Mystery tension conflict when your story is absent of these three elements  your story can fall flat. Learn how to use them and edit them into your work.


Prefer to watch?

 

Transcript done by a machine:

Don’t have L today were discussing mystery tension conflict and on the streets of London is a network of tunnels and in one of these tunnel signs discovered something very interesting they found a man living on the written word of fictional loan that man is my friend go spiritually. Are you doing today I love but to see a worthy sustenance last now it’s a good one
the dreams of small children to hear that those are quite delicious so I am I I ended up crushing a young man’s dreams about the saw he was a local high school student who was doing a project is senior project on like doing a novel submission wanted to go through the process or haven’t heard back from them since I sent in the letter talking about wired be rejecting his book so don’t talk about he keeps you going to die and you curse your dreams and just like you’re really bad all I know but that is that I felt really bad I thought reached out to a couple more times since then but haven’t heard back from so I hope it’s okay if you listening to let us know that you took it well you know it’s just his first draft everyone’s for stress suck we can then we move on we move forward settings about the last why we exist as Larry exists out a sorry we talked for a while you the house and I thought this doctor so the person was really good at been really busy with the studies so the end of the year the minute Celeste’s been a slog and yet so just not really this was busy this week, both ends so you are doing really well Hank Hudson Anubis is just about to the point where we can disrupt the finished points and then we’ll put together galleys sand and also both electronic and print version trying to get him some initial reviews done before we do the release arena give it enough like 70 days in between the two try to drum those up I understand that it is my book but it is some of the best writing of bike I just love as much used as is coming at it from a lot of bias but I really enjoyed it it’s been a fun project to allow I’ll write you a letter and tell you that it’s the summated blanket and and I have a different colored shirt is to go to listening to political bluish is nothing this is the first time in well over a year and half the end of the blue polo desk is as black as Michael C through my mind magazine the black polo you know it’s like my in my author’s uniform and they were sold out I went to go pick up some new ones needed some initial authority actually I always want to have that closet know to see in those television shows or cartoons with all the exact same outfit and asked me yesterday met many successful people do that so you don’t stop with the wardrobe on a bill outwards into your life for all about you gotta have somewhere to start a dream that you you like Locke’s alter ego you know what to expect that I should do it without the glasses apartment here on the other side and then thought further about people’s dreams this class evil to them. I did use a needle to sometimes I think is able to blind stuff on is the venue and blame it on the twin is a problem with the right until you know you know what today I am really excited excited to begin his jaw apologized to her listeners again and we just we haven’t got back in the flow things and we will we will get back to you were doing this every single week so today’s everyone this can be a lot of funds are to talk about mystery attention and conflict and this is kind of in preparation for a course it would be putting on with the same name or not the same name of the same topics similar name similar name unknown at this time as this is the creation mystery as to what what would be called zone right now it great every rule we never made those hopefully today you’re going to get some good stuff here is one of the things I learned and I think if your longtime was nervous show you certainly have learned that there’s not one element here that you can leave behind in our like the plots important character development support and honestly mystery tension and conflict of these are absent your story really does fall flat a great character can’t sometimes great character can even existed at the tension and conflict let’s say you had that and leave the rest behind you’re still going to be missing a big piece this that can immediately engage the reader to continue forward with your book movies and these are the elements of the story of the elements for goods that we can we can have a story like someone went somewhere for something to go they were cheated on it in the last sort of like so so wall like really does is to be these ingredients that you really want to get down in the writing on them and in the editing more in the editing because I will get to that when you can really think about making the stock work right and it certainly is where you especially on the mystery element onto your story you can gauge out are you revealing enough information at the right time on what he holding back his right to hold back here and that’s where you need to have that completed manuscript to get the birds eye view so that you can go through and put together the mystery and the best place as possible he may we should probably start here unless to do some basic description so what is mystery your mystery right you it is a mystery to come up with so you may immediately think will I don’t write mysteries that I don’t do cozy detective mystery novels why would I want to have mystery in my book will mystery needs to exist in all stories because mystery is just that element to keeps the reader