THE ICE PICK

Conflict, Action and Suspense, by William Noble. Cincinnati: Writer’s Digest Books, 1994. (The Elements of Fiction Writing series) ISBN 0-89879-634-2. $14.95.

"Action means happenings. Suspense means uncertainty."

We know that short sentences speed things up, while long, leisurely sentences slow things down, and that putting a time limit on things (e.g., "You have five days to save the Earth!") cranks up anxiety, but this book goes way beyond that. Noble shows different ways "to collar the reader" with our openings; "keep ‘em hanging" through pacing, scene cuts, and transitions; and make "plot-hypers" by subtlety and indirection. Two of his methods to create dynamite conclusions are: "make the climax the hottest action scene (or the most intense suspense scene)" and "leave the final confrontation to the last scene, if possible (the last page would be even better)."

He explains how contrasts in setting and personifying nonliving elements (e.g., the wind) increase tension and drive action. Through vivid physical description and the step-by-step build-up of details, we create anticipation and dread and make the reader suffer along with our characters. We can build suspense through dialogue--including the "threat of the unsaid"--and by contrasting different characters’ physical and emotional makeup. Or we can amplify action or suspense by using different points of view.

While he says that the immediacy of writing about the present time gives the writer advantages, he does include a chapter about creating suspense in both historical and futuristic settings, where "the truths are few and the opportunities unlimited."

The index is good, but it annoys me when, for example, I look up flashbacks, and run into "Flashback. See Writing technique, flashback, for creating slow-paced time." Why couldn’t it have just said, "see page 154"?
I’ve found this book helpful. It’s not your average how-to-write book. Some may argue with certain things he advocates, like quick scene changes, shifting points of view, and passive voice. Nevertheless, it is a powerful book that should make you think about what you’re doing and help you improve your writing skills.

{Published in GPIC, the Oklahoma Science Fiction Writers Newsletter, June 1998. Reprinted in SF & Fantasy Workshop Newsletter, Aug.-Sept. 1999.}