Category Archives: Craft & Skills

Adding Sexual Tension

First off, everyone here at The Fictorians wishes you a Happy Valentine’s Day!

Sexual tension can always be expected in any romance or erotica story, but it can always work as a major or subordinate plot point for your speculative fiction work. While the ideas I point out here are not specific to any genre, they can be used in any work to spice things up.

So what exactly is sexual tension? It’s not people and/or aliens going at it like Captain Kirk and the green-skinned Orion woman. It’s everything that happens before the sexual act. Unfortunately, people don’t really think about some of the details that go into an attraction, especially since we tend to be blind to it.

First Contact Protocol

The sexual tension was overwhelming Kirk…

When two individuals meet, there has to be some kind of signals sent and received that they find each other at least interesting. This is that “chemistry” thing movies and OKCupid accounts always go on about. Sometimes we don’t even realize this is happening. Our brains flip a few switches associated with that person and puts it in the “this other person is someone I’m interested in learning more about” section of your memory.

To really get this across to the reader, you need to show some signs using all of the senses. In addition, using a point-of-view that allows poking around inside someone’s thoughts will go a long way. Have them meet each other’s gaze, which is extremely overused so make the situation unique. Maybe she smells something that makes her think of her first love, and it turns out it is the natural musk of a female Sklorr from Bernard’s Star. Perhaps a man is working on a widget in the engine room and hears someone singing lightly to themselves in three-part harmony, only for him to discover it is a Gnork from Vega, which happens to be a gender-neutral species. Maybe two characters from different worlds bump into each other in the cantina and all they can think about is the feeling of feathers and scales brushing against each other. Get as much in there as you can, but spread it out a bit so you don’t fall into the laundry list problem.

For many guys (and some gals), there is a “checking out the other character” moment. The other one may not even realize it, but there is certainly some ogling and appreciation for the form and figure. They have a strong visual mode tied to their sexual sensory input for their brains. This can be utilized to show at least one has some interest in the other character(s).

Go To Jail, Do Not Pass Go

Since we’re trying to ramp up the sexual tension, the characters cannot decide they like each other and start banging away against the main engine, although that worked great for Kaylee in Firefly. There has to be good reasons why they could never be together. It could be position — no, not that position, I mean one could be an officer and one enlisted. Maybe there’s a taboo against being with that Sklorr… “I heard they eat their mates after they’re done.” One man may be on his way to Jupiter to start a new job as a special investigator while the Gnork from Vega is a jewel thief wanted in three planetary systems. There are plenty of options available to you, but make certain it is a good, logical reason.

Because they are definitely interested in each other in a romantic way, being forced apart will make them constantly think about each other, sometimes focusing on the little details. When we are smitten, we tend to experience everything our romantic other does as a performance. We note how one corner of their mouth doesn’t curl up as much as the other when they smile, or how the tone of their laughter makes our hearts flutter (especially during Valentine’s Day!)

Frustration and Calamity

It’s important that things keep getting in the way of the characters pursuing each other. If they were so close to each other that they can smell each other’s toothpaste, have someone (such as the comic relief character) stumble into the room just microseconds before their lips were going to touch. Have the Sklorr set up a nice date with her human girlfriend, only to have the transport tube break down on the way to the restaurant. The human will be angry and wonder if her date stood her up, while the Sklorr will be frustrated that her romantic date she planned out in detail was ruined because of a tiny component she forgot to replace when she worked on the tube system this morning.

By keeping them apart when they’re so desperate to be together, we create lots of sexual tension. The reader is wondering every time the two characters are in a scene together if they’ll finally get to that all-important first kiss. You want to keep the audience guessing until late into the middle section of the novel. But will they go further? You can fill in those details at the (ahem) climax of the manuscript.


 

About the Author:DeMarco_Web-5963

Guy Anthony De Marco is a disabled US Navy veteran speculative fiction author; a Graphic Novel Bram Stoker Award® nominee; winner of the HWA Silver Hammer Award; a prolific short story and flash fiction crafter; a novelist; an invisible man with superhero powers; a game writer (Sojourner Tales modules, Interface Zero 2.0 core team, third-party D&D modules); and a coffee addict. One of these is false.
A writer since 1977, Guy is a member of the following organizations: SFWA, WWA, SFPA, IAMTW, ASCAP, RMFW, NCW, HWA. He hopes to collect the rest of the letters of the alphabet one day. Additional information can be found at Wikipedia and GuyAnthonyDeMarco.com.