curious and turning the page to wonder what’s going on so is the difference between tossing a ton of back story and and versus giving just a tiny piece of the back story and let the back story unfold throughout the remainder of the peace and this is mystery that’s being caused here people are curious about why this situation is occurred to be so times especially in the writing process took to because great back story great story great characters and you want to light to single out and tell it all and get it all down on paper as the us the wrong thing to do nothing in regard to I great is this to know know the end and know the back story and probably before you just start writing but especially when you figure your edits and because the more you know the mall you be able to kind of work things in your favorite things in the right place for shadow says I’m things and do not know when your story for this one’s a great yeah absolutely for Mr. you really gotta understand it now in my classes, students get confused between the next Vanessa conflict and attention so I like to explain in this way tension is that inner feeling that the that the character has because of the conflict involved so getting back to Michael Bay I can’t leave an episode talk about Michael Bay at some point so Michael Bay’s Transformers is conflict conflict conflict conflict and yet there’s no tension involved because it doesn’t to be connected to anyone cares why this conflict is taking place so the tension would be like adding and ratcheting up the inner feelings and emotions of the characters and giving deep emotional concern for of the conflict it’s happening yet I think they are quite easily a computable computer and probably about different I think any anytime you in the anytime you consequence 86 the blues off as I looked at the thought introduce anytime you just they came as soon as you stop anytime you introduce a change to the characters lives oh well I think it creates tension and you know when you when you disrupt the status quo which is unity rally on the novel at any time you made any kind of change to the situation can build upon this tension yes absolutely and the conflict side of this so I I like to I think this is a great one here this is a this is a little story electronic created in clastic to describe these three things so in the United States we have a holiday Thanksgiving our family all comes around so I say we have a husband and wife that are going to be hosting Thanksgiving and the husband just finds out that his wife invited his father Louise please estrange that we don’t know why he’s estranged but the first thing that Mr. now we also have conflict out of there between husband and wife because he’s upset that he’s coming so the father shows up we immediately have tension between the two of them conflict doesn’t necessarily have to exist between the two of them because of attention but at some point in a meal something blows up and creates a larger conflict between the two and then perhaps we introduced in and we found a little bit more mystery out about it why this conflict and tension has been I think that’s kind of an easy way to put it out you know that conflict is an action attention is the inner feeling of the mystery is the solving it as it goes along yet I’m these things like work together so you know how to them the mystery of why the strange outcome can then compound the tension and unbilled attention yeah because and the mystery is certainly you can do two things at her after dramatic irony you can have the mystery be that the character doesn’t know what’s going on in characters trying to understand it while the reader does works better when the reader doesn’t understand it and there is a wise we have that we have a curiosity in our minds like us just a natural thing for humanity is that we are curious about what happened so the more mystery keep into the piece will keep the reader turning the page is a want to know what happens yeah I’m done dial is a great place to do this your conversation between two people and those in inherent tension the you know them the Saddam’s questions always come down all the information the house in them in so long on this kind of like a subtext of the basically saying like what you doing had and then you you’re wondering how I will what why why why is there tension head and I looked just like a reverse out Ground Zero to introduce tension and somehow causes facing mental saying and once again the reader question it like like you said yourself you and and says one thing you want to be wherever be careful of with the dialogue is that you’re not making it sound clunky so it wouldn’t be will you remember when this happened on this day with my father and why I’m upset with him. He’ll need to do that in a like you can just throw in a place in a time if you needed to and I think it’s really great in the movie avengers between and black widow and to Hawkeye is this the line about Budapest in his like fast you know now this is nothing like or something like that but all he does is mentioned Budapest know we don’t know what happened Budapest but as a mystery element to it and you wonder what will always have the best job will always have those letters can be fun but yeah like be aware of becoming really clunky in your dialogue by making it sound like why don’t these characters know each other talking about yeah I did so slips into your exposition so what other mystery elements do you like to add when you’re going to at any processed year mystery yes so much Mr. red Herring something can I’m laughing thisone thing the book also clues on of the vessel essay soda for mystery is out of the three probably the most important to know the end and know how the story