Build Reader Interest by Upping the Tension

Readers love to see a character overcome hardships that result in a happy ending. So what are some ways to accomplish that as a writer?

Allow the characters to make poor decisions and suffer the consequences of their actions. After all, the goal is to have the character grow and learn from the mistakes.

Give the characters phobias or habits that can become handicaps in their quest to solve the problem.

Give the characters difficult choices to make. The choices force the character to face transformation and change. Make the stakes high but the consequences even higher so the character is compelled to move forward and transform.

Following high-tension scenes, allow some calm to float such as the character eating a meal or playing with a dog or child.

Use foreshadowing to hint of a potential problem ahead.

Develop a compelling protagonist so the reader will have empathy as s/he mires through the dire straits you have established. The character should not be perfect, rather should reflect humanity, exposing his/her flaws.

Each of these devices should be developed so they seem natural to the character. Throughout, reveal the character’s emotions. The more s/he feels hurt, angry, disappointed, the more the reader is attuned to the problems.

Call for Submissions for Young and Adult Writers:

Skipping Stones: An international publication for readers 8-16 that celebrates ecological and cultural diversity and facilitates a meaningful exchange of ideas and experiences by publishing essays, stories, letters to the editor, riddles and proverbs, etc.

Submission guidelines at http://www.skippingstones.org/submissions.htm

Character’s Silent Language, Part II

      The silent language of characters revs up a reader’s imagination and perceptions. Alert readers interpret nonverbal communication between characters as foreshadowing future events and actions.

Facial expressions can show fear, glee, anger, sadness, joy, and disappointment. A smile rounds a person’s eyes and raises their cheeks. A frown can wrinkle a nose and forehead. Fear sometimes opens a child’s mouth. So does surprise. People consciously and unconsciously express feelings through body language so our characters should do likewise.

The way the character walks, stands, and sits can also relay information to the reader. Angry people walk with a heavy gait and may stomp a foot…or two. Sadness may be depicted with a shuffle of feet or stooped shoulders. A character that skips along is probably happy and one that walks with a straight back and head held high shows confidence.

The character’s eye contact tells a lot. Direct eye contact implies truthfulness and self-assurance. A character that looks away may be lying or perceived to lack confidence.

When you add nonverbal communication in your story, you add depth to a character. Next week, I’ll continue this article.

Call for Submissions for Adult Writers:

Front Porch, the online literary journal of Texas State University’s MFA, invites all writers to submit works of fiction, non-fiction, and poetry. Front Porch is dedicated to publishing the most celebrated talents in contemporary writing published alongside exceptional new voices. Our editors seek out both innovative and traditional literature. In short, we’re looking for insightful and relevant writing that excels, regardless of form, theme, or style.

 Our submissions are rolling with no deadline and submitted online through Front Porch’s online submission manager.

Submission guidelines at http://www.frontporchjournal.com/submit.asp

 

    

Fishing for a Contract, Part III, The Pedestal Magazine, Boodle: By Kids, For Kids

Here more ways to cast a hook to catch an editor’s attention:

Humor. Keep them laughing and you’ll keep them reading. Whether you write picture books, chapter books, or children’s novels, humor is in demand. Dav Pilky’s Captain Underpants and Barbara Park’s Junie B. Jones are series that play up the funny from page one, paragraph one, and sentence one.

Strong setting. In Coraline by Neil Gaiman, kids are scared, but not too scared. A haunted house or a dark cave sets the mood for intriguing reading. Thunderstorms and cold, dark basements can immediately conjure up eerie situations.

Foreshadowing. Drop hints of the problems that lie ahead to keep the interest high. Patricia Polacco’s Just Plain Fancy or E. B. White’s Charlotte’s Web provide clues to build reader expectation and create suspense and a sense of wonder.

Surprise ending. Snag a surprise ending with a hook. In my book, On the Banks of the Amazon, two young hunters are on a safari. I saved the biggest hook for the last line, “The wildlife hunters pick up their camera, aim and shoot again.” Eve Bunting did the same with her book, Wednesday Surprise. The surprise is saved for the last page.

Use these hooks or a combination of two or more to develop strong beginnings and endings for your stories. If you cast a hook or two, you’ll give an editor reasons to keep on reading and up your chances of reeling in a contract.

Next week, I’ll discuss story endings.

The Pedestal Magazine.
"Re: fiction for the April 2011 issue (reading cycle February 28-April 14): we will
be accepting flash fiction up to 1,200 words. Theme will be 'Husbands and
Wives.' Writers may submit up to three (3) pieces. Please do not submit work
intended to be considered for the April 2011 issue prior to February 28." Pays:
$.08/word.

Boodle: By Kids, For Kids Audience: children ages 6-12. Publishes stories, articles, poems, mazes, puzzles, etc.
P.O. Box 1049, Portland, IN 47371. Ph. (219) 726-8141. Published quarterly. 100% of magazine is written by children.