Writing Concept: Micro-tension

I attended a writers conference last week at which an Early Bird session was offered. Donald Maass presented an information packed workshop based on his must-have books on craft: Writing the Breakout Novel and Writing the Breakout Novel Workbook; and his newest, The Fire in Fiction.

Because it's easier for me to begin to understand a concept by sharing it with others, my plan is to write a few posts here centered around what Maass says is "the secret for making a page turner."

My notes say: Micro-tension: The line-by-line tension that carries the reader. Makes them momentarily apprehensive, anxious—enough to make them read the very next line, and then the next.

Maass says in The Fire in Fiction: Micro-tension is the moment-by-moment tension that keeps the reader in a constant state of suspense over what will happen, not in the story but in the next few seconds. It is not a function of plot. This type of tension does not come from high stakes or the circumstances of a scene. Action does not generate it. Dialogue does not produce it automatically. Exposition—the interior monologue of the point-of-view character—does not necessarily raise its level.

I often hear writers talk about authors "getting away with" breaking the rules. Opening with weather or landscaping, dumping backstory when we all know it's supposed to be sprinkled like a very rare, very pungent spice throughout the story, but not before page 50!

Maass says that when you don't have micro-tension, the reader is likely to skim. Too much skimming and you've lost them forever. When you do have micro-tension, you can get away with anything.

From Fire: . . . micro-tension has its basis not in story circumstances or in words: it comes from emotions and not just any old emotions but conflicting emotions.

I hope to sort through this with you over the next few days as I learn about tension in dialogue, action and exposition, and try to apply it to my own writing.

Stepping off the cliff now . . .

CR: Identity Crisis by Debbi Mack

It's all better with friends.

The Rewrite Process

One of the things every writer needs to figure out is the process that works for them.

How much needs to be worked out in the beginning? A detailed plot, or a vague concept? Characters? Setting? GMC?

Is organization tactile and/or visual, or does the work flow so quickly organization is unnecessary?

What to research first, what as the story is being written, and what can wait for later?

I think the reason one writes in order to learn how to write is as much about finding process as it is about learning craft.

Here's what seems to be working for rewrites at the moment:

I write in scenes rather than chapters. Scrivener (the writing software I LOVE and the driving reason behind my getting a Mac) let's me color-code POV's and save all of my scenes in a binder. By writing in scenes, I can shift them around and easily insert new ones that support my sub-plots.

I printed out my entire SFD. To rewrite, I grab a chunk of it to rewrite the scenes and form chapters—two at a time. (Six done today!) I have a notepad to remind myself of things that need to be tied up and then make the changes in the Scrivener program. My notes are outrageously messy. Ruled paper? What's that for?

Another printout, another review, and a ship to my critique partners for their input.

After this is done, I envision it sitting for a week or two, then a final read-through on my own.

That should give me enough time to have a polished manuscript for the full I'm just sure will be requested at some point after the sit-downs I've got scheduled with agents and editors next week. (From my lips . . .)

OT: Had a wonderful, romantic trip to San Antonio with the Love of My Life to celebrate our anniversary. If you haven't been to the Riverwalk, put it on your list. Just be sure and go during the week, and avoid holidays.

CR: Paranoia by Joseph Finder on my Kindle and loving it. (Marketing note: This was a free download for a period of time as Joe had a new book releasing. He certainly has a new fan in me.)

It's all better with friends.

On Becoming a Pro

Yesterday I felt like a professional writer.

Not because the writing flowed. Not because I received a check in the mail. Not because my critique partners were left in puddles of awe over my writing.

Yesterday I felt like a professional writer because I worked on my rewrites.

I was tired and I worked on my rewrites.

If I could take naps (oh, I wish I could take naps) I would not have taken one. I would've worked.

Because I'm learning how to be a professional writer.

I write when I'm inspired, and I see to it that I'm inspired at nine o'clock every morning.

~PETER DE VRIES

CR: Prime Time by Hank Phillippi Ryan.

It's all better with friends.

I Solemnly Promise . . .

I had a meltdown yesterday.