Subliminal Tension

Tension is an emotion.

Making a reader feel tension is, in part, a function of what is happening in the story, and other Fictorians are doing a fine job of covering that. I want to dig down, though. I want to get past plot structure, and characters, and all of the things we usually talk about. Today is not a lesson in simply writing fiction. Today, I want to talk about the words themselves.

Speed is key. Short words mean fast reading. Short sentences mean fast reading. Fast reading means fast thinking. Fast thinking means excitement.

Extended vocabulary, on the other hand, will tend to result in a slower, more ponderous pace of comprehension. In addition, one can expect that a more complex sentence structure will also result in increased temporal periods for absorption of material. In turn, this style of writing can lead to a more leisurely, intellectual feel for one’s reader.

See what I did there?

Tension is a function of two things: excitement and a lack of resolution. You want to keep your reader on a knife’s edge for a bit? Shorten everything. Boil your words down to the simplest form. Boil your sentences down to subject-verb-direct object structure. Lose as many phrases, clauses, or anything extraneous as you possibly can. Make it so a third-grader could read it. Put in a refrain (see above where its X means Y), because once the brain is on a roll it will simply speed up.

The goal here is not to cut back on the amount of information you’re throwing at the reader. The goal here is to get the reader to absorb the information as quickly as you possibly can. From a writer’s perspective, this can be tough. It’s actually faster for us to write one massive sentence than it is to break that baby up into little chunks. When we’re flowing, we don’t want silly little things like sentence structure to stop us. So when one is writing a tense scene, the knee-jerk reaction is to write longer stuff. Bigger words, longer sentences, and massive, hulking paragraphs.

But when you’re revising, you need to break that up. Read those two paragraphs up above again. You’ll burn through the fast paragraph in about half the time it takes to read the slow one.

Don’t think of it as “half the time,” though. Flip the equation. What really matters is the amount of information hitting a person’s brain in a set period of time. In other words, the boiled-down writing style means that your reader is getting twice as much information per second. She’s racing to keep up with you, and her conscious mind is running at a dead sprint to keep up with her subconscious one. You ever run down a hill only to find that you have to keep accelerating or you’re going to completely beef it? Reading a scene written in that boiled-down language feels like that.

Now, don’t write everything for speed. Sometimes, you want to slow it down. Let your reader breathe in parts by lengthening everything. Get a little purple from time to time. I’m not saying you should write for speed all the time; what I’m saying here is that, by controlling the speed at which your reader processes your story, you can create tension in certain scenes by having them accelerate the speed at which they are reading, and you can relieve tension by allowing them to slow down. By controlling the speed of their comprehension, you can make them feel tense and they will never know why.

So don’t use this trick alone. Use it in conjunction with all the other tricks being written about by my colleagues this month. Just remember, your goal is to control all of a reader’s brain, and word, sentence, and paragraph structure is the gateway to triggering that subliminal feeling of tension.

The Art of Miscommunication

A few years ago, at the family cabin, my wife chastised one of the kids for running past a wooden stake, topped with a pink ribbon.

“Get over here. The neighbors put up those stakes because they were tired of people going into their yard.”

This surprised me, as I knew my dad had surveyed the property in an effort to divide the lot. The stakes were commissioned by him, not the neighbor.

“Where’d you hear that?” I asked.

“Your mom.”

My mom hadn’t communicated with my dad about the survey. So my mom, in an effort to understand reality, assigned a narrative that made sense to her, along with a motive. She didn’t know about the stakes, so obviously it came from the neighbors who shared her border. But why would they do such a thing? Because they were sick and tired of her grandkids disturbing the pine needles on their property, obviously.

Had she just called the neighbors, or mentioned it to her husband, the miscommunication could have been avoided, instead the narrative she created was passed around to my wife, then my kids and i’m sure others in my extended family still think the neighbors are a bunch of pricks because of it.

Two parts in the example above, create and build tension.

  1. Using point of view, we can develop a perception of reality unique to our characters. The disparity between these perceptions are where we breed tension, with each character reacting according to their perception to a situation.
  2. Having our characters assign motive to others without understanding their perception of reality.

