Narrative Tension - This is the continue article from Creation Narrative Tension in Novel (Part 1)
Internally and externally?
If a character does not block, there is no drama surrounding the advance of history. There is no reason why a person feel any tension, or hearing a story to feel the tension on a character getting what they want.
Another way to generate stress is to begin a story with a character wrestling with a dilemma (which may be internal or external, mainly). If an event of the plot forces the character to act to resolve his dilemma, the story begins with a question - what will make the character - and moves toward an answer to that question.
If this step resolves the original dilemma to Creation Narrative Tension, but creates a new problem, which requires a larger step, the story moves on.
Because the resolution reached, the character of the story must go through a change in sentiment.
If a character does not go through a change in sensation (or understanding), have not been affected. If there is nothing in a scene from the impacts of a character can be hard to what happens to the impact on the audience. The exception, of course, is that the narrator wants a character to remember while doing something that acts on the public.
When a character is facing a bigger, more difficult problem, a state must have new, different feelings.
That feeling can be incorporated into an action (a character shouts, or lashes out, or babble, etc.) or can be expressed through dialogue.
This simple process is evident in the books of Harry Potter. When done right (Harry's world is full of dilemmas in progress), the effect is to pull the audience forward.
Dilemmas in Harry's world has many faces - Harry wants to go somewhere with his friends but can not because it is in danger - Harry has many powers, but if used to defend the Dursleys, who have power to take the risk .
Many stories I have read the action, things happen and things are resolved, but the deeper question is how the action compelling.
Just to clarify this, a character can be in conflict with itself and something external to them. In The Hunt for Red October, Ramius has boiled his life the way the Communists treated their homeland. It is only with the death of his wife who can act to solve this sense, punishing the communist party (while his wife was alive, he could not act without jeopardizing his). Ramius To further boost over the edge, he blames the Communists for the death of his wife due to a failed surgery.
Once the internal pressure is set (and sometimes referred to), the story unfolds mostly as Ramius must outwit the forces arrayed against him. However, the transfer of this internal tension at the hearing has already taken place.
Understanding how the popular stories and storytellers to create narrative tension can be a teaching tool.
Narrative tension are the characters in a novel strain of developments and unresolved and unfulfilled needs. Therefore it is important to suggest the promise of a story in a dramatic context, so that a storyteller create characters who have a need to act, and act in spite of obstacles. When the characters of a story are prevented from getting what they want, experience narrative tension. By acting to earn some extra pain of a character (because the story / narrator raises obstacles) a character in a story of experiences growing narrative tension.
In short, a narrator creates a character who can not refuse to act because of the costs of inaction, but there is a price to pay for performance.
Romeo in Romeo and Juliet is a great example of narrative tension. To act on his love for Juliet is to turn against his clan and family, not to act on his feelings for Juliet is to violate their sense of what is important to him. However, any action that increases pain.
Romeo is a great character because he will not even allow that block death to be with Juliet.
A novel (or memories) that lacks narrative tension is no longer convincing. It can appear to be episodic, events happen, but there is tension around a result of these events. Characters act, but there is tension generated around their actions.
That suggests the tension of the characters is only the first step to create narrative tension. The second step is to write about this tension so as to transfer the characters from one story to the audience a story. That's why the introduction of the promise of a story around a theme of human need is so important. When hearing a story is identified with the characters of a story and goals, which the public can also be taken to internalize the tension about whether a character achieves its goals.
While a great plot can help to engage an audience around to know what will happen next, when the public has internalized the tension of a narrative story, the audience needs to experience the history and resolution of compliance for the relief the tension created by the narrator.
The higher the voltage, the more attractive of the novel.
This is why keeping the promise of a story off the stage can be as lethal. That failure can lead to weak or absent narrative tension.
Generate narrative tension, then, begins with the opening sentences of a novel or story.
Narrative tension is comparable to an electric current that runs through a story. The weaker the current, less a story conveys an audience. The higher the current, the greater participation of the audience.
When I've worked or talked with the agents, the lack of narrative tension is the main reason for rejection of the novels.
Another way in this edition of the narrative tension ...
What does your character want your story begins ...
... What he or she blocks to get what they want? Wait the next article in Creating Narrative Tension in Novel (Part 2)
Narrative speech topics tutorial with 10 ways to find things to talk about in your narrative. The main objective of this type of informative public speaking is to construct a narrative history real or fictional discourse about yourself and make a point. Here's how.
What's the point? It may be a past or present personal experience, case knowledge, a memorable person you have met or a moral lesson. Explore and reflect on their values and reach a climax at the end of the narrative.
1. A good place to start the narrative with the writing process is a memorable moment, situation, environment or scene. Try to catch it in one sentence: In X-mas that ... and then a verb. For example, X-mas I, I, I go, I was, I said so. After the verb can be filled in every experience to share.
2. An incident in the last 10 years or in childhood that illustrates what you are.
3. The story behind a personal photo or video.
4. Highlight some of its characteristics or typical behavior.
5. Something you absolutely do not like or hate.
6. A thrilling experience interesting, inspiring or funny or event that changed his life.
7. An important lesson learned from someone you admire. These issues are very classic narrative speech.
8. At the time of his life to see the light, or that it was very insightful.
9. A fable or myth that you have a moral lesson that trying to live.
10. The relationship between a short series of important milestones in your life that molded his character are also catchy narrative themes.