Making the Drama Count

Every novel needs some drama. Without it, even if it's a "quieter" plot, your novel's sunk before it even sails.

But how do you add such tension without overdoing it? After all, too much sensation and you'll have the same problem as when you don't have enough. How can you tell when enough is enough?


What's All The Commotion?

Let's start by defining drama. Yeah, you probably know what it is, but we can still make sure it's clear.

At it's most basic, it's an exciting, emotional or unexpected series of events. So in the most basic sense of the word, most novels are a drama of one kind or another.

Getting into the meat of it, drama means conflict.

Ah, you've heard that before, haven't you? When I talked about plot, you definitely heard me discuss conflict. Without conflict, a novel is a narrative, not a novel. Conflict and fiction plots go hand in hand.

Now this doesn't mean you have to create a war to create conflict. Many authors write wonderful novels where the conflict is all internal to their main character. If this is what your story needs, by all means, create the conflict inside your lead's head.

If you need something - or want something - that makes your readers' hearts pound, well, you better create a good antagonist and a believable conflict between the protagonist and antagonist. Thrillers are famous for suspense and conflict, for keeping you gripping the edge of your seat until the last page.

That's another kind of conflict, and it needs careful handling, too, or you'll end up with an overdone, old-fashioned-Hollywood-corn drama. These days, that's hard to get by with.


Upping the Ante Without Blowing It Out of Proportion

So, you have a good conflict. You've started your novel with a bang (maybe literally). Your readers are anxious to see what happens.

You've plotted a great series of mini-conflicts to keep your protagonist occupied and on his toes. But it doesn't seem like enough.

How do you raise the stakes?

When I write a novel, the first draft often comes out in a rush. When I go back to read it, I'll feel the places it slows down, when the tension should still be there. (Don't confuse this with parts that need to be calmer. It's the parts that start to bore you that you'll need to rework.)

If it's reading "flat" and putting me to sleep, then I play "what if" to see how I can bring more suspense into the particular scene that's not going right.

For instance, most of my first novel is seen through the eyes of either my protagonist or his closest friend. But occasionally, I sneak over to the antagonist's camp and listen in. Hearing the bad guys plotting against my hero, when he hasn't a clue they're doing so, creates more tension and suspense.

That's one way to increase the suspense.

Another way is to create another obstacle your heroine has to get past. Sure, she just maneuvered past the first three road blocks on her way to her goal, but if her path is now free and clear and you still have half a novel or more to finish, we're going to hitch a ride in someone else's story.

Keep throwing obstacles in the way of your hero or heroine's goal. Frustrate her, chase her, pit her against rising odds. Just don't let her stop until the resolution.


Drama Queens and Kings

You can, of course, overdo your drama. Think soap operas... yes, if you're at all like me, after awhile it just seems unbelievable. Everything goes wrong.

I like a little better balance. I try to let my heroes and heroines win small battles.

Nothing decisive until the bitter end, but here and there, if he or she doesn't have a small victory, it feels like I'm only creating artificial suspense. Conflict for conflict's sake.

This applies especially to endings.

Ever see one of those movies where the bad guy dies... then comes back to life suddenly right at the end?

Talk about hokey. I don't buy it, and neither will your readers. If you can convince me the bad guy's out of the picture a little early, then drop him back in because it was the hero who forgot to check for a pulse, maybe I'll go along. But this is a device that rarely works. I don't recommend trying it.

Instead, set your heroine on a head-on-collision-course with the villain. Let the crash be just that, a spectacular explosion of will pitted against will, might against might, or brains against brains.

Then, release the tension with the heroine winning the day and reaching her ultimate goal. Tie off all the loose ends quickly and neatly, and type "The End". I promise, if you do that, I'll come back to read your next novel!