is going to unfold because when you buy through this process on you really want to pay off in a particular chapter 2 of the the the residence you want me to go back on the clues and how she wants a you introduce that the culprit early on in the story knowing the first hurried off the and the meat processing Cuero by Giese pilot to listen to the so we don’t want your family to you mean really unknown to them thinking like that you know we if you go to solve the last outside and in the beginning of the shots of the new characters and Jesus and he found out that the villain will be really disappointing so want to have them on the periphery throughout the whole thing and this includes the spin red herrings medical it was someone else on you do this in the writing process great ball these are things that really refined in the editing process that help build mystery yeah that that is an excellent example I now I think those is like the Scooby Doo and it will mascot a character you as a kid you’re watching the shows in and there are some close that there is actually no way to put it together and you want to he was only guy in the suit, yeah this makes you wonder why you know like the governments don’t get involved in higher these bad guys to create these amazing instead always blown away with the ability of these villains and Scooby Doo floods out there is the Scooby Doo endings you know like you’ve got to be able to look back at your work and and yes you have the right areas have things thrown off but when you’re the reader and you look back you like oh yeah that is really the only way that this could happen why didn’t I see it back there to install its light members as before believable and is are surprising about inevitable yes surprising but inevitable that the choices are made we do give characters choices but at the end really honestly there really was only one choice it can be made throughout the book and another thought with this I like Peter was saying you know that coming to the last chapter having a character introduced and having it thrown out that is not a good plot twist now that is such poor writings and you don’t want to have. And and and on the same token you don’t want to have a narrator that lies to the audience about the readership because when you get the ends and you like all this is a lie like they know they just deliberately pointed me towards his lies that’s where you have to be very careful with this you know and I don’t talked about the different types of narrators be honest the biased in the line narrator but outlying narrators so difficult to use with mystery because if you’ve lied throughout the entire thing and we don’t know that we have aligned narrator then we really feel disappointed at the end and even if you’ve identified early on that your narrator does lie still here if you just leave them questioning so much all the way through such dangerous you want to take the challenge to make a great one take it but the keep think about think about it before you use as a technique you coming kite coming usefully but yes really want to think of O’Hare was recited in the unreliable narrator them so for example if it was a person that was in the store say it saves the framing story on someone so talented submitted happened so then he goes back and then tells the story on this person narrates the story was part of the story then you come across size unreliable or allow lower line narrator because you just the side of its notice on the scene no godlike token ask you know I know everything is going on and I’m giving you the whole truth like Morgan Freeman voice that was the you know that my house in the motive and the start of the talent and powerful things but yet very tough yeah absolutely you know it and this and this is not specific about their creators but the one where the narrators will move on to the first person is always a biased narrator at the very least not first person narration because it’s all told from that person’s point of view so just like Peter say that persons can account again of the unreliable and so you can’t live as I was trying to get out as you don’t want to have it be a lie you know that you can you can put stuff out there that makes him question you can point them in the wrong directions but to straight out why to your reader and then tell him it was something else at the end it’s just dangerous so clichéd and that it was all a dream is all one big lie is who shot JR now so exactly so let’s get on the tension will lead to do is show all about Mary 75 so blessed on the tension and I think tension is can be one of the most difficult portions to get right with the and because it’ll it makes you have to get in deeper into your character and kind of almost put it into a deep point of view character so that we can really experience that tension is tension exactly like it is” were saying on if you haven’t watched the movie the walk I highly recommend and this is about the guy who wanted to do a tightrope walk between the twin towers back like you think and 1960s or 70s and this movie has so much tension in it while things are happening and that guy was actually like on the edge of my seat is so concerned and worried because that’s what we want to do this tension is what we want to create this worry and were unsure what’s gonna happen and we do that when we can really see that the characters unsure what you deathly something you rewriting the M it is a mess and I do need to see the other is all documentary and where would we did it and out I was crazy but yet you need to see the movie blessing yet is really its character focuses and it’s really down in the in the global level of like character desires and you know something strong strong