Swapping Decks

One lasting legacy of The DaVinci Code is the prevalence in thrillers of vigorous intercutting between very short scenes. Dan Brown isn’t entirely to blame. This technique is borrowed from film, particularly television, in which a mere one-second shot can speak volumes about a character from an alternate plot line. That technique does not always work as well in literature, however, and here’s why.

Reading a book is a process of immersion. Because words on a page do not provide the variety of stimulae that a photographic medium does, the reader must supply his own imagination to help fill out the fictional world. The primary advantage of a novel over other art forms lies in its ability to manipulate emotions. A short scene can sway the reader, but not if a vital ingredient is missing: the reader’s participation. If the reader does not know a character in a short scene very well, she will be less moved by what he does. In some cases, she may spend most of the scene trying to remember who the heck he is. That should be the first principle governing how short to make a scene. If you have instant familiarity, you will garner immediate emotional identification.

A second important consideration is: does the scene advance its plot line? Showing a mysterious character stalking a heroine may work once or twice, but if the stalker does not raise the stakes by the second or third scene, he will become relegated to the category of characters that don’t produce excitement for us. That includes friendly Auntie Jo, Kris the cat, and others that add atmosphere but not drama. We should get a payoff by the scene’s end.

That’s the key to building suspense. You want to alternate when you’ve reached a tense point. Turning to another plot line merely for the sake of reminding us that Character B is lying in wait is a faulty strategy. Make sure she has something to do. And remember, the longer you stick with a scene, the more cumulative power you create, because you are continuing to immerse the reader in the action you are creating. So why not mount a satisfying amount of tension in the plot line you have running before breaking away?

Exercise: Review the manuscript, and when you come upon a short scene, ask yourself: at this point, what is the level of tension in the novel overall? If the story is near the climax, a short scene can add to the tremendous amount of tension already mounted. If the novel is in its early stages, however, you’ll find that joining a number of short scenes in the same plot line creates more suspense, because you’re using their combined power.

“Close the door. Write with no one looking over your shoulder. Don’t try to figure out what other people want to hear from you; figure out what you have to say. It’s the one and only thing you have to offer.”
—Barbara Kingsolver

Copyright @ 2016, John Paine

No comments:

Post a Comment

Copyright © 2012 John Paine. All rights reserved.