People read fiction largely because Nigeria Phone Number they quickly learn the problem, but don’t know what the solution will be until the end. That’s why we have spoiler alerts.
An alternative structure is to state the problem, present the supporting arguments as answers to smaller related questions, then bring them together at the end in a massive climax where everything suddenly makes sense.
Is this still the best way to go? No, but it definitely keeps people engaged on a different level. And that’s basically page-turner logic.
There is a second form of suspense. Here’s how famous filmmaker Alfred Hitchcock described it:
There is a distinct difference between ‘suspense’ and ‘surprise’,
Yet many images continually Nigeria Phone Number confuse the two. I will explain to you what I mean.
“We are now having a very innocent little conversation. Suppose there is a bomb under this table between us. Nothing happens, then all of a sudden, “Boom!” There is an explosion. The audience is surprised, but before this surprise, they saw an absolutely ordinary scene, without any particular consequence.
“Now let’s take a suspenseful situation. The bomb is under the table and the audience knows it, probably because they saw the anarchist place it there. The audience is aware that the bomb will go off at 1 p.m. and there is a clock in the set. The audience can see that it is a quarter against 1. Under these conditions, the same innocuous conversation becomes fascinating because the audience participates in the scene. The audience craves to warn the on-screen characters: ‘You shouldn’t talk about such trivial matters. There is a bomb under you and it is about to explode! »
This form of suspense is based on a “higher position”
The audience knows something the characters don’t.
At first, it seems to contradict my definition of suspense. Why would audiences wonder what’s going to happen next if they’ve been told something the characters haven’t, like that a bomb is going to go off?
If you think about this a bit, it becomes clear. The audience may know a bomb is going to explode, scream, hope the characters get up and walk away, but they don’t know if the characters will escape.
With this understanding of the suspense, I leave you with one last question.
How would you feel if you could tell a story where your audience yelled at your character, hoping he or she would use your product before it was too late?