The first time I ever acted on stage was my freshman year of high school, when I played a 90-year-old nun in the show (warning: terrible pun ahead) Nun of Your Business. I’d never acted before, and knew next to nothing about it. I figured it couldn’t be that hard to pretend to be someone else, but it proved to be more of a challenge than I thought. As a 14-year-old, I had no idea what it was like to walk around using a cane. I still had all my teeth. Hell, I wasn’t even Catholic.
Lucky for me, I wasn’t the only one feeling like a fish out of water. So, to help us get into character before rehearsals, our director would have us sit in a circle and ask us mundane questions like ‘what’s your favorite breakfast food?’ or ‘what kind of errands did you run today?’ And we’d have to answer them from our character’s point of view. Now, as a frigid old woman who could hardly walk, I didn’t run many errands, but I waxed poetic on my love of all things breakfast, particularly buttermilk pancakes. I still remember that. I also remember insisting that I did not wear dentures.
Writing, it turns out, is a lot like acting. You have an entire cast of characters, each of them unique, and you have to manage to keep them all straight. You have to make sure they don’t blend together, and that each has a very distinct personality. I’ve been hard at work editing my current WIP, and was having a little trouble with one chapter in particular, where I couldn’t seem to get the mother to sound like herself. Up until that point in the manuscript, she’d been kind of sarcastic and grumpy. In this particular scene, the main character was in need of some comfort, and I couldn’t figure out a way for this older woman to offer her support without sounding trite and completely out of character.
So what did I do? I went back to my high school days of method acting. I sat myself down, closed my eyes, and tried to envision myself as a 47-year-old woman who’s hiding a fugitive in her basement, whose eldest son has turned out to be a major disappointment, and whose world is crumbling around her faster than a leaning tower of Jenga. I may have considered even putting on a frumpy dress and an apron for this, but couldn’t find any. (But if dressing up helps you, then by all means, go for it.) I envisioned what she’d had for breakfast that morning, and what kinds of errands she’d had to run. Knowing the scene took place in winter, I thought about how snow might affect her mood. Then I read through the entire scene out loud, much like you’d do at a play rehearsal. The problem, I found, was that a script is all dialogue, save for very specific sections of blocking. In between my lines of dialogue, I’d have a paragraph describing the lump in someone’s throat, or how badly their head hurt. When the thing I needed to work on most was voice, all those extra words just got in the way.
How did I solve the problem, you ask? I opened a new Word document, copied and pasted the scene I was working on, and deleted everything that wasn’t dialogue. And after I read through that, I realized why I couldn’t get the mother to act the way she’s supposed to. The problem was that the paragraphs between the dialogue were concentrated on the main character, as she’s the one narrating. So her voice was pulling me away from the one I needed help with. Once I took away my MC’s narration, the scene began to fall into place. I had a much better grasp on the mother’s voice. Keeping those emotions I’d dug up at the front of my mind, I was able to rewrite the scene in a way that stayed true to who both the characters were.
I haven’t acted since I started college, but I’ve found method acting to be a useful took I like to keep in my writer’s toolbox. It’s come in handy on more than one occasion, and I hope you guys can take advantage of it as well. Just start with the basic question of what’s the best breakfast food, and see where your imagination takes you!
Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts
Thursday, July 7, 2011
Friday, June 17, 2011
Writing in Style (Or Style in Writing?)
Anyone who knows me in real life (or just follows my inane ramblings on twitter or tumblr) knows that my not-so-secret second love in life is fashion. Every morning I wake up and check the publishing blogs I subscribe to, then immediately move on to the style blogs. My writing may be influenced that day by some tips I picked up, and my outfit may just be an interpretation of something I saw online. Either way, my day has been impacted by the two things I love most.
But what does fashion have to do with writing, you wonder. Besides the obvious fact that your characters wear clothes (or maybe they don’t. Maybe you’re writing about a nudist colony, in which case, this post may not be relevant).