characters can he eat like strong tension is the really really. You know the letter expressing what we want their expressing the goals clearly on the road and stuff yeah exactly and that tension can come into a lot of different parts tension to become between different characters tension can come from the conflict that replaced them in tension can come from the mystery involved so there’s a lot of places that we can do this making sure that were properly showing that tension so this is just an example okay so if we have for doing like a thriller type movie thriller book and we’ve got the character pinned down and he’s been shot out her or in a car chase and he just seems completely calm and the doesn’t care about it at all where’s attention Mike house the audience to know that this is something that they should be concerned about if we don’t feel that tension now maybe maybe that the character is such a James Bond type spy that this is old hat not a big deal then we need to add something else that the tension needs to increase maybe if he’s delayed because of this car chase is not to get to the person who wants to save them into something of that nature but something has to happen so that we feel some tension here with the characters experience you think about the soloist I know you about him is going to change is to be a disruption so as you say to doing something that the that they used or even if it would be a tense situation for us in this somehow in a way that pulls this current time was a strong character mean and vivid and three-dimensional immuno really fleshed out and put them in alts with the surroundings and confiding might not necessarily be a great alts when he’s got say without spoiling you with spoiling when you got a minute to before building explodes and I know he got time to like save himself all go you know than those kind of choices in alts than with his surroundings in an MLS tense these are the methods utilized amended the ticking time bomb is a great kind of like Paul metaphors well but I’m yet printing direct direct alts with what’s going on around them yeah exactly like it’s just it’s one way that you can do this and you can add tension if you’re having trouble but we talked about tension like in a thriller we talked about tension and action so what about tension in a romance note tension can is still existing and romances it actually should because the basis of a romances of two people can’t be together and so there should be a lot of tension coming along in romance you see there’s not one genre that you shouldn’t have loads of tension it that’s just this is what you got to become really good at to make sure that your projecting this tension around in every situation and if you remember we did a show about seeing and sequels Dwight swains motivational reaction units and one of the things it’s in there is this feeling right that they have to make a choice and so if we’re not worried about the choices that they’re making if they don’t feel the tension between the two choices at that make to move forward then we are losing I could just I don’t know how to say this in in a way that makes any more sense to go to the is a great point in this house there always on the methods used to do this in every genre on them such a couple perhaps likes a romance let you you say that I think things like a well that this goes for many of us put twists plot twists all them secrets notification cartel to see Karen document from Aricept taking romance back a grade tension and and you especially if as the reader starts to realize that a character might have it secret and it would drastically affect the relationship with another character then you you already start to feel tense about it is I think so we said before about the dramatic irony that that that idea that you know something at the character doesn’t know as the reader it’s kind of like being in that horror film right you know there’s a go in there after the best of the killers out so if you know the day that this person has the secret and that that the if they find out it’s in the ruin everything and how how much does that your tension in the next it’s a really good way to do is to see the killer in the house
okay I think it was started on house and the scene whether the protagonists driving home and you click; the house on the matter and the to be the then it also has to plot twist clock as the likely Jesus and then bomb them it slowed down a lot mind is blown to 12 acres so assessment on this conflict here is just take a break throw something on so conflict is what’s going to be caused from the outer and inner problems from the plot problems are solved in the additional troubles that were throwing on them to the inner problems that the main characters are dealing with and of course always making those problems worsen this is where we come across a lot of conflict situations were tension will happen or mystery could happen in conflict takes place you have to them and having them preferred for good comfort with the characters have to have will exult upstairs should have helped if the house might now be a blue T-shirt, the patient throws away at the end of the show took center stage. Today you so you won’t even notice it before matter is it helps if the characters have clear goals and because as soon as someone has a goal in this room for conflict it’s a great point and if we think if you want to use a different word for conflict we could call it drama that your story really can’t exist without it, you really can’t have vastly saw this is a few weeks ago in the short story class and on the wanted to tell us a story of a family going to to the beach was labeled. Damn shark need some some have been better having because it’s