Elements of Fiction Writing: Conflict and Suspense

James Scott Bell is well-known among writers for his useful, practical wisdom on improving our writing and story structure. Conflict and Suspense is the fourth writing book of his I've purchased, the third one I've read, and like its predecessors, it's going to be a mainstay in my writing library. I have two bookshelves of writing books. One is the bulk of the collection, and is just high enough to make getting to them difficult. Conflict and Suspense -- if it were a paperback -- would go on the other shelf, the one to the left of my computer so I can reach it without getting up. I got the Kindle edition, which is even better because I can take it anywhere and pull it out for reference while brainstorming, writing or revising. Bell includes tips for adding and improving conflict and suspense at each of these stages. Bell organizes his material in a logical fashion, each chapter building upon the earlier ones. He varies his examples from other works, and includes enough information that even if you haven't read/seen the work, you understand the example. That's something I particularly appreciated since one of the works (it's both a book and a movie) he used a few times is in the horror/suspense field -- something I don't read a lot of because it would give me nightmares. But I didn't have to have read or seen it to grasp the lessons it contained, and that speaks to Bell's skill as a writing teacher. If you think you write a genre that doesn't require conflict and suspense help, think again. Throughout reading the book, my plot bunnies (the equivalent of King's "boys in the basement") were hopping madly, churning up ideas to deepen and improve the novel I'm revising now. That novel has elements of a thriller/suspense novel, but it also has a big literary/coming-of-age thread. So all of you scoffing at the idea of adding conflict and suspense know exactly which thread those plot bunnies were playing with, right? Wrong. It was the literary one. Sure, the sections with the guns and threats and mobsters got some benefit from Bell's wisdom. But the literary thread got the bulk of the development, and it's really making that thread stronger, putting my poor main character through all sorts of hell because every time he's going to be close to addressing his internal conflict, it's going to give the mobsters more ammunition against him. See? Conflict. Don Maass, in his keynote at the Writer's Digest Conference two weeks ago, explained his concept of a 21st Century Novel, a book that marries the best elements of genre fiction with the best approaches of literary fiction to create unforgettable stories. If you want to write that kind of book, I can't think of a better place to start than to read Conflict and Suspense and apply its lessons and exercises to your own work. Your readers will thank you. Your characters might hate you, though. Their lives are about to get much tougher.

Whether you are thinking of writing a novel or already have and need to spruce it up for submission, this book is a must. James Scott Bell, an author in his own right, is excellent at presenting ways of making anyone a successful author. His formulas are extremely easy to comprehend and carry out and lend depth and readability to your story. His book has many examples from current literature and he throws in examples "off the top of his head" so you see how easy it is to come up with ideas on your own. I found reading it easy and very enjoyable as well as informative and a great learning experience. Whether you need advice on basic outlining of your story or want help to make each scene the most exciting it can be so that the entire work will be a page turner from start to finish, this is the one book you should definitely read. I think I learned more from this single book than all the others I have read on writing. And this works for any genre! So don't hesitate to grab a copy for your own library. You will use it over and over again.

James Scott Bell's Plot & Structure: (Techniques And Exercises For Crafting A Plot That Grips Readers From Start To Finish) (Write Great Fiction) is one of the best how-to books on writing I've ever read. He's easy and fun to read with a good mix of motivation and creative solutions to specific or general issues. This new book, Conflict and Suspense, shares a lot of the same stuff that made Plot and Structure great--and therein lies the book's flaw. If you own both books, you will find far too much information overlap, like Bell only bothered to write half a book. The new information is definitely helpful for writing conflict and suspense, but not as essential. Bell's step-by-step how to write a novel "LOCK" system from Plot and Structure is reprinted here in its entirety. If you're only going to buy one how-to write (any type of fiction) book, even if you want to write action or suspense, I'd still go for Plot and Structure first every time. Why? Because of its broader focus. It covers a lot more situations. It''s like a toolbox, whereas this book is more of a specialized wrench set. They do complement each other and go hand-in-hand, so if you don't mind the information overlap and just want more good insights and advice from Bell, then get this book, too. Just know you're only getting maybe half a book's worth of new stuff. Again, the new stuff here is very good, some of it quite brilliant, and there are enough "aha!" gems to make it worth adding to your collection . . . just maybe not for full price. My 4-star rating reflects that.

