Get Some Action

Based on extensive experience critiquing, editing, writing, workshopping, and even getting two masters degrees, I'm going to outline a few of the most common writing problems that people encounter. This first one, as an editor, is HUGE. Major. So listen up.

The number one problem I see in all creative work is the lack of tension. You have a good story, a good conflict, and you blow it by giving away your trump card--your suspense.

The center of suspense, of pacing, of dramatic development, is conflict. Conflict is what it's all about. If you don't have conflict, there is no reason to keep reading, there is no reason to go on--literally. Conflict creates a compelling story. Look at the Da Vinci Code--Dan Brown is a terrible writer. Technically speaking. He has no style whatsoever, he's bland and very dry. But the story forces you forward because you just have to know what happens. Being accused of a murder you didn't commit--ie, a conflict between you and every authorial body in the foreign country you're in--is a massive tension. There is apprehension in every step because you know it's just a matter of time until the police catch on and also just a matter of time before he figures the mystery out--which will happen first?

There are so few people out there that read books for masterful writing. The vast majority of the reading public reads for compelling, memorable, breathtaking STORIES. We want to read about heroic deeds and epic loves, nerve-wracking drama and thrilling triumphs. We want to read a story.

Conflicts are questions. Conflicts are problems. Conflicts are the basic, viseral pairings.

Hamlet's desire to kill Claudius versus his moral hang-ups. Hamlet's belief that he is right versus his self doubt. In Ethan Frome, Ethan struggling with his love for Mattie versus his loyalty to his wife. In Wuthering Heights, the absolutely classic struggle of passion versus expectation and security.

Shockingly, conflicts aren't just in literature. I really don't want to see (insert awkward relative's name) on this trip, but I really should... (duty vs. pleasure). I really don't want to slam on the brakes and cause an accident despite the fact that this (insert expletive) is tailgating me...(reason vs. emotion). "No one is going anywhere! We are having this wedding even if it's a hurricane!" (bride vs. nature). Conflicts are what make our daily lifes interesting, if only for the relief and happiness we feel at their resolution.

With a good conflict naturally comes good action, good suspense, good pacing. If one of these is not working for you, consider these potential problems:

1. You're not all that invested in the conflict. Your character isn't risking something, which means you're not risking something. An average guy risking his house on the tables in Vegas is risking something. A billionaire betting a Birkin Bag isn't really risky, because he/she could buy another in a heartbeat. Up the ante, and you immediately up the tension, the drama, the CONFLICT.

2. You're rushing it.Timing is the one thing that's difficult to nail. Think of the greatest "YOU CAN'T END THERE??!!" moments of your life. Who shot JR?? (And Mr. Burns...) "Hi, I'm Addison Shepherd. And you must be the woman screwing my husband." Who killed JFK? These are cliffhangers, people, and they serve a practically divine purpose of building extreme anticipation and then denying completion. That sort of twist, that sort of gut-wrenching pacing is what coined the term "page-turner". And yes, that's what you're aiming for.

3. You're talking too much. Unexpected, right? Well I called this hub "Get Some Action" for a reason--because conflict is the core of writing, and writing is no good unless you show, not tell. So if you're explaining everything, if you, the author, has to spell it out, you're straying from the conflicted path. Take the Grey's Anatomy example (because I'm obsessed, mcsue me): all day long, you see Derek dodging someone's phone calls, which, because it's out of the demonstrated character, perks interest. Then in the final seconds of the show, Derek and Meredith fill the frame with an idyllic scene, and then his face suddenly falls, and a woman is revealed, who introduces herself with the "OMG!" cliffhanger. No reaction, no commentary, just that. End. Good action, good conflict, speaks for itself. No explanation necessary. Remember what your momma told you about actions speaking louder than words? She was right.

I hope this helps. Email me with fiesty comments, disagreements, or anything you want me to take a look at. I do love my red pen....

As always, check me out at blog.finalword.org.