In Les Miserables, Fantine hates Jean Valjean because he fired her. He hadn’t, that was her perception. She was fired by a female supervisor who’d discovered her illegitimate child. The supervisor brought up the situation to Valjean, omitting some detail, and Valjean invited her to do what she thought best.

Later, after Fantine plummeted into poverty and sin, all for the noble cause of caring for her daughter, she confronts Valjean with anger, matching the hatred he must hold for her. Only, he doesn’t even know who she is and tries to help her as he would anyone in her situation. The tension explodes, becoming another inciting event for Valjean when he understands Fantine’s perception of reality, he’d fired her, his motive, he despised her for her sins. His perception of reality was quite different. Anyone could find redemption. She’d made a mistake and should hardly have to pay for it the rest of her life. In fact, God could use that mistake to bring about a wonderful miracle that was Cosette.

Later in the story of Valjean we find another miscommunication between Javert and Valjean. Javert expects to be shot for spying on the revolutionaries. Valjean volunteers to shoot Javert, not because he wanted to be free of the old prison guard, but because he wanted to save Javert’s life. This blew Javert’s mind and he vowed to continue to hunt Valjean down, which he does later, but when it comes time to arrest Valjean, his perception of reality has changed so drastically, he chooses to not live in his newfound reality and kills himself after letting Valjean go.

As a reader we can bask in the tension created by conflicting perceptions of realities from two or more characters that we’ve come to know through their point of views.

Jace KillanI live in Arizona with my family, wife and five kids and a little dog. I write fiction, thrillers and soft sci-fi with a little short horror on the side. I hold an MBA and work in finance for a biotechnology firm.

I volunteer with the Boy Scouts, play and write music, and enjoy everything outdoors. I’m also a novice photographer.

You can read some of my works by visiting my Wattpad page and learn more at www.jacekillan.com.

Mental or Emotional Strain

Guest Post by Aubrie L. Nixon

Oh boy, do I love this subject. I have been told by many readers and a few friends that I am a wee bit, err…CRAZY. That the dark side of me comes out to play in my writing. Honestly? I wouldn’t argue with them. I like to torture and create the most delicious tension for my characters. Not only do I enjoy making them suffer physically and emotionally, but I am huge fan of sexual tension.

To create tension is to create a pace where your characters are suffering. For me, it is quite easy to do that. I have always found that the more you suffer the greater the reward. In the case of fictional characters, at least for my characters, it is the same. In order to grow and become who you need to become there needs to be tension, trials, etc… In the series I am working on now, there is a lot of strain put onto my characters and their relationships with one another. They are expected to accept what they have been assigned to do, and do it with ease. Now this lovely group of people are warriors and assassins. You can imagine what spending weeks with a group of killers that you don’t particularly like can do for the amount of tension in an already bleak situation.

To say it makes my dark heart sing would be an understatement (insert evil laugh).

Characters drive your story, to create more depth for them you need to see the struggle and grow. Tension, the dirty bastard that she is, can do that. My personal form of torture, I mean tension, is the big S. Sexual. It is perhaps the most fun to play around with. Especially when you have two characters who don’t particularly like one another. You can put them in the most ridiculous of situations, like having one tackle the other while they are arguing. They can stare at each other with anger, when we all know what they realllyyy want. You can create silly nicknames that one character gives another, that one doesn’t like. There can be beautiful banter, pranks and arguing. It will probably drive the other characters in your book batty, because everyone can what is happening but the two characters the tension is between. It is one of my favorite things, and I always get particularly giddy when I read it or write it. You always know how perfect it is going to be when they finally explode and just jump each others bones! Pure perfection.

No matter what kind of tension it is, I am a big fan! What about you?

What kind of tension do you like? What kind of tension makes you roll your eyes?

aubreyAubrie is 24 years young. She plays mom to a cutest demon topside, and is married to the hottest man in the Air Force. When she isn’t writing she is daydreaming about hot brooding anti-heroes and sassy heroines. She loves Dragon Age, rewatching Game of Thrones and reading all things fantasy. She runs a local YA/NA bookclub with 3 chapters, and over 200 members. Her favorite thing to do is eat, and her thighs thank her graciously for it. If she could have dinner with anyone living or dead it would be Alan Rickman because his voice is the sexiest sound on earth. He could read the dictionary and she would be enthralled. Her current mission in life is to collect creepy taxidermy animals because she finds them cute and hilarious. She resides just outside of Washington DC.