1. Constructing a tight plot is a bit like flying a kite: it's mostly about the correct management of tension. #TenThingsAboutTensionManagement
2. If you've never flown a kite, bear with me. First, you pull on the kite string (creating tension) to make the kite rise. Then, when it's in the air, you adjust the tension on the string. Too much tension, the kite plummets. Too little, it falls.#TenThingsAboutTensionManagement
3. Plot is not unlike this. Most stories start with an incident or situation that creates tension by challenging the main character, or putting them under pressure, or in opposition with someone else. #TenThingsAboutTensionManagement
4. Gradually the tension escalates (just as the kite rises higher and higher into the air) until it reaches its apex (the payoff of your story). Then, you reel in the string and bring the story/kite to its conclusion. #TenThingsAboutTensionManagement
5. To crank up the tension, you just need to present your main character with increasingly greater challenges/risks/dangers, etc. throughout your story. The greater the stakes for your character, the greater the tension. #TenThingsAboutTensionManagement
6. But tension can't just keep building. Like flying a kite, you need to release it at intervals before cranking it up again. #TenThingsAboutTensionManagement
7. That's why quiet, contemplative scenes are as important a part of plot-building as tension-building sequences. Your characters need the chance to decompress. So do your readers. #TenThingsAboutTensionManagement
8. Humour is a great way of breaking tension. It helps make your characters more likeable, too. #TenThingsAboutTensionManagement
9. Tension doesn't always have to be about external threat. You can have as much tension in a quiet, cerebral journey of self-discovery as with a fast-paced thriller. #TenThingsAboutTensionManagement
10. Nor does tension have to be about suspense. Invest enough emotional energy in your characters, and your readers will want what they want, and root for them on their journey. #TenThingsAboutTensionManagement
I hope that was helpful. If you enjoy these occasional threads, you might like to check out my book, TEN THINGS ABOUT WRITING. amazon.co.uk/Ten-Things-Abo…
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So. It seems I made the Mail today. I have nothing but contempt for the piece, and for those behind it, but if you've seen it, a couple of things. 1. My poll on death threats to authors had nothing to do with JK Rowling. I don't hate or envy her, and have never implied I did.
2. I am wholly against threats of any kind, to anyone, regardless of their politics, opinions or views. That includes JK Rowling, or anyone whose opinions I might sometimes disagree with. You'd think I wouldn't have to say this, but like I said, it's the Mail.
3. Some of you may have noticed the volume of harassment I get on a regular basis from certain gender critical people. This is entirely because I signed a letter supporting trans rights three years ago. I still support trans rights. The same people are behind this latest stunt.
Since the terrible attack on Salman Rushdie, a lot of writers have talked about feeling anxious and afraid. I've been searching for ways to talk about this that don't detract from the gravity of the attack on him, which followed decades of all-too credible threats. But here goes.
As authors, we are all open to potential threat from readers. Fortunately, Salman Rushdie is an extreme case, but ideas and stories are powerful, and those who create them are sometimes unaware of their effects on the reader.
Strong themes attract strong feelings. It's a double-edged sword - we all want to make a human connection, to invoke a response, but what happens if that response is anger, obsession or something worse? And I know some of you have been thinking: "Could that ever happen to me?"
1. Anyone looking at publishing right now might be forgiven in thinking that they're OBSESSED with debuts. Well, yes and no. #TenThingsAboutDebuts
2. On the one hand, the papers are full of stories of exciting new debuts getting massive books deals. And yes, it happens. But here's the thing. #TenThingsAboutDebuts
Lots of people talking about university courses today, and what they "lead to." Truth is, no-one can know what an academic course leads to. It depends on the person's experience, and the opportunities for personal growth and meeting people that being on the course may give them.
A lot of academic courses don't seem to lead to specific jobs. But that doesn't mean that what they teach has no value. Creativity; articulacy; empathy; critical thinking; increased literacy; all these things are essential, not just in work, but in life.
Not everyone wants to be an academic, and there's nothing wrong in pursuing a purely vocational degree. But attaching less value to a degree that doesn't lead directly to employment shows a fatal lack of understanding of what education means.
Here's a little story from when I was a teacher. Bear with me awhile; it's relevant, and explains what I feel about Partygate.
Some of you already know that I taught for 12 years in a boys' independent school in Yorkshire. Some boys were richer and more privileged than others, but all of them were raised with the idea that they would amount to something some day.
When I was a very new member of staff, I caught one of the boys in my form dropping a crisp packet in the corridor. I challenged him, and asked him to pick it up. He looked at me and said: "Why? We have cleaners to do that."
Here's a little test for you. Imagine reading a book set in Britain, written by someone who has never been there. Imagine a picture of Tower Bridge on the jacket, even though it's supposedly set in the North. Imagine characters that are continually referred to as "pasty" or pale.
Imagine all the British characters being called "Smith" or "Jones" or "Robinson." Imagine multiple references to the fact that none of them can eat spicy food. Imagine all of them having bad teeth and unsanitary habits.
Imagine all the bad guys being British, and the only non-British person in the story being the main protagonist. Imagine the British characters being portrayed as beer-swilling, inbred snobs who can't even be bothered to learn a foreign language.