Carrie Cross’s Advice for Aspiring Writers #6: Create Suspense…

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Whether you’re writing for children, middle grade, YA, or adults, you must create suspense to keep the reader turning the pages of your novel. Even if your genre isn’t mystery, thriller, or adventure, you can still use suspense to create drama. There are many techniques you can utilize. Here are two of my favorites:

Unexplained events: Leave the reader wondering and guessing

Introduce unexplained story elements. Lee Child has mastered this technique, and it is especially apparent in his fourth Jack Reacher novel, Running Blind.

“The killer’s victims have only one thing in common–all of them brought sexual harassment charges against their military superiors and all resigned from the army after winning their cases. The manner, if not the cause, of their deaths is gruesomely the same: they died in their own bathtubs, covered in gallons of camouflage paint, but they didn’t drown and they weren’t shot, strangled, poisoned, or attacked. Even the FBI forensic specialists can’t figure out why they seem to have gone willingly to their mysterious deaths.” ~ Amazon review

Child’s writing leaves the reader mystified. How could the killer drown women in green paint without spilling a single drop? Picture the struggle, and the ensuing mess. How could such immaculate killings be possible? This question keeps the reader intrigued, and eager for the next chapter.

For a Middle Grade read, consider this teaser from my second Skylar Robbins novel, The Mystery of the Hidden Jewels:

If I couldn’t go to Pacific Middle School with Dustin, Alexa, and all of my other friends, it will absolutely destroy me. Not to mention what it will do to my BFF. She’s carrying around a big, embarrassing secret. And I’m trying to help her keep it.

Oh-oh. What’s the big, embarrassing secret?

If the reader is invested in your characters, they will keep reading to find out what happens to them.

Use Cliffhangers

“A cliffhanger or cliffhanger ending is a plot device in fiction which features a main character in a precarious or difficult dilemma, or confronted with a shocking revelation at the end of an episode of serialized fiction.” (Wikipedia.net)

Try to end each chapter with a cliffhanger: Put your protagonist in a dangerous situation. Maybe her embarrassing secret is about to be exposed. Or she is about to receive some terrible news. How will she react? Introduce a new, threatening character. How will your lead character handle an upcoming confrontation? Your readers should identify with your protagonist, and will want to find out what happens to him.

Consider this cliffhanger from the last page of chapter one from Skylar Robbins: The Mystery of the Hidden Jewels:

We got out of the car into the wind and rain and hurried toward the house. Crumbling stepping-stones led us through a lawn that was overgrown with knee-high weeds. Dead trees sported black branches that ended in grasping claws. As Victoria Knight fumbled with the key, I saw that the curtains were stained with something that looked like blood.

“Here we go,” she said, opening the tall front door. She let out a loud shriek and ducked.

Why did she scream? What flew out the door and made her duck?

If you end each chapter with a question that begs an answer, your readers will be eager to turn the page and find out what happens next.

Skylar Robbins: The Mystery of the Hidden Jewels is available on Amazon.

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Carrie Cross’s Advice for Aspiring Writers #5: Grab the Reader with Your First Sentence

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The most important thing to do when starting a new book is to grab the readers’ attention from sentence #1, so they cannot help but continue to read. Book buyers frequently open the book to the first chapter and read the opening page. If it doesn’t interest them within a few sentences, the book goes right back to the shelf. Can’t you picture your own hand grabbing a novel, reading a few lines, and instantly putting the book back where it came from—because the initial paragraph didn’t grab your attention? You must have an exciting opener.

Writers may ask, “But what about setting? Backstory? Character development?” All of those elements are very important, but your reader won’t read far enough to get to them if your opening lines are weak. How likely would you be to buy a book if the first paragraph you read was nothing more than a description of the weather? It’s amazing how many self-published novels begin in this uninteresting way. Your description of the setting might be creative and well-written. Yes, that thunder and lightning may foreshadow something exciting or dangerous to come, but without introducing your reader to the characters or the plot conflict first, who cares about the weather?

Your main character and the essence of the plot must make their entrances right off the bat. Please take a look at the first paragraph of my second novel, SKYLAR ROBBINS: THE MYSTERY OF THE HIDDEN JEWELS (Teen Mystery Press, November 2014) with these thoughts in mind.

I didn’t know this when I climbed into the backseat of the black Cadillac, but what was about to happen in the next half hour would change my life forever. And I’m not talking about a little change, either. This one was a monster. It wasn’t just that we were moving out of the house I’d lived in since I was born, or that I was finally about to start middle school. Both of those things were huge, but they seemed like tiny details compared to what came next. The mystery I got tangled up in involved the disappearance of a famous heiress, a million dollars’ worth of hidden jewels, and a threatening gang of bikers who were determined to find them before I did.

After reading this paragraph you already know the following facts:

  • The story is written in the first person, and the protagonist is about to start middle school, so she is 12 or 13-years old.
  • She is going to experience a monstrous, life-changing event during this book.
  • It starts in the next half-hour, so you­—the reader—won’t have to wait long for the action to begin.
  • She’s about to get involved in a dangerous mystery involving a missing person, a hidden fortune, and a threatening group of adversaries.

The more conflict and tension you can introduce on the first page, the more likely potential readers will be to buy your book. Save those tasty descriptions of your setting for later. Start your first chapter off with a bang!

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