Working on a particular section, I needed to confirm something (I can't remember what) and skimmed some upcoming scenes.

Suddenly, it appeared that the character I'd just written about, who was standing up and everything, was in the hospital with a concussion. What!? I panicked. I looked again. Yep. There he was. All banged up and not a doppelganger. Crud.

My rewrites screeched to a halt while I tried to figure out the best way to proceed. Forcing myself to take some kind of action aside from pacing and gibber-jabbing, I sat down to organize a plan. I read through the hard copy carefully and discovered I wasn't whacked, just wicked. My poor character. {evil smile}

The barest of outlines would've saved me so much time and frustration.

Thanks to my new Twitter friend (I cannot call them tweeps), Glynes O'Connell, I was reminded of something I should have paid attention to. I wrote about a wonderful method for putting a manuscript together, and then promptly buried it. Sheesh.

Next time? At the very least, there will be an outline. I swear.

CR: Prime Time by Hank Phillippi Ryan.

It's all better with friends.

OT - Duck Tales

A quick update on my friend Deborah, who happens to be a mallard duck.

I called the rehab center (where she's been taken care of for almost three weeks) this afternoon to check on her status.

They told me she's fine, she's eating, but they won't be releasing her back to the wild because of her jaw. One of the people who either works or volunteers at the center (who's name, coincidentally, is Debbie) will continue in a guardian role.

I'm still trying to determine the level of my sadness.

All I've been able to figure out for sure is that spring will never be the same at the Brantley Duck B&B.

Back to rewrites.

Just finished Deception by Randy Alcorn. I'll begin Hank Phillippi Ryan's Prime Time sometime after prime time.

It's all better with friends.

Behind the Mask

Even suspense novelists understand it's not all about the plot. Me included.

The question is how can I create memorable characters who are multi-dimensional right out of the box. Characters who respond and act in a consistent manner based on who they are at their core—behind their masks.

On the recommendation of some multi-published suspense novelists, I purchased a DVD series by Michael Hauge (author of Writing Screenplays That Sell) and Christopher Vogler (author of The Writer's Journey).

The Hero's 2 Journeys is available directly from the makers, and right now the DVD version is on sale. I'm a visual learner (even though we're talking a static camera in a classroom setting), so that was important to me. The course is also available on CD.

Let's pretend I'm developing a central figure in a walloping good story. To make my protagonist an interesting character, someone worthy of a reader investing their time and hopes in, that character must have experienced a wound.

And the wound needs to have been inflicted prior to the opening sentence of the story.

A wound can be one catastrophic event (death, rape, loss) or it can be something endured over time (bad foster homes, belittling, incest).

For protection, my character will create an identity for themselves that keeps them safe. An identity that they hold on to up until the Point of No Return. A mask that must be ripped off in order for them to be fully realized. An exterior facade that must be killed in order for them to go from Identity to Essence.

This process goes hand-in-hand with the outer journey of your hero.

If you're feeling the need to take your character awareness to the next step, this is a series you want to check into.

CR: Deception by Randy Alcorn.

It's all better with friends.

TOOL TIME FOR WRITERS

If you're not already using Google Alerts to let you know whenever your name shows up on the Internet, now would be a good time to start. I get kind of a kick out of it, and set up an alert for my husband's name as well. Unfortunately, there's another guy out there who shares his name, and I need to weed things out from time to time.

Recently, I learned some other good uses for Google Alerts and wanted to share them with you.

Although the town in my manuscript is fictional, it's very near Aspen, Colorado. As a native, I've been to Aspen a number of times, but I don't live there. Setting up an alert to receive links whenever Aspen is mentioned helps keep me on top of current community issues I wouldn't otherwise know about.

A major element in my story involves black market organ procurement, so I have an alert set up to send me anything related to organ donation. I can use this information to make sure I have current angles woven into my story, as well as developing news sources to refer to in my query.

In addition to Google Alerts, I follow associated agencies on Twitter.

As a suspense novelist, research is imperative and my ability to be accurate about important issues is almost as important as telling a good story.

CR: Deception by Randy Alcorn.

It's all better with friends.