gaping chasm, or as in The Door Within, a young hero being chased by a bad guy with two pointy swords.

There are also subtle ways to create peril. What you do is create implied danger. A menacing shadow, a stranger following the hero but staying just out of sight, the doctor looking at the hero's test results and shaking his head. I like this kind of danger because it allows the reader's imagination to go crazy. Lovecraft, the father of modern horror was a master of this. The villain you don't see is often scarier than the one you do see.

Here's an example:

1. Rachael stared at the gray expanse before her. Now that the bridge was destroyed, the web was the only way to cross the gorge and rescue her baby sister from the Varlocks. Rachel knew the web was strong enough to bear her weight. But, if it came to it, Rachael would gladly accept a quick fall and a painless death, smashed upon the rocks below. It was the alternative that concerned her more. The spider rumored to cling inverted beneath the web, waiting for the vibrations of something edible prancing upon her web--that was the fear. For death in the webs of this creature would mean long and slow, endless pain, as the creatures digestive fluids, cell by cell, consumed Rachael's flesh. Rachael clenched her fists and stepped out onto the web.

The contest and reward are the same for this technique. Good luck.

Thursday, February 08, 2007

Suspense Technique #2

Tonight's suspense technique is in one aspect related to Mystery. In fact, when you think about it, all suspense techniques begin with a kind of mystery.

Tonight, we take a look at the suspenseful power of:

INTENSE EMOTION

Suppose you're walking through a park and come across a little girl sitting on the curb and sobbing uncontrollably. What's the first thing you'll ask her? "What's wrong, sweetie?"

Okay, maybe "sweetie" isn't your style, but I bet you'd still ask her what's wrong. It's only natural when we see someone experiencing some intense emotion to wonder why? For this technique to work, you begin your tale with a main character exhibiting an intense emotion. It doesn't have to be sadness. It can be any emotion at all. Just make it intense. Intense anger, intense fear, intense anxiety, intense joy--Intense! And, as always, remember to show not tell.

This type of hook works because the reader wonders WHY the character is so happy, sad, angry, etc. The reader reads on to find out.

Here's an example:

1. Detective Black glanced back over his shoulder. His partner--for once--had been true to his word and driven away after dropping Black off. A cool wind whispered through the pines and pulled at the last brown, shriveled leaves that fall had not claimed from the oaks. Black navigated the stones with detached familiarity. He'd been there enough, but he was not at home there…never would be.

Black's knees buckled as he walked around the hill. He saw the stone. He saw the dates. He saw the name. He swallowed back his guts and approached the site. He pulled a small brown mass from his coat. It was a little stuffed bear wearing a football helmet. He gently laid it by the stone. I very like that, Daddy, he would have said. No strength could hold back the torrent. He fell to his knees and embraced the stone. His body wracked with sobs. He choked, trying in vain to say his name.

Feel like you've got the hang of the Intense Emotion Suspense Technique?

Now, it's your turn. Write an opening line, paragraph or two that
will really hook us using Intense Emotion. Post it here.

Once I have twenty or thirty of them, I'll have my veteran Quality Fiction Team {ie: my lovely wife and me} select a winner who will receive a signed copy of Isle of Swords OR
The Door Within Paperback with "Lost Chapters!"

Only two entries per person, so get crafting and submit them when they are ready!

Wednesday, February 07, 2007

Suspense Technique #1

Suspense Technique #1 of 7

I begin with a golden oldie, tried-and-true, and probably already familiar to you:
MYSTERY
This type of hook has been around since the dawn of fiction, but if anything, it has only become a more potent force with age. Mystery simply means to show the reader a glimpse of something enticing, but not tell them what it is…yet.

Mystery fiction and thriller fiction often begin with a crime: a theft, a kidnapping, a murder. There are interesting clues left at the scene (or no clues), but the case is as of yet unsolved by the detective/ protagonist--and especially not by the reader!

But to employ this technique, you don't need to be writing a traditional detective story within the mystery genre. You can hook the reader with mystery in any genre you write. Just begin the story with something that is unknown to the reader and make it as alluring as possible. And try to do this right at the beginning of your tale. Here are some examples of how mystery might be employed in the opening lines:

1. The voice on the other end of the phone was frantic, breathless…urgent. "Go! Go now!" he said. "It's locker 44 in the basement of the train station."
"I don't understand," Margaret said. "How does this involve me--?"
"Shut up!" said the voice. "There's no time. Go now. If the others find out you have the key, they'll do anything to stop you."
"I'm calling the police," Margaret said, wiping tears away. "I'll give them the key."
"I wouldn't blame you," said the voice. "But if the police go to that locker, they won't find what you can find if you go RIGHT NOW. Margaret, I'm begging you. Go to the locker now. If you don't, you'll miss the one chance to change the way you are. You know what I'm talking about…don't you, Margaret?"

