The other day, my son discovered Maury Povich, and it wasn’t just any topic. This was “whose the baby’s daddy.” I decided to watch with my tween son and use the show to drive home a few cautionary points. What I didn’t expect was a lesson in building tension.
First, they would bring out the young woman. She would tell her story and swear up, down and sideways that the guy they were about to meet was the father and she was going to prove it. THE PROTAGONIST had a GOAL.
Then Povich would interview the “father” who would swear that there was no way the child was his. He became the ANTAGONIST.
This alone would just be a case of he said, she said. But the producers made sure we got RISING TENSION. One guy said the baby didn’t look like him. Another pointed out that she had pulled this before; he had proved the first baby wasn’t his. The ANTAGONIST has a GOAL that goes against the protagonist’s goal.
At last, Povich held the envelope with the DNA test in his hand – the TURNING POINT. Invariably the man in question was not the baby’s father. Why invariably? To keep the TENSION high, and, believe me, with the tears, screaming and name calling, there was plenty of tension.
As writers, you need to manage the tension in your stories as if you were a producer on Maury Povich.
Start with your PROTAGONIST. What is her GOAL? If you are going to use it to create tension, it has to be a big deal. What is at risk if she fails? She doesn’t have to look foolish on national television, but the bigger it is the more tension you will create.
There also has to be someone or something in her way. If you use an ANTAGONIST, vs. nature or time, your antagonist doesn’t have to be evil. His goal just has to be at odds with the goal of your protagonist.
Before the end of the story, you need to INCREASE THE TENSION. The reader could learn something about the protagonist that puts her goal in question. Or another character could surprisingly side with the antagonist. In some way, the protagonist must meet a REVERSAL.
This is where so many of us fall down on the job. We like our characters and don’t want to be the cause of their suffering. We make things too easy. We make things boring while Povich and his producers keep throwing more and more trouble into the mix.
Do this and, like Povich, you will keep your audience on the edge of their seat, shouting, cheering and maybe even booing. The one thing they won’t be doing is putting aside your writing to watch something on TV.
–SueBE
Author Sue Bradford Edwards blogs at One Writer's Journey.
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Done today: nothing so far
Revision remaining: 46,313 words (entire book)
Daily words needed to be finished by end of November: 908
I’ve been feeling very unmotivated lately since our dog passed away, and I’m trying to snap out of it. But I’ve pretty much done nothing on my revision since I last posted on Day By Day Writer, and I was ashamed to see that was last Tuesday. I’ll just have to do better this week.
One thing I have been doing is thinking. As I mentioned on Tuesday, I’m trying out Holly Lisle’s One-Pass Manuscript Revision method. To start off, she suggests you write down your book’s theme among other things. This should be quite simple, but it stumped me.
The thing is, when I start writing, I don’t have a theme in mind. Both of the books I’ve written – and just about all the story ideas I have for future books — are plot-driven. Something happens that launches a character on an adventure. When I get the idea, it comes to me more as a “Hey, this could be fun,” rather than, “this situation could illustrate this theme.” In working with Holly’s revision method, I came up with a theme for this book, but it’s more of an afterthought and wasn’t something that drove the creation of the story. The story just came out that way.
This idea of needing a theme got me thinking about other things I’ve read about writing, about how the character should have a goal at the beginning of the book that he/she solves by the end. I’ve read so many guidebooks that say the key to a good story is creating a character with a goal then putting him/her in situations where it’s difficult to attain that goal. Sounds good, but for my plot-driven stories, that’s not how it goes. My protagonists have goals at the beginning of the book, but then something happens (the part that launches them into an adventure) and their goals change, then something else happens in the adventure and their goals change again. They’re constantly finding new goals, and they couldn’t possibly have had these goals at the beginning of the book because at that time they hadn’t been accidentally transported to a different planet, or whatever the situation is. Their goals become more of the how to get out of this situation kind, and they couldn’t have had that goal before the situation happened.
All this thinking gives me pause. Am I doing it right? Am I missing something important? Am I over-thinking things? I think about the books I read, which tend to be similar to the kinds of stories I write, and I see the same patterns in the plot-driven ones as in mine. Take the Percy Jackson series, for example, his goal at the beginning of the first book is to just get through a year of school without being expelled, but when he finds out he’s a demi-god, his goals change. He retains that same goal from the beginning throughout the series, even if it takes on new meaning after his world changes, but that goal isn’t what the story is about.
And that’s how it is with my books. My characters have goals at the beginning, and by the end of the book, those goals might or might not change, but that’s not the crux of the story, because the story is about the adventure, and the characters’ initial goals change or don’t change because of the way the adventure changes the character’s outlook on life or his/her world. And in between, during the adventure, the characters formulate new goals that are about getting through the adventure.
Hmmm, I think I’m starting to figure it out as I write this.
What do you think? Do you write with goals and theme in mind? Does the goal or theme come first or the story come first?
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The Maury Povich show has never been so highly elevated as this.
Perhaps if they advertised their show as a lesson in story writing, they'd get more reaction in their studio audience? (I think not, sadly.)
This post is proof that a person can take anything--even an inane television show--and spin it in a positive way.
Sue--this post made me laugh out loud. I love it, and everything you said was SO TRUE! :)
Ha! I've never thought of those daytime talk soaps as stories...but I do believe they're scripted that way.
One big difference between books and television, though, is that we don't have the benefit of a live studio audience to manipulate the reader. A lot of the tension doesn't come from the participants' problems, which are often trite by themselves, but the crowd reaction to each revelation. I'm sure they have cue words flashing up over the stage saying, "Boo!" "Cheer!" "Aww...." There's a reason the camera is constantly panning around, zeroing in on exaggerated expressions of shock or anger. Without that audience energy, those shows would be terribly awkward. Imagine the teen mamas and baby daddies in an empty white room screaming at each other, with nothing but the camera between them and the viewers at home. That's closer to the situation we have to deal with: just the words on the page and the reader on the couch.
T.K.,
We may not have the reaction of the audience to manipulate reader emotion but we have other "tricks of the trade." These can include:
*The specific setting
*Various sensory details
*Specifics about the characters' emotional reactions
*Verb choices
*Limiting the space through which the character can move
*Limiting the time she has to solve a problem
These are all ways we can ramp up the tension and script our own stories.
--SueBE