At its most basic, suspense is the art of the reader knowing more than the main character does.
E.g the famous shower scene in Psycho. Sometimes the reverse is true and withholding information can also be effective. A character may receive a letter or phone call, giving vital information to the protagonist but not the reader. Choosing the right moment to give in to the reader’s need-to-know is a skill you develop with practise. Too soon and the reader is disappointed, too late and she grows bored and irritated. It’s a useful ploy to have presented a second problem before resolving the first.
Here are some other techniques you can use to add suspense in all types of fiction.
Cutting to another character or situation. This keeps the reader guessing and hopefully breathless with anticipation as they are taken to another part of the story. From time to time you can remind them of what they are still waiting to learn, or take them back and give them a snippet more to wet their appetite. Increase the suspense before you deliver. Milk a scene without slowing the story down.
Fear of the unknown:
Forewarning and pointers:
These can appear at different points in the book like a promise or threat of dangers which might (or might not) happen. But don’t make these too blatant, or you’ll fall into the trap of the ‘dear reader’ style. Keep the reader guessing. I find that if a twist in the plot occurs to me as I am writing, I often have to go back and put these in.
These are pointers which deliberately lead nowhere. They too can create real suspense and fear. Common in detective fiction, even in general fiction they can be used to good effect. But don’t lead the reader down too many false trails or the story will lose credibility.
The worsening scenario:
An overwrought imagination can make a nightmare out of a crisis. The viewpoint character’s turmoil and emotion can add atmosphere to a story through their mental anguish. This may cause her to imagine things that aren’t actually happening to her. She might think she is being followed, or see someone she thought was dead. It might be real, it might not. Her fears may erupt into dreams, delusions or hallucinations.
Failed communication and unexplained happenings:
A letter not delivered. Secrets withheld. THE PROMISE is based on a family secret. Chrissie wants to know why her mother’s name was changed? Why she never met her grandmother. There must be a strong motivation why a secret is withheld and not just to keep the reader reading. Deliberate lies are also a good plot device, again with proper motivation. Is her boy friend telling the truth about where he was last night? Can she trust him? Who-how-why was her kitchen ransacked when she’s certain she bolted every door and window? No one will believe there’s anything wrong because the body has vanished.
She is being pursued and there must be a real danger of her getting caught. Does she know who by? Establish the motivation of why she is being pursued, how she is trying to escape, and what stakes are involved besides her own safety. Whether or not she will succeed must always be in doubt until the conclusion.
Give her only a limited time in which to achieve her goal. This is a device usually piled on top of the original quest, and makes for an even more compulsive story.
Surprise and shock:
Surprise is a very effective weapon. Sometimes it is useful to practise a little sleight of hand, leading the reader along one path and then hitting them from another direction. It must be logical though, even if it is not what they expected to hear. Perhaps they didn’t notice an earlier clue you carefully disguised as a red herring. Twists and turns of the plot keep the reader guessing. Don’t fully explain something, disguise or withhold the whole truth, but don’t overdo this or you might irritate and confuse. Agatha Christie was a master at this device.
Gothic type atmospherics are not so popular these days and don’t usually work as well in print as in film, but you should and must appeal to the senses. The weather, the place, the time of day or night, smells, textures, sounds can all evoke a sense of doom or fear. Try to appeal to the reader’s imagination but don’t overdo it or you might tip it into farce. Remember the atmosphere can serve as a contrast to the protagonist’s mood or emotion.
New out this month:
Allison & Busby
Chrissie Kemp visits her grandmother and discovers a shocking family secret. Georgia Briscoe is in love with British sailor Ellis Cowper but unwillingly betrothed to Drew Kemp, a businessman mired in the San Francisco underworld. Georgia plans escape to be with the man she loves, but then comes the earthquake…
For more details click here:
THE QUEEN AND THE COURTESAN
Henry IV marries Marie de Medici to provide riches for France. But Henriette d’Entragues has a written promise of marriage and intends to declare the royal marriage illegal. All she has to do is give Henry a son, and by means of intrigue and conspiracy, set him on the throne.
For more details click here: