Turning Up the Tension

Last person to identify
this movie still is a rotten egg.

The annual Florida SCBWI conference in Miami has to be one of the best kid lit conferences in the country: witness the many writers who whizzed down last weekend from Canada and New York to attend. I spent an intense day Friday in a novel workshop with agent Marietta Zacker and Y/A author Dorian Cirrone; we covered a lot of ground -- from writing tag lines to penning the novel's climactic scene, so I'll share just a piece of what we talked about when it comes to ratcheting up tension in your novel and keeping it high.

This is one of Dorian Cirrone's tips; she had ten in all. Keep an eye out for Dorian as she makes the round of national conferences. She's a pleasure to spend a day with. Her book Dancing in Red Shoes Will Kill You is available from Harper Teen.

1. Ramp up your dialogue. 

Plotting the Second Half, Pt. 3

If you've been following this blog you've probably realized that I have slowed waaaay down on my posts, and I have NaNoWriMo to blame for it. I whizzed along for the first ten days thinking I could toss off this little 50,000-word exercise without breaking a sweat. When I hit mid-point in the novel those 1667 words per day began to come a lot harder.

Third Act Doldrums
So I called up a lady who knows a thing or two about plotting. Jamie Morris runs the Woodstream Writers Group in north Florida. I put the question to her: In a four-act structure, what the hell is supposed to happen in Act 3? Your character has bottomed out. She has to make it from that deep hole to the climax. Additionally, we're supposed to be right in the middle of "fun and games" as Blake Snyder puts it in his excellent book on plotting screenplays, Save the Cat. Where's my fun? Where's my games?

Here's what Jamie had to say:

Plotting the Second Half, Pt 2: The Mavens Weigh In

Yup, bad sh*t happens in Act 3

Yesterday we talked a little about issues with plotting your novel's second half. I'm using a four-act structure rather than a three-act, and I'm a little concerned with how I'm going to keep the tension in my WIP from flat-lining after the midway point. So I got in touch with two of my fiction mentors, Jamie Morris and Joyce Sweeney, who invented the Plot Clock I'm using. Today I'll give you Joyce's take on this brain-teaser (look for Jamie's words of wisdom tomorrow).

Sweeney, being all
smart and stuff

Joyce says that the low point in the story comes at the end of Act 2 in both the four- and three-act models. After your character hits that low point, "it doesn't mean all the tension is over, you keep raising the stakes all the time," she says.