Wield the Power of Suspense
Whether they realize it or not, readers of all genres love the element of suspense.
Human beings have a natural desire to know. Part of that necessity comes from a need to observe the world in order to stay safe. Another part is that we’re simply nosy creatures. The unknown captures our interest, intrigues us, bugs us—and that’s good news for writers. Armed with this knowledge, we can use suspense to keep readers curious about what happens next.
Suspenseful stories can be scary stories. Something dangerous or potentially harmful is going on, and the reader knows enough about it to be afraid, but not enough to put it out of their mind. The main character is in danger—whether physically, socially, or psychologically—or could be soon. Something important is at stake. For this reason, the reader continues to read. If you’ve done your job as a writer well, they won’t be able to rest until they find out how the issue is resolved.
Hence, the “you kept me up all night with your book” syndrome we all strive for.
Even if you don’t write mysteries, thrillers, or suspense novels, you can use elements of suspense to inspire readers to turn pages. Here are some techniques:
1. Write from the point of view that will create the most suspense in your story. The character who accepts the challenge must also be out of the know. They are going on a quest for answers—whether they want to or not.
The first-person POV (the “I”) follows the protagonist through each obstacle placed in their path. An example of this is my novel, They Will Be Coming for Us. The story is told from the first-person point of view of Svetlana Peterman, a young woman who marries into an eccentric family that owns an aerospace company. The plot relies heavily on the fact that she doesn’t understand what the Jovians are up to. In the meantime, she stumbles upon small, odd discoveries that lead to a revelation at the end of the book.
Using third-person limited (“she/he/they”), you can achieve a similar close-to-the-character effect, following just one character or multiple. My book, Bright Blue Planet, is an example of using close third-person POV with two characters. In this way, I provide the same story from two differing perspectives: one from a human’s and one from a Jovian’s.
The omniscient narrator is the teller of the third-person tale, who may be mistaken for the author themselves. They are all-knowing and can dive into any character’s mind to see what they’re thinking. An omniscient narrator can drop hints to the reader that the characters don’t know, a technique that’s called “dramatic irony.” So, the reader will know Justin shouldn’t go into the abandoned building because there are zombies in there, but Justin won’t know, and therein lies the tension. Celeste Ng uses this in her novels Everything I Never Told You and Little Fires Everywhere.
2. Foreshadowing. A dark sky up ahead. The gun casually slipped into a drawer. An instinctive feeling of dread. Simply put, foreshadowing is a warning of a future event. The writer drops hints that point to an event before it happens. The reader will keep an eye out for it, they may even dread it or be eager for it—either way, they’ll want to know how it plays out.
The key to foreshadowing is to strike a balance. Give readers enough to take notice, but not enough to figure out exactly what’s going to happen. In A Prayer for Owen Meany, John Irving uses the fact that Owen knows the date of his death to create foreshadowing that spans the entire book. What we don’t know is what will kill him—and by the end of the book, we really want to know.
3. The pace of a suspenseful novel may be that of a three-toed sloth or souped-up Chevy Chevelle. A slow pace will draw out the tension, sometimes from the beginning of the book until the very end. A fast one reads more like a car chase, where the plot is filled with action and dire situations.
If you want to create a slow pace, you’ll use longer sentences. For a fast pace, use shorter ones. Same goes for paragraphs and chapters. Most likely, you’ll need a mix of both.
4. Flashbacks impart information about events that have occurred in the past. The mere existence of a flashback signals readers that something important is contained within. Flashbacks provide the information that bridges the gaps that lead to major revelations. An example of a story that successfully uses extensive flashbacks is Big Little Lies by Liane Moriarty.
5. Give your characters a time limit. This is one of those oldies but goodies where the reader knows there’s a deadline on the situation and that the consequences for not meeting it will be dire. If we don’t get there before the volcano erupts, we’ll never get off the island. If James Bond doesn’t stop the mad rocket scientist, the entire Earth is doomed. Or, if we don’t hurry up, Great Uncle Jesper will pass away before we make it home.
6. Cliffhangers. What could be more suspenseful than getting to the end of an exciting chapter in which a character finds themself in a precarious position that is not resolved? I’m sorry, but readers will simply have to turn the page.
When you return to your latest manuscript, keep these techniques in mind and find places where you can put some of them into play. If you want your readers to stay engaged, you’ll have to keep them on their toes.
Kim Catanzarite is the author of the award-winning Jovian Universe sci-fi thriller series. She is a freelance writer and editor for publishers and independent authors, and she teaches copyediting for Writer’s Digest University. Her Self-Publishing 101 blog discusses the ins and outs of indie life as well as all things writing craft. Kim lives on the east coast USA with her husband and daughter.