Okay, so here we have mystery on several levels: a) what in the world is in the locker? b) who is this person on the other end of the line? c) Who else is after the key? d) What is it about herself that Margaret wants desperately to change? e) And finally, how will whatever is in the locker help Margaret change?

Here's another:

2. Zach knew better than to upset his grandfather. The guy was pushing seventy, but he still had broad shoulders and those ridiculously swollen forearms from thirty some-odd years working as a blacksmith. His temper, like the hot coals in his forge, was not to be trifled with. Still Zach wanted to know, and for the first time in a hundred visits to Grandpa's house, the old man had left the storm doors unlocked.

A little more subtle here. a) Zach knew better--how? b) What did Zach want to know? c) Why had Zach's grandfather kept the storm doors locked? d) And what is down in the storm cellar?

Last one:

3. "Get him out of here!" commanded Nazlund, pointing through the window at the approaching shadow of Lysander on the front walk. For a moment, Isabelle thought Nazlund might conjure a lightning bolt, but thankfully, the guards ran to the door and intercepted Lysander.
"Troublemaker," Nazlund muttered.
Isabelle nodded. That's exactly what Lysander was. The nerve of that old wizard scaring me like that. "Beware of the child you carry," he says. How dare he--"Oh, OH!! It's happening. Ah, the pain! Help me!"
Nursemaids flew into action, and Nazlund stepped aside to let them work. "Bear down, m'lady," said one of the maids.
"Here it comes," said the other.
Isabelle grunted and pushed with all her might. She could feel the pressure, and then…a sudden release. The room went silent. The nursemaids stared. Even Nazlund backed away.
"What?" Isabelle cried. "What's wrong with my child?"

Yike, every mother's nightmare. The mystery here includes: 1) What does Lysander the wizard know about Isabelle's child? 2) Is Nazlund the one Isabelle should be listening to? 3) And of course, what is wrong with Isabelle's child?

Feel like you've got the hang of the Mystery Suspense Technique?

Now, it's your turn. Write an opening line, paragraph or two that
will really hook us using mystery. Post it here.

Once I have twenty or thirty of them, I'll have my veteran Quality Fiction Team {ie: my lovely wife and me} select a winner who will receive a signed copy of Isle of Swords OR
The Door Within Paperback with "Lost Chapters!"

Only two entries per person, so get crafting and submit them when they are ready!

Monday, February 05, 2007

Suspense...

Suspense is the key to getting published. Agree?

Consider that the average editor is inundated with hundreds--maybe thousands--of manuscripts every month. How much of each manuscript do you think editors have time to read? I've heard from several editors* that they'll read the first paragraph, first page, or maybe as much as the first chapter. That's all.

Unless…you hook them.

To hook the big fish, you need bait. The universal bait for fiction is SUSPENSE. Suspense taps into the 2
nd most powerful human force: curiosity. Remember around Christmastime when you were little. If your parents told you not to look under their bed or in the hall closet, what's the first thing you want to do? Hmmm...

You need to do the same thing to the reader. Make the reader yearn to turn (the page, that is.) You must make your story stand out from the rest, and a suspenseful first paragraph, first page, first chapter…will do just that.

Consider the following two openings. Which would you continue reading?

#1 Adrienne was a very friendly twelve-year-old girl. She lived in suburban Maine with her mother and father and three brothers. She had wavy, strawberry-blond hair, a flurry of freckles, and a girl-next-door smile. She was left-handed and considered smart for her age. Her room was a bit of a mess but nothing like her brothers'. There were times when she liked to draw or play games. But mostly, she liked to sleep.

#2 Adrienne sat bolt upright in bed. It was the dream again…each one more real than the last. And this night topped them all. She'd felt it--his hand on her shoulder. She could still feel the cold fingernails as they slid across her skin. She shivered in the silence…until CRACK! Adrienne jumped. It sounded like one of the tall oaks outside had lost a limb. Slowly, she peeled back the curtain and looked out into the night.

I'm guessing you'd probably keep reading number two. I know I would. Why? What's the difference. Author #1 began with character building--not a bad thing, but in a big lump, at the beginning? Deadly. Author #2
front loaded suspense, figuring if you keep turning pages, you'll eventually get to the character building anyway.

So, how do you build suspense? For each of the next several days, I'll post some of my favorite
suspense techniques. Until then, {ahem} I'll keep you waiting. ;-)

*And, of course, that's jumping the gun a bit because before your manuscript actually gets read by a publisher, it will have to be read and accepted by an agent. Agents will often read a little more.