Using storylimits to amp up the tension during scenes?

[BillyBenji]

Do you think it’s a decent idea to go about using optionlock and timelock but on a smaller scale, maybe scene by scene?

I’ve been trying to look at how to write tense scenes and there’s typically this idea of a time bomb (for example, a bomb under the table), and the second things is that you have to actually care about the characters. That’s what a lot of people commonly say.

I was just curious if Dramatica had anything to offer in this aspect. I figured it might just have to do with the storytelling, but then I recalled timelocks and optionlocks. So I’m interested in learning about whatever there is to offer on this topic.

[museful]

I don’t think that it is uncommon. Tension can be amplified by limited time or space in a scene, but it isn’t optionlock or timelock…

@chuntley

You may include smaller instances of limited time, deadlines, limited options, etc. (e.g. the hour glass toward the end of The Wizard of Oz and the count down at the end of the Star Wars as the Death Star approaches the Rebel base), but they are not part of the Story Limit.

If you look at a story form, you don’t feel any tension whatsoever. Damn, Storyform #3458 is intense!

After a quick search, I thought this was an interesting list:

How to Create Tension in a Story: 8 Simple Steps | Now Novel

I think each of these steps could be juxtaposed to Dramatica concepts.

Are you a fan of MMA or boxing? I am. One of the interesting things I noticed as an MMA fan? When I watch the fights, I hold my breath. I tense my body. I feel my adrenaline kick in. Bear in mind, an MMA cage has a ticking clock and a limited amount of space.

It also has a back and forth; reaction and action. You also, generally, are rooting for a particular fighter and you share his POV.

Literally, it is the back and forth in a fight. Sometimes the fighters feel each other out. Sometimes, they let off a flurry of punches. Sometimes, a fighter is knocked down or finds themselves in a very uncomfortable position.

In noveling, one of the interesting concepts (for me) is the back and forth of the viewpoint with MRUs. It is like a heartbeat. It can move quickly or slowly. You vary the pace with POV, sentence length, time dilation, etc.

I also think that PRCO from a subjective POV is interesting because there could be multiple subjective PRCO at work in a scene. That could be very interesting in regards to the different subjective PRCO being dynamic, complimentary, dependent.

[jassnip]

Heya Billy,

One of the best things I’ve read on building tension is in Dwight Swain’s Techniques of the Selling Writer. In it he talks about what makes for tension – danger to a character’s happiness or well-being. Danger being created by the combination of perception of the danger and the experience to know that whatever it is is a threat.

So you can create tension in the reader by giving them information the character doesn’t have…let’s take your bomb example.

Francois places a bomb under the table at an outdoor cafe, and then goes across the street to watch the fireworks. A family of of 5 are seated at the table, Mom, dad, 4 year old twins and a new born. The babe is wailing. Twin number one is asking questions at a mile a minute, twin number two keeps sliding off her chair and every time she goes under mom drags her back into her seat at which time the little girl says 50, 50, 56, a few seconds later she slips down again. Mom drags her back up 49 says the little cherub. The waitress walks up and says what can I get you? Mom says coffee. Coffee says twin number one. Dad offers hot chocolate. 37 says twin number 2.

How’s the tensions playing out for you? hopefully you can see at least some. You the reader knows something the reader doesn’t. That there is danger…and despite knowing nothing of the characters there is tension here.

The other kind of tension is when the character does know…

Let’s add one little background detail to dad – he used to be a munitions guy in the army.

Dad goes under the table after twin number 2 and says peek-a-boo, just as he flips the edge of the tablecloth up. He sees the bomb and registers at least 4 sticks of dynamite and a counter that says 15 seconds. Run! he screams Bomb! He snatches twin number two from under the table and the baby out of the stroller. Wife doesn’t question husband but grabs twin one and clambers over the low wrought iron divider separating the cafe from the street. Hubby is yelling counting. 10, 9, 8, 7 as the couple and their kids try and race to a safe distance…which they are probably not going to make.

How’s your tension level doing now? increased?

The thing is…it doesn’t have to be as dramatic as a bomb…it can be anything that puts something the character cares about into jeopardy.

hth,