I’ve been yakking about Ilona Andrews’s SAPPHIRE FLAMES since I finished reading it. The book and the writing have stayed me with a while. It made me think about a lot of different things. And tension is one of them.
Since I’ve been writing cozies for a while now, I’ve been working on making page turns rely on different dynamics than fighting terrible odds, supernatural monsters, serial killers, or ticking clocks. Cozies have a quieter tension–discovering clues and adding them up, ignoring red herrings, and discovering the killer before the protagonist does. Every story has to have conflict, but in cozies, it could be trying to worm a secret out of someone you’re questioning, trying to add up evidence to get closer to finding the killer.
One of the reasons I like writing Muddy River is because the tension is about trying to survive or help someone else survive. It’s about life and death. Ilona Andrews uses that kind of conflict in her novels, only she ratchets it up to almost every scene. And that’s the fun of reading her. I can’t turn the pages fast enough to see how her protagonists are going to survive another battle against an even stronger opponent. Muddy River doesn’t do that. There are battles, yes, but there “down” scenes, too, because I like the people and their lives and their dynamics together.
I like low-key tension as much as I like nail-biters. Literary tension might be the one I struggle with most. Inner conflict doesn’t grip me as much as it does my daughters. My younger daughter says it’s her favorite. Anyway, I’ve spent some time thinking about how to develop conflict and tension lately. And these are just a few of my random thoughts, nothing deep or momentous, just ponderings:
- Personal Stakes: In literary reads, the entire plot might revolve around a person getting to know who they are and what they want of themselves and life and struggling to get that. That internal struggle is what builds tension. For example, a book could be about an alcoholic who’s trying to stop drinking. No easy thing to do. It could be about an abused child who’s trying to live an ordinary life as an adult and overcome the fears and defense mechanisms she developed to cope. The emotional toll is high, and the stakes for finding happiness or even normalcy are high. But they aren’t life or death. The country won’t go into chaos if the hero doesn’t succeed. There’s no ticking clock. That’s why it’s personal, but we can all relate to them.
- Low Stakes: In romances, again, the stakes are personal. The tension is driven by emotions, people hoping to find love. Girl meets boy. Attraction flares, but obstacles get in the way. Can the two people overcome those obstacles and get together? Stakes are low in cozies, too. There’s a murder. There’s a good reason the amateur sleuth gets involved in solving that murder. He or she interviews people, looks for clues, and won’t be satisfied until he finds the truth. In both of these types of books, the tension ebbs and flows. It peaks when failure looms on the horizon, then dips when something new happens to advance the plot. These books have rhythms and often revolve around four turning points in the story. The protagonist might be in danger of failing to achieve his goal, but his life is rarely at risk. There are “soft spots” for the reader to land before the next push forward.
- Medium Stakes: I’d put straight mysteries in this category, adventure stories, some thrillers, and maybe most paranormals. There’s more action. There’s more possibility for physical harm. The cost of failure isn’t just emotional, but maybe getting beat up, stabbed, or shot, too. The person a cop or hero is trying to protect might die if the hero can’t stay a step ahead of the antagonist. The hero might die trying to protect him.
- High Stakes: Every chapter brings a new danger. There’s not one murder at the beginning of the book and maybe a second or third one later to keep up the pace. High stakes is when the protagonist and the antagonist fight it out from the beginning of the book to the end, and the protagonist’s life is almost always in danger. Often, there’s a ticking clock. Sometimes, the battle starts small–like in women in jeopardy novels–and escalates to the end. Always, the tension builds from the first chapter to the last. Everything intensifies. Often, the protagonist loses someone he’s close to or cares about. The stakes have to be high.
- Ilona Andrews’s Urban Fantasies: The stakes are off the chart. The opponents take off their gloves at the beginning of the book and duke it out over and over again until the stakes are so high, you’re wrung out by the time you finish the last page. And everything in the stories create tension: a. almost every conversation is fraught with tension. People disagree, argue, threaten each other, try to outmaneuver each other, and try to worm information from one another. b. romantic tension: the attraction between the protagonist and her love interest almost feels like sparring; the physical attraction is off the charts, but one or both of them resist it c. the clashes build bigger and more dangerous from the first to the final, BIG do-or-die battle.
No matter what kind of book you write, the stakes have to keep getting higher. The protagonist has to have more to lose. Unless you write humor. And in all honesty, I’ve never done it, don’t read much of it, and I just don’t know:) (Except I did read Mae Clair’s IN SEARCH OF McDOODLE and loved it). But whatever you’re working on now, good luck and happy writing!