This book is filled with factual information that is delivered in a conversational manner. James Scott Bell is an accomplished writer who shares ways for a reader to evaluate their own writing. He also shares tips and techniques that will help an author (aspiring or accomplished) to succeed in writing fiction. Two of the points that are driven home repeated is the use of the LOCK system (Lead worth following, Objective with death overhanging. Confrontation and Knock-out ending and the use of different types of death. (Physical, professional, psychological, etc.) I read this book on a Kindle HD and on a Droid X, and highlighted many passages. I also listened to part of it text-to-speech while driving. There are hard-learned tips from his experience and quotes from writers like Koontz, Bradbury and LeCarre. There's too much to absorb in one reading. You won't use everything you learn, but if you discover three or four things that help you, it will be worth it. I feel that any writer can glean at least eight to ten insights and techniques from this book. I enjoyed this book enough to buy several of his other books.

James Scott Bell is one of my favorite writers-on-writing. I've read his books on Plot & Structure (2004) and Revision & Self-Editing (2008) and recommend both. When Conflict & Suspense was published earlier this year, I downloaded it to my Kindle--instant gratification. We all know that conflict is essential in fiction. "Boy meets Girl, Girl falls in love with Boy, they marry and live happily ever after" doesn't even make a good short story. Not without conflict and suspense. Bell starts with the premise that a good novel must be emotionally gripping, and that the best tools for building that emotion are conflict and suspense. But he goes on to say that the stakes in an emotionally satisfying novel have to be death. Wait a minute, now--death? I write humor. Nobody dies in my books. Well, hardly anybody. And if they do, they probably deserve it. Think about the last sitcom you watched on TV. If you sat through the show, and laughed, there was definitely plenty of conflict and suspense, but I'll bet nobody died. Does that break Bell's rule? Not at all, because death, thank goodness, need not be literal. It might be, of course (Bell writes thrillers), but it may also be professional (a career or life disaster) or psychological (if Boy can't win Girl, or vice versa, the world might as well come to an end). In comedy the most trivial problem can turn into a towering threat. Just think about Frasier. Most of us do our best to avoid conflict in our day-to-day lives, even when we welcome a little suspense. It isn't always easy to throw metaphorical rocks at our characters, chase them down dark alleys or up comedic trees, but that's just what we need to do to write good fiction, and Bell's book is full of tools for the job. He covers the use of conflict in structure, point of view, subplots, flashbacks and backstory, dialogue, and theme, and then tackles style and revision. Suspense ("what happens next?" or "will it happen again?") is equally well covered, and the book is peppered with examples from novels and films. Bell's clear and down-to-earth discussions will be useful for writers of any genre and at any career stage.

Easy to read and filled with great advice on creating conflict and suspense in your novel. I really like the assignements he gives at the end of each chapter. Yes, he covers some points that were covered in previous books but there is so much more to this book that has really helped me with my writing. He covers all that pertains to conflict: the structure of conflict, point of view in conflict, keeping conflict moving, conflict in subplots, flashbacks and backstory, inner conflict, conflict in dialogue, and the tools that are available to enhance or create conflict. The auther then does the same with Suspense. He talks about cliff-hangers, stretching tension, dialigue, setting, style, and the putting it all together. I highly recommend this book to anyone interested in writing a novel because conflict and suspense are what keep the reader reading.

I can trace the success in my own career to James Scott Bell's advice for writers. I was working on a rewrite for my first truly successful novel when I read Plot & Structure and identified both a flaw in my antagonist and the resolution for a major plot weakness. I worked through the revisions with my fingers on fire and landed an agent shortly thereafter. My well-worn copy of Bell's book Revision & Self-Editing has proven equally useful and I recently gobbled up an ebook of the collected wisdom from his writing blog. When I saw that Bell had a new book about the art of writing, I bought it and started reading at once. True to form, as I read Conflict & Suspense I found myself thinking of my current work in progress and kept running to the computer to jot down solutions to my problems or mark potential places to deepen conflict. And even though Bell's work focuses on plot, the character insights I gained from the book will prove equally valuable. If I had any quibble with Conflict & Suspense--and it's a minor one--it's that having written so much about the art of writing, Bell sometimes trods familiar ground in this latest book. Some of his favorite themes--The Big Lie, the LOCK method, and Bell's pet theories about characterization--made predictable appearances. In addition, Bell's books all draw on the same examples from fiction and cinema. However, this material serves both as an important review and as a foundation for other, newer ideas and exercises. I bought this book as an ebook, but will be buying a paper copy as well so that I can mark it up and put it on my shelf next to Bell's other books.

I thoroughly enjoyed this book. It breaks down a wide range of tactics to build tension for your story. It has examples for a variety of genres as well. Easy read. Action packed. Bell encourages visualizing your scenes and playing with conflict to get the most suspense out of your book. It's more of a screenplay approach to writing fiction and great for visual learners. I highly recommend it to writers of any genre. You will be able to add a little (or a lot) of suspense to your stories with the idea's in the book.