As writers, we’re told to infuse our characters with personality. No one wants to read an entire novel where the main character is as bland as a piece of burnt, unbuttered toast. We’re told to give them quirks, a distinct voice, and maybe a few defining physical features. Clothing, I think, falls into the same category. Maybe it’s just me, but I pay close attention when an author takes the time to describe what a person is wearing, even if it’s only a passing sentence. Suzanne Collins doesn’t really waste a lot of words on Katniss’s dress for the opening ceremony. In fact, this is all we get:
“I am dressed in what will either be the most sensational or the deadliest costume in the opening ceremonies. I’m in a simple black unitard that covers me from ankle to neck. Shiny leather boots lace up to my knees. But it’s the fluttering cape made of streams of orange, yellow, and red and the matching headpiece that define this costume. “
“My face is relatively clear of makeup, just a bit of highlighting here and there. My hair has been brushed out and then braided down my back in my usual style.”
It’s pretty vague, if we’re being honest. We have absolutely no idea what the headpiece even looks like. But that’s okay, because we’re given an impression. In our minds, we’re able to understand that the dress is, in a lot of ways, like Katniss herself: simple yet powerful.
Period pieces require a little more effort than a contemporary novel. Instead of saying a character’s wearing jeans and a t-shirt, you’ve got to worry about historical accuracy. I took a class on the history of fashion in college, just so I’d have the basic information if I decided I ever wanted to write in that genre. The text book is actually a really great reference for anyone who’s looking for one: Survey of Historic Costume. There’s also a great website (the KCI Digital Archives) that has a lot of fantastic images compiled for your perusal. If you’ve read any historical romance novels, you’ll know that fashion plays a bigger role than it does in contemporary stories, if only because a person had to change so often, and a specific garment meant a specific thing in a specific situation. These days we don’t really have that problem; at least, not to such a degree.
Taking characterization into consideration, I think clothing is a totally legit way to help your readers understand them. I mentioned once how black clothing doesn’t make your leading man a bad boy, but it’s still making a statement. Same goes for that girl who’s always wearing frumpy clothes inspired by Laura Ingalls Wilder. Maybe she’s poor and can’t afford nice things. Maybe she doesn’t believe in wearing pants. Maybe she thinks she’s stuck in the 1800s. Whatever the reason, it speaks to her character as a whole.
Lately I’ve been trying to pay more attention to my physical portrayal of people and places. I’ve made a conscious effort to include some sort of clothing description where it’s necessary, and one of my CPs mentioned the interior of my main setting seemed a bit lackluster. Needless to say, I took the time to spruce it up. I realized she was right — initially, it was just a standard house. There was nothing defining about it. Now, as I go back and edit, it’s begun to take on a personality of its own. Which goes to say that clothing doesn’t just belong on people — you can dress up a setting, too!
If you’re anything like me and prefer a visual to help you with your descriptions, the above websites should be pretty helpful. Also, take a look at polyvore.com. Not only can you create visual representations of outfits, but interiors as well! I’ve definitely found it to be a very helpful tool in certain situations.
What about you guys? Do you think clothing can be an important aspect of characterization? I’d love to hear what you have to say!
But what does fashion have to do with writing, you wonder. Besides the obvious fact that your characters wear clothes (or maybe they don’t. Maybe you’re writing about a nudist colony, in which case, this post may not be relevant).
As writers, we’re told to infuse our characters with personality. No one wants to read an entire novel where the main character is as bland as a piece of burnt, unbuttered toast. We’re told to give them quirks, a distinct voice, and maybe a few defining physical features. Clothing, I think, falls into the same category. Maybe it’s just me, but I pay close attention when an author takes the time to describe what a person is wearing, even if it’s only a passing sentence. Suzanne Collins doesn’t really waste a lot of words on Katniss’s dress for the opening ceremony. In fact, this is all we get:
“I am dressed in what will either be the most sensational or the deadliest costume in the opening ceremonies. I’m in a simple black unitard that covers me from ankle to neck. Shiny leather boots lace up to my knees. But it’s the fluttering cape made of streams of orange, yellow, and red and the matching headpiece that define this costume. “
“My face is relatively clear of makeup, just a bit of highlighting here and there. My hair has been brushed out and then braided down my back in my usual style.”
It’s pretty vague, if we’re being honest. We have absolutely no idea what the headpiece even looks like. But that’s okay, because we’re given an impression. In our minds, we’re able to understand that the dress is, in a lot of ways, like Katniss herself: simple yet powerful.
