Writers write in scenes. We visualize the scene. With experience, we identify the scenes’ goals. We determine what must happen in the scene, and what steps to take to get there. Even a little thing like “Joe decided to take a left”.
If Joe doesn’t decide to take a left, he’ll never accomplish the scene’s goals.
That’s tension. That’s conflict.
You must accomplish the goals of the scene. The conflict can be something simple. What if Joe needs to get some gas for his tank, but the very next scene means someone has to be saved? If Joe gets the gasoline, then the person will die.
Here’s where you really engineer this scene. ESTABLISH first the threat to person A. They’re going to die.
Establish Joe’s location. Joe’s nearby. Perhaps on the street right outside the brick building with person A. He doesn’t know she’s in danger.
Joe looks at his gas gauge. He’s getting low. But he really needs to find person A so he can talk to her.
The antagonist leaves the building, to find the machete in his trunk. It’s hidden under burlap bags and next to the gallon of gasoline.
Joe hates driving on a low gas tank. He wrestles with the thought.
The antagonist finds the machete.
Joe decides to find person A so he can talk with her.
The antagonist heads towards the building.
I’m not worried right now about the overall book. Just this one scene.
Your reader will be too. Not too concerned at all about the overall quest, just this scene right now, because I’ve written the scene so that it looks like Joe’s going to be late.
And this is the trick. Write the scene as close to disaster as possible. You’ve got to put the solution in, but have it at the last possible second, and it’s got to be plausible.
Like Joe’s car turning the corner where he expects person A to be, and then his headlights illuminate the antagonist walking to the door, machete in his grasp.
Not in his hand in his GRASP. Use those power verbs!
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Remember to who what when where why!
Now do this 59 more times and you’re off and running!