just something or nothing happens in the story it just feels why am I reading while I bother and if there’s not something that is taking place is not some drama is not conflict Is not these things happening that we are putting into place to make me feel a little bit on edge as I want to go to escape to a book to be on edge so I can come back and deal the deal with my normal life is great if you go to settings like a beach and you can kind of like juxtaposed that with yards of the serene and tranquil phone will be in place and you know the shock that all is a killer on the have to be like that so no save several months a.m. you suddenly and the DM another wife sees like a love letter upon the person the way that it creates conflicts and something has to happen when you get the and you know the same can be really really good places to have conflict because the almost seemed out of place them but yet it, is the setting, the be-all and end-all of the now and this is one of the things you can look at now with your manuscript got it all laid out in your Birdseye and you’re looking at each of the seamstress and is there any conflict in the same will if there is not any conflict in the scene what is it that the scene is doing here and so those especially transition teams this is a good place where you can say are either need to add conflict to this transition sooner get rid of it and by transition I mean there were were traveling between two different places were moving in time between two different places for some reason I have one author’s work they read they feel it necessary to stay in that close scene between the transitions when really point a something cool is happening at point B point see something schools out in the the transition and point B is not working and so either need to add conflict to add tension to administer to it or you remove it like that I think you can honestly do this with every single scene you look his or mystery’s attention is there conflict if there’s not why is it there and if you can answer the question then you can still be argument maybe being that would definitely guess it’s a definite question to be asked on you better answer is our common over blacktop on a continental Pluto is so freaked out and you are very over so so all of these all of these I think really can be pretty simple new think about the mystery the conflict and tensions but there’s a lot more cities than this and that were integrated going into more depth of this with our course because each one of these actually has a three-part segment know with for instance Mr. Eno mystery moves into curiosity and an explanation and so like each one of these is going to take place in different levels so there’s a lot to it and I know that in a in a short period like we got on the show today we can’t cover every single thing but I hope you were given you something so as you can go through and take a look at the basics do I have mystery tension our conflict definitely yeah you know we this this is like we’ve been kind of wanting to do the show for a while because of how important it is like you say it has to is entitled to receive so this is really want to do justice and when we start talking with how we were going to do it we we realize just how integral it is and know that’s why we wanted to kind of the cost to get uncle something really really useful and valuable buses I hope that this this is really Karen kind of the basics and you know that it’s allowing you to kind of listen to the show go away on making a brief little checklist to help you when you look at all the things yeah and this works not just with the scenes is also works of the characters you if you if you have multidimensional characters. They should have one of these elements about them now that they cause conflict that they have tension in their life that they are the mystery know something like that you can take a look and say what you know what I’m trying to make this person be multidimensional on the data readers come back and say I’m just not feeling this with this character but I could be a time to go in and see if you added enough tension in their life the got conflict going on in the story if they did that if there that key to Mr. you know that there are the ones who make sure protagonists wonder all what happened next should I continue asking him about this yolks it’s kind of personal something is a logical stuff you can do this I did a lot of writing and editing and just this all the stuff there’s so much stuff you can do and I know the kind of feels overwhelming sometimes but you just gotta dig in and there on the buses that the bodies to tools and techniques that you know the knob kind of a magic bullet to the kind of November the they are the to be used then you know it’s it it does really help when you when you when you think about this stuff only so you can kind of think of about it with Plaza with characters and you you opened your wardrobe this morning and thought you know which Jicha is going is going to invoke mystery tension and conflict today show on the desert is in your life really can invoke the Zaidi.as I said it was a just a another realtor and that I missed off if you do find that you use all of you have the scenes of exposition going on and the kind of just giving away a bit boxed Oreo details and it’s it’s bogging down this can actually be a moment to use your advantage and whenever there’s exhibition going on is room for another character to disagree with what’s being said you if you just got one talking on another character agreeing.thus potentially a bit of a bar and seeing him and you can use exhibition as is actually an opportunity and to introduce conflict and send it off on over the next few weeks.