Period pieces require a little more effort than a contemporary novel. Instead of saying a character’s wearing jeans and a t-shirt, you’ve got to worry about historical accuracy. I took a class on the history of fashion in college, just so I’d have the basic information if I decided I ever wanted to write in that genre. The text book is actually a really great reference for anyone who’s looking for one: Survey of Historic Costume. There’s also a great website (the KCI Digital Archives) that has a lot of fantastic images compiled for your perusal. If you’ve read any historical romance novels, you’ll know that fashion plays a bigger role than it does in contemporary stories, if only because a person had to change so often, and a specific garment meant a specific thing in a specific situation. These days we don’t really have that problem; at least, not to such a degree.
Taking characterization into consideration, I think clothing is a totally legit way to help your readers understand them. I mentioned once how black clothing doesn’t make your leading man a bad boy, but it’s still making a statement. Same goes for that girl who’s always wearing frumpy clothes inspired by Laura Ingalls Wilder. Maybe she’s poor and can’t afford nice things. Maybe she doesn’t believe in wearing pants. Maybe she thinks she’s stuck in the 1800s. Whatever the reason, it speaks to her character as a whole.
Lately I’ve been trying to pay more attention to my physical portrayal of people and places. I’ve made a conscious effort to include some sort of clothing description where it’s necessary, and one of my CPs mentioned the interior of my main setting seemed a bit lackluster. Needless to say, I took the time to spruce it up. I realized she was right — initially, it was just a standard house. There was nothing defining about it. Now, as I go back and edit, it’s begun to take on a personality of its own. Which goes to say that clothing doesn’t just belong on people — you can dress up a setting, too!
If you’re anything like me and prefer a visual to help you with your descriptions, the above websites should be pretty helpful. Also, take a look at polyvore.com. Not only can you create visual representations of outfits, but interiors as well! I’ve definitely found it to be a very helpful tool in certain situations.
What about you guys? Do you think clothing can be an important aspect of characterization? I’d love to hear what you have to say!
Tuesday, June 14, 2011
A Musical Secret
We’ve had plenty of articles about the importance of outlining here at LTWF, but today I thought I’d throw one more at you. Something a little out of left field, if you will. Something different. Because when it comes to outlining, I’ve never been a fan. In fact, I pretty openly despise it. Only recently have I been somewhat converted to the monstrosity known as the Detailed Outline (meaning I’ve only done it for one book); in every other instance (including the novel I actually made a Detailed Outline for), I’ve gone about things a bit differently.
My secret? I outline using music.
Writers are inspired by all sorts of things. Maybe for you it’s a conversation you overheard on the subway, or a really incredible piece of art. Maybe your ideas come to you while you’re in the shower, or in the middle of taking an exam. For me, music’s always been my muse. I tend to write my novels as if they were movies — I can see them play out in my head and, more importantly, can imagine the soundtrack playing faintly in the background. Ironically, I can’t write with music playing, but it’s a huge factor in actually getting me to write.
Allow me to explain how this all works.
Step 1: I get an idea for a novel. For realism’s sake, we’ll use my current WIP as an example.
Step 2: I open iTunes. That’s right — before I even open Word, I’ve got to get a playlist started. I even come bearing an example:
As you can see, this is the playlist for SILENCE. It’s still growing, but the initial playlist, before I even began writing, consisted of about 20 songs. Because the story’s very melancholy and quiet, I put together a compilation of songs that I thought would work well to set the tone. For example: William Fitzsimmons, Peter Bradley Adams, and a bunch of instrumentals.
Step 3: Start writing.
Step 4: Add songs to playlist. As new scenes are written, I try to imagine what song might be playing in the background if it were actually a movie. Most of the time the song actually inspires the scene, but sometimes it’s the other way around. For example, I consider SILENCE’s theme song to be If You Would Come Back Home by William Fitzsimmons, which is at the very top of the playlist. It isn’t directly related to any scene, but I always listen to it before I start editing. It really helps me sink back into the story and how I felt when I was writing it. Some people set the mood for a romantic evening at home. Me? I set the mood for a romantic evening with me and my computer.
Pivotal scenes often get more than one song. In the first chapter of SILENCE, the main character has a flashback to the night her parents died. The scene initially starts with a song from Yann Tiersen’s Amelie score, but as the tension grows, it turns into a song from Mansfield Park. Different instruments lend themselves to certain feelings, and in some cases, instrumentals aren’t even good enough. Sometimes you need lyrics. My soundtracks are so random and mismatched, but somehow, it just works.
By the time I’m done with a story (written and edited), the playlist is usually between 30 and 50 songs. It really depends on how scene-specific I get. SILENCE is a bit more like that, while my playlist for THE AGE OF NEVER GROWING OLD is more generic and mood-setting than anything. It all depends on the story. All I know is that this is the only real way I can outline. I start associating songs and lyrics with specific scenes or characters. The first novel I wrote had a pretty short playlist (short being 25 songs), but every time one of those comes up on my shuffle, I’m still reminded of scenes I wrote nearly a decade ago. Music sticks with you, which is why I think it’s been such an effective tool for me. So for those of you who are like me and are having trouble outlining, maybe give the musical route a go. If anything, you’ll get an awesome playlist out of it!
My secret? I outline using music.
Writers are inspired by all sorts of things. Maybe for you it’s a conversation you overheard on the subway, or a really incredible piece of art. Maybe your ideas come to you while you’re in the shower, or in the middle of taking an exam. For me, music’s always been my muse. I tend to write my novels as if they were movies — I can see them play out in my head and, more importantly, can imagine the soundtrack playing faintly in the background. Ironically, I can’t write with music playing, but it’s a huge factor in actually getting me to write.
Allow me to explain how this all works.
Step 1: I get an idea for a novel. For realism’s sake, we’ll use my current WIP as an example.
Step 2: I open iTunes. That’s right — before I even open Word, I’ve got to get a playlist started. I even come bearing an example:
As you can see, this is the playlist for SILENCE. It’s still growing, but the initial playlist, before I even began writing, consisted of about 20 songs. Because the story’s very melancholy and quiet, I put together a compilation of songs that I thought would work well to set the tone. For example: William Fitzsimmons, Peter Bradley Adams, and a bunch of instrumentals.
Step 3: Start writing.
Step 4: Add songs to playlist. As new scenes are written, I try to imagine what song might be playing in the background if it were actually a movie. Most of the time the song actually inspires the scene, but sometimes it’s the other way around. For example, I consider SILENCE’s theme song to be If You Would Come Back Home by William Fitzsimmons, which is at the very top of the playlist. It isn’t directly related to any scene, but I always listen to it before I start editing. It really helps me sink back into the story and how I felt when I was writing it. Some people set the mood for a romantic evening at home. Me? I set the mood for a romantic evening with me and my computer.
Pivotal scenes often get more than one song. In the first chapter of SILENCE, the main character has a flashback to the night her parents died. The scene initially starts with a song from Yann Tiersen’s Amelie score, but as the tension grows, it turns into a song from Mansfield Park. Different instruments lend themselves to certain feelings, and in some cases, instrumentals aren’t even good enough. Sometimes you need lyrics. My soundtracks are so random and mismatched, but somehow, it just works.
By the time I’m done with a story (written and edited), the playlist is usually between 30 and 50 songs. It really depends on how scene-specific I get. SILENCE is a bit more like that, while my playlist for THE AGE OF NEVER GROWING OLD is more generic and mood-setting than anything. It all depends on the story. All I know is that this is the only real way I can outline. I start associating songs and lyrics with specific scenes or characters. The first novel I wrote had a pretty short playlist (short being 25 songs), but every time one of those comes up on my shuffle, I’m still reminded of scenes I wrote nearly a decade ago. Music sticks with you, which is why I think it’s been such an effective tool for me. So for those of you who are like me and are having trouble outlining, maybe give the musical route a go. If anything, you’ll get an awesome playlist out of it!
Monday, March 7, 2011
You Can't Please Everyone
From LTWF
~~~
If there’s one thing I’ve learned over the years, it’s that you can’t please everyone. No matter how hard you try, someone is always going to dislike your book. It’s all a part of the vicious cycle of writing. What matters is how you respond to such negativity. You can respond in any number of ways, but we’re going to highlight two that I’ve seen a lot of, and happen to be polar opposites:
1) People who are majorly offended and retaliate/lash out
2) People who accept it and move on
2) People who accept it and move on
Let’s pretend you wrote a book. Your friends have been nagging you to let them read it for ages, so after you’ve edited the crap out of it, you finally agree to send it to them. You anxiously await their feedback, but what they tell you isn’t what you’d hoped to hear. Two of your friends hated the book. One didn’t like your main character, and the other thought the plot was stupid. If you tend toward option #1, you pointedly tell your friends they know nothing about literature and maybe don’t speak to them for a while. They aren’t writers, you tell yourself. What do they know?
A few days go by, and your anger’s starting to fade. Replacing it is a nagging feeling that maybe your friends were right.What if your main character isn’t likable? What if the plot really is trite? You dive back into your manuscript, dissecting it for the things your friend clearly disliked. You’re filled with doubt, and it starts to eat away at you. Maybe your writing isn’t as good as you thought. Maybe you’re a total hack. I think we’ve all wondered that, no matter what stage of our career we’re in.
If your friends are writers, things might pan out a bit differently. You may be more inclined to believe them when they say your main characters have no chemistry, but only a little bit. And you won’t change anything based on their suggestions. When they send you their manuscript to look over, you’ll look for every little detail you hate, just to get back at them for not loving yours.
Or you could just totally go ape shit and tell them they’re idiots with unfounded opinions and that you have no idea why you ever respected them as a person. (Trust me, it’s happened. You’ll see it all over the internet if you look hard enough.)
These are all really self-destructive ways to respond to criticism. In each instance, you’re the one holding the short end of the stick. You’re left with unending self-doubt, an anger management problem, and quite possibly a few less friends.
So how do we take criticism and respond in a more positive way? Ho do we grow as writers when people are telling you something’s majorly wrong with your book?
The first thing to do is consider the fact that they may actually be right. Even people who flame your story on FanFiction.net, or trash your story on goodreads may have a point, just said in a not-so-very-nice way. So look for the truth in their words. If it’s there (and it may not be), take note. Maybe you had too many descriptive passages, and it slowed the book down. In book two, you’ll know what you need to work on. Sometimes people who criticize your book will mention that it can’t compare to X book that Y wrote. Take a look at Y’s book and see what’s so great about it. Maybe you’ll learn something, maybe you won’t. Either way, it can’t hurt to check it out.
Say you don’t learn anything, though. Maybe the hater was just spewing negativity and had nothing substantial to say other than, “THIS BOOK ROYALLY SUCKS!” In those cases, it’s best to just leave things well enough alone. So someone didn’t like your book. That sucks, but there’s not much you can do to change their mind. If you think about it, I’m sure there’s a book you’ve read that you strongly disliked, regardless of the fact that everyone else raved about it. You may not have left a scathing review in a public forum, but you wanted to. Sometimes there are just books we don’t like. It’s a fact of life. The best way to handle it is to just move on. Be the bigger person. Accusations may be unfounded, and you have every right to stand up for your work. Just be gracious about it!
Have you guys ever run into this problem? How did you respond?
Wednesday, January 19, 2011
Sexual Tension
It's Wednesday night, and you know what that means! Law & Order: SVU! I don't know about you guys, but I can't get enough of that show. I've been watching it since the day it aired, and I'll be a fan until the day I die. Sundays when I have nothing to do? There's always an SVU marathon to keep me busy. Weeknights? Check. Wednesdays? Glued to my TV for an hour.
But I'm not here to preach to you the wonders of SVU (though you should watch it if you haven't). I'm here to talk to you about sexual tension. SVU just happens to be a great jumping off point.
For those of you who are unfamiliar, SVU is centered around the NYC Special Victims Unit, and the cops that work there. Most prominently, partners Olivia Benson and Elliot Stabler. I'm pretty sure 99.9% of fans have been cheering for them since day one, but the nice thing about SVU is that it doesn't dwell on personal relationships. Season 8 deviated from that a bit, and there have been a fair amount of episodes that really showcased the closeness Olivia and Elliot have. But what keeps people coming back, besides the incredible acting, is the sexual tension. Maybe us fans have made it all up, but I don't think so. Because the moment the writers put Olivia and Elliot together, the show is over. I'm expecting it to happen during the final episode, whenever that may be, but until then, I don't want to see it.
But why would it mean the end of the show, you ask? Simple. Because the sexual tension would be gone. The "will they or won't they" question will have been answered, and there would be nothing left to build up to. Having Detective Beck step in for a while helped to increase the sexual tension, and the fact that Elliot's married (when is he going to divorce Kathy again?) creates conflict. All of these obstacles are what drive the show and the Olivia/Elliot relationship.
Or how about Bones? Booth and Bones had constant sexual tension until this last season. As soon as they began to actually acknowledge their feelings for each other, the show began to falter. The writers tried to create more conflict by giving Booth a new love interest, but it wasn't the same, and the fire between him and Bones seems to have flickered. Their story isn't nearly as interesting these days, and I really wish they'd kill off Hannah. Now that the overwhelming issue of their attraction has been addressed, the show doesn't have much to run on.
Another good example is Ballykissangel. The writers created conflict via Father Clifford's profession, so while the viewer knew he was attracted to Assumpta, they knew he couldn't act on his feelings, and vice versa. Thus, sexual tension. As soon as the relationship turned into something real, the show was over.
See a pattern? The thing with sexual tension is that you have to have it to create conflict, which is a driving force behind all storytelling. Once the sexual tension is resolved, the story is generally over. It's a great lesson to take away from television, and I've definitely tried to incorporate it into my own writing. As I begin revisions for SILENCE, I'm taking this particular lesson to heart. I'm adding in much more during the first half of the book, and trying to carry it throughout part two, even with a character being absent. This actually works pretty well, because even with one character missing, the other is constantly working to find him, and to get back the love she's lost.
How about sexual tension in literature? Take TWILIGHT, for example. Edward is initially so hot and cold around Bella that it makes the moment where they become an official couple that much more satisfying. And even after that, the fact that Edward so desperately wants to drink her blood but refuses to let himself creates more sexual tension. Especially because Bella is a horny teenager who wants to consummate their relationship.
HUNGER GAMES. Obvious sexual tension there, caused by the triangle of Katniss, Gale, and Peeta. Having a third party automatically ups the ante. Obviously Peeta was going to win in the end, but there were definitely moments where one wondered if Gale would be a better choice.
Going back to the television theme, how many of you remember the show La Femme Nikita? It is my all-time favorite and, coincidentally, offers the best example of unresolved sexual tension. For those who've seen the show from beginning to end, you'll understand this a bit better, but in case anyone decides to start watching the show, I don't want to spoil anything. The thing about LFN is that the two main characters, Michael and Nikita, are put to the test for five seasons. Just when you think they're going to get together, Section does something to force them apart. Sometimes, it's even their own doing. They're always back and forth with their feelings and loyalties, and it created some of the best sexual tension EVER, as far as I'm concerned. For being a man of so few words, Michael manages to convey his feelings and desires in a mere look, while Nikita is constantly pushing him with heartfelt words and actions. Their obvious differences make it that much more difficult for them to be together, and wondering just how they could ever manage to make it work is a huge driving force of the show. Not to mention the fact that the universe is constantly trying to keep the apart. It's the most genius show ever, and if you want a prime example of sexual tension, look no further.
Think back to some of your favorite shows or books. How were the relationships handled? Once the sexual tension was resolved, did the story have to end? I'd say, in most cases, that's true. As I said, it's obviously an important part of storytelling, and I encourage you to look back at your own work and consider the relationships between characters. Is the tension and conflict there? Is it continuous throughout the story? If it isn't, is there a way to fix it? It's definitely something I've come to pay close attention to these days, and I hope you'll remember to focus on sexual tension the next time you sit down to write. Just like in SVU, good sexual tension will keep readers (or viewers) coming back for more!
But I'm not here to preach to you the wonders of SVU (though you should watch it if you haven't). I'm here to talk to you about sexual tension. SVU just happens to be a great jumping off point.
For those of you who are unfamiliar, SVU is centered around the NYC Special Victims Unit, and the cops that work there. Most prominently, partners Olivia Benson and Elliot Stabler. I'm pretty sure 99.9% of fans have been cheering for them since day one, but the nice thing about SVU is that it doesn't dwell on personal relationships. Season 8 deviated from that a bit, and there have been a fair amount of episodes that really showcased the closeness Olivia and Elliot have. But what keeps people coming back, besides the incredible acting, is the sexual tension. Maybe us fans have made it all up, but I don't think so. Because the moment the writers put Olivia and Elliot together, the show is over. I'm expecting it to happen during the final episode, whenever that may be, but until then, I don't want to see it.
But why would it mean the end of the show, you ask? Simple. Because the sexual tension would be gone. The "will they or won't they" question will have been answered, and there would be nothing left to build up to. Having Detective Beck step in for a while helped to increase the sexual tension, and the fact that Elliot's married (when is he going to divorce Kathy again?) creates conflict. All of these obstacles are what drive the show and the Olivia/Elliot relationship.
Or how about Bones? Booth and Bones had constant sexual tension until this last season. As soon as they began to actually acknowledge their feelings for each other, the show began to falter. The writers tried to create more conflict by giving Booth a new love interest, but it wasn't the same, and the fire between him and Bones seems to have flickered. Their story isn't nearly as interesting these days, and I really wish they'd kill off Hannah. Now that the overwhelming issue of their attraction has been addressed, the show doesn't have much to run on.
Another good example is Ballykissangel. The writers created conflict via Father Clifford's profession, so while the viewer knew he was attracted to Assumpta, they knew he couldn't act on his feelings, and vice versa. Thus, sexual tension. As soon as the relationship turned into something real, the show was over.
See a pattern? The thing with sexual tension is that you have to have it to create conflict, which is a driving force behind all storytelling. Once the sexual tension is resolved, the story is generally over. It's a great lesson to take away from television, and I've definitely tried to incorporate it into my own writing. As I begin revisions for SILENCE, I'm taking this particular lesson to heart. I'm adding in much more during the first half of the book, and trying to carry it throughout part two, even with a character being absent. This actually works pretty well, because even with one character missing, the other is constantly working to find him, and to get back the love she's lost.
How about sexual tension in literature? Take TWILIGHT, for example. Edward is initially so hot and cold around Bella that it makes the moment where they become an official couple that much more satisfying. And even after that, the fact that Edward so desperately wants to drink her blood but refuses to let himself creates more sexual tension. Especially because Bella is a horny teenager who wants to consummate their relationship.
HUNGER GAMES. Obvious sexual tension there, caused by the triangle of Katniss, Gale, and Peeta. Having a third party automatically ups the ante. Obviously Peeta was going to win in the end, but there were definitely moments where one wondered if Gale would be a better choice.
Going back to the television theme, how many of you remember the show La Femme Nikita? It is my all-time favorite and, coincidentally, offers the best example of unresolved sexual tension. For those who've seen the show from beginning to end, you'll understand this a bit better, but in case anyone decides to start watching the show, I don't want to spoil anything. The thing about LFN is that the two main characters, Michael and Nikita, are put to the test for five seasons. Just when you think they're going to get together, Section does something to force them apart. Sometimes, it's even their own doing. They're always back and forth with their feelings and loyalties, and it created some of the best sexual tension EVER, as far as I'm concerned. For being a man of so few words, Michael manages to convey his feelings and desires in a mere look, while Nikita is constantly pushing him with heartfelt words and actions. Their obvious differences make it that much more difficult for them to be together, and wondering just how they could ever manage to make it work is a huge driving force of the show. Not to mention the fact that the universe is constantly trying to keep the apart. It's the most genius show ever, and if you want a prime example of sexual tension, look no further.
Think back to some of your favorite shows or books. How were the relationships handled? Once the sexual tension was resolved, did the story have to end? I'd say, in most cases, that's true. As I said, it's obviously an important part of storytelling, and I encourage you to look back at your own work and consider the relationships between characters. Is the tension and conflict there? Is it continuous throughout the story? If it isn't, is there a way to fix it? It's definitely something I've come to pay close attention to these days, and I hope you'll remember to focus on sexual tension the next time you sit down to write. Just like in SVU, good sexual tension will keep readers (or viewers) coming back for more!
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