Putting Suspense in Suspense

It’s JJ providing the next-to-last post re reviewing mystery sub-genres and related genres.  Suspense seemed a primo one to add to the list.  You can’t really have a good, riveting mystery novel if you don’t have suspense.  And, of course, you can’t have a spellbinding suspense novel if you don’t have thrills and chills either.  Suspense creates anticipation, tension, excitement—components that keep your readers roused and reading.

Suspense, as a genre, is related to the mystery and thriller, but the main difference: how much suspense you create for your readers.  Are you playing with their emotions [enough]?  Making them feel anxious, thrilled, enthused, eager to learn what’s going to transpire?

Generally speaking, a suspense novel makes readers aware of things that your protagonist isn’t.  Additionally, the crime and/or challenge occur almost immediately.  And points-of-view aren’t necessarily limited to just the protagonist; the perpetrator’s may be provided as well.

The unknown elements, the sought-after answers help create suspense—who committed the despicable crime, why was it perpetrated, what will go down when the perp or an associate reveals the truth, when will the protagonist know he’s about to plunge over the cliff.  But you’ll also want to infuse some edginess in the characters, dialogue/narration, scenes and action to draw readers into the conundrum.

Try something like:

• A shrill, ear-stinging sound emanated from the top of the dilapidated dwelling.
• Apprehensive, Henrietta hastily scanned the shadowy laneway, hoping to catch sight of the long-limbed, one-eyed robber.
• “It couldn’t have been Tom—he was with Libby in the Seaside Bar last night,” Larry explained nervously, scratching his heavily scarred cheek with calloused fingers.  “I’m sure I saw them laughing over martinis around eight.”
• Detective Mauer glanced up from the mangled body just as the heavy metal door clanged shut and thrust him into darkness.
• The killer peered around the decaying fence and scanned the vacant shack; had that irritating jackass of a lieutenant discovered the gym bag with the evidence?

In mysteries—as with suspense—the protagonist is usually searching for a killer or culprit . . . that mysterious entity who won’t be revealed until the right, exciting moment.  By not disclosing a vital identity too readily in the story, you’re keeping readers guessing.  This can hold true of the protagonist, too.  You don’t have to, all at once, give up a lot of information about his or her personal and professional background, what makes him/her tick, or what might make him/her react and respond (and not necessarily in a positive way).  Think of it like building a LEGO® house—add one interlocking brick at a time.

Also remember: every character—no matter if major or minor—has a quest, purpose, and/or motive.  How big a part he/she plays in the storyline determines how much information you [need to] provide.

Do make sure readers care about main character(s) or feel some empathy.  This way they’ll get caught up in the suspense as hazards and threats present themselves; they’ll want your character(s) to overcome the dangers, resolve the issues, trump the challenges.

Instead of:

• Theo turned from the crime scene upon hearing something and saw a tall man slip into the darkness.  Was he the murderer?

Try something like:

• Hearing a harsh scraping sound, Theo whirled from the bloody crime scene and saw a heavyset tall man, sporting an old-world fedora, slip into the darkness of an alleyway.  Where had he recently seen that same hat?  And what about the man?  Was he responsible for this vile deed?  Theo drew a deep breath, quashing outrage as he considered how Jackson Marlboro must have suffered at the hands of his maniacal killer.

Dialogue/narration can also help keep readers guessing.  If it’s first-person, you’re restricted to expressing what the protagonist sees, senses, and undergoes; if it’s third-person, you have a wider range, but you may want to limit what is revealed by describing only what the character of the moment—or page/scene—is undergoing.  Give a little, but not a lot.  Dangle clues, tuck in a red herring or two, and offer tidbits like the proverbial carrot: think of them like the pieces of a puzzle.  And offer questions within the dialogue to give readers “food for thought”.

Instead of:

• Jerry looked at the dog.  “Yeah, he seems like a nice fella,” Jerry said, looking at the dog that Roger was petting.

Try something like:

• Jerry eyed the ash-gray poodle curiously.  “Yeah, he’s well-behaved.  I wonder who he belongs to and why he’s out here in the middle of nowhere?”
• With a pensive brow, Roger peered thoughtfully at the pooch he was petting, as if hoping he might offer an answer.

Instead of:

• Maria entered the dim bar, her gun tucked inside her coat.  She looked around and noticed five people at the bar and six seated at various tables around the bar.  They all looked like they wanted to be elsewhere.

Try something like:

• Maria concealed the Luger and strolled into the dim waterfront bar.  A middle-aged bartender was keeping a watchful eye on the five glassy-eyed people seated at the curved, scratched bar.  Six others were seated at various tables near the dingy windows.  All appeared as if they wished to be elsewhere—lounging in lottery-won mansions maybe.

Scenes and actions should advance the storyline, so don’t add “filler” for the sake of padding the story.  And always bear in mind: show, don’t tell.  If you add description and details, make them interesting, not instructive; otherwise, all we’re reading is “she blah, blah, blah, blah”.

Instead of:

• John walked into the forest to see what he could find regarding the killer.

Try something like:

• Determinedly, John plunged into the dense, shadowed forest to ascertain if the conniving killer had wended his way through in an effort to throw off any followers.

In a suspense story, you want the same components as a mystery: a grim event or crime (that motivates your protagonist to take action), conflict, friction and tension (prompting readers to want to discover what happens and how the character deals with the situation), pacing (smooth and swift action and narration so as not to provoke yawns), misleading clues (those twists and turns that keep readers—and the protagonist—guessing), and ambiance (setting and feeling/mood).

Give thought to what readers may want (or not want) in terms of the plot and characters.  Give them a sample.  Yank it back.  Give another.  Jerk it around.  Just for the record: you don’t need a lot of violence to make it “suspenseful”.  Hint at it.  Build on it.  Allow readers to anticipate and visualize it.

There’s much say about suspense novels and what makes them work/successful but, hopefully, I’ve provided enough to get you started.