145 methods of creating suspense

Many novels, radio dramas, TV programs or movies will create suspense. For example, at the end, the hero hangs on a cliff and his life hangs by a thread. Everyone wants to know what his fate is. This way of attracting attention is called creating suspense.

Stories, jokes or speeches can also create some suspense. The following are 145 techniques for setting suspense.

First, the ending should not be too early. For example, before the audience entered the state, you said that the ending was "suddenly, all the bullets were shot and everyone was killed", which would disappoint the audience.

Second, the plot should not develop too fast (and certainly not too slowly). It is necessary to keep suspense in time and let the audience ask anxiously, "Then what?"

Third, multi-line narrative. As the plot became more and more exciting, he added, "The ghost car is about to run over us. At this time, Glenn is making a cake for Ecclestone at home. He knows nothing about this terrible thing."

Fourth, learn to come to an abrupt end. Suddenly, a huge shadow appeared in front of him. Why did you ring the doorbell? We'll talk about it next time.

Fifth, in short, we should deepen the drama conflict bit by bit and save the best for the last.

Sixth, tell the hero a certain feature and action, but don't say why;

Say what happened, but don't give the result of the incident.

Eight, tell the reader a fact, immediately irrefutably deny this fact, but do not make further explanation, so that readers are at a loss.

Nine, in short, half a word, but no conclusion.

Ten, the opening must be immediately suspense, suspense must make readers extremely curious, do not know that kind of discomfort.

1 1. Constantly creating suspense from different angles with repressed narrative will never solve a problem. Like nocturnal, or Leonardo's Shutter Island.

Twelve, readers can guess who the murderer is, as long as they don't know how to commit the crime, readers will still be full of interest.

13. Narrating each part with a simple narrative presents a huge structure and dark lines, which makes readers indulge in it, just like walking at night.

Fourteen, break the reader's thinking inertia.

Fifteen, abnormal behavior, lasting emotions.

Sixteen, explore in the space of terror, the description of the sense of picture.

17. The reason why ghost stories are terrible is that the protagonist touches someone and it takes a while to find out that that person is actually a ghost.

18. Pile up all the clues to create a warm atmosphere, but use them carefully.

Nineteen, ghosts have terrible purposes, such as killing people by the protagonist's hand, and the surface is different from the back. Can bring suspense and horror.

20. Every once in a while, there are bound to be exciting points that make people concentrate or get excited, including suspense, pornographic descriptions, horror descriptions, key conversations, etc.

2 1. deliberately leaked some information, causing readers' curiosity and anxiety. For example, at the beginning of the novel, the phone mentioned the funeral, but it didn't say whose funeral it was or how he died.

Twenty-two, every day in the update, there must be a wonderful point that strongly stimulates the reader, and it must not be dull. Excitement is something that readers can read and have a physiological reaction.

Twenty-three, try to have a wonderful every day, add a suspense, more readers will have indigestion, and less will not work.

Twenty-four, creating beautiful women with mixed temperament, and then making people feel mysterious and emotionally entangled, this is the best way to attract attention.

Twenty-five, the novel must have fog, suspense, horror scene exploration, pornographic scene exploration, fascinating and unexplained beauty.

Twenty-six, count how many characters are needed.

27. How bad the plot is, it can be fascinating through suspense writing.

Twenty-eight, try to exercise your ability to create suspense according to 1500 words, instead of speaking directly.

Twenty-nine, the last sentence of each paragraph should be super appealing, including using hints, saying half a sentence and so on.

Thirty, let the protagonist and the main victim, as well as the villain have mixed and complicated flags, so that readers can have emotional dependence after understanding, which can improve the acceptance of the novel.

Thirty-one, if the plot permits, increasing the complex relationship between the main characters, especially the ambiguous relationship, can increase readability.

32. Writing a novel is a process of accumulating little by little every day. Don't try to solve all the setting problems in two or three days.

Thirty-three, when readers form a psychological expectation, directly mention this psychological expectation in the novel, and then ruthlessly break it, so that readers can't have confidence.

For example, if readers speculate that there will be a cult, they will reduce their interest in reading. Even if they really write about cults, they can't lift their spirits. At this time, when strong expectations are formed, it is necessary to write a negative sentence to break the confidence of readers and prevent them from forming psychological expectations.

35. The highest level of a novel is what readers think when they see a paragraph. I will control their emotions according to their thoughts and make them feel surprised, excited, curious and depressed.

36. The logic of mystery novels is not so important. Too deep logical errors are hard to find, but superficial logical errors will make readers dissatisfied.

Don't waste any wonderful opportunities, don't waste a good background, and give it to readers bit by bit.

Thirty-eight, when investigating people, you can show the abnormal personality of the other person through other people's profiles, videos you see, your own evidence and other things that have nothing to do with the main line.

39. There are multiple murderers at the same time, and everyone has doubts.

Forty, killing people can be just a ridiculous accident or a pure accident.

Forty-one, at the beginning of the novel, no one may be interested, and there is no click-through rate and reply. Endure it, and great works will endure it.

42. The structure of the novel: a core, and then all kinds of branches and leaves are stretched out, and then the branches and leaves are given to the readers one by one. When giving them, it includes the introduction and description of characters, the display of clues, and the display of characters and clues. They must be slow, and they must be shown to readers at a frightening speed per 1500 words. They must also be fierce, so that people can see strong emotional changes, and then they must finally explain to the core.

Forty-three, the most important two points: the psychological influence of narrative words on people, and the suspense after each paragraph.

Forty-four, the murderer suspects must be at least three people, and the murderer should make readers feel abnormal enough, distinctive, motivated and suspicious when he appears.

Forty-five, the core of the novel should be simple, that is, to show the ghosts of human nature together, rather than set into complex organizations and complex logical motives, such as the second part of the dark side of human nature.

Forty-six, The Dark Side of Human Nature Part II is too complicated to set the core, and there are not enough possible murderers, so its appeal is limited.

47. Murder, pornography, monsters, exploration of scary environment, morbid personality of characters, display of human nature, suspicious places of people, extremely real feelings, strange ways to die, and multiple doubts.

48. The fundamental source of the novel's charm is the horrible murder, the perverted suspect and the human core hidden in it. External attraction is a clue that slowly emerges like suspense, horror scenes and fog.

Forty-nine, the murder theme in previous years, because it is not good to set up multiple murderers, be cautious.

50. Daily necessities, some of which are cute, safe and naive, turn to the fear brought by cruelty, such as robot cats killing people.

5 1. Unknown characters, gossip, perverts and suspense attract readers the most, and the development of things takes second place, because readers are more curious about characters than things.

Fifty-two, so we should vigorously describe the things of the characters, including the background, growth experience, abnormal history, and the motivation to be killed or become a suspect.

53. Characters include the protagonist, the deceased and the suspect. Most likely, the victim, the protagonist.

54. The most shocking quality of human nature is extreme self-interest in times of crisis, extreme altruism in times of crisis and extreme stubbornness and persistence in times of peace.

55. The emergence of suspense, first, what readers are interested in should be the subject, such as people's various things (death, experience, personality, etc. ), plus curious questions. It's easy to ask questions here, but it's hard to find topics that interest readers. Generally, people who have doubts are more likely to arouse the curiosity of others, and something will be announced soon. It is necessary to explore a certain field and soon see an article, but the most curious thing is the problem of people with problems.

56. The suspense written before is not attractive because the subject matter is not attractive enough. Finding attractive themes is the next task.

Fifty-seven, to write a ring, one thing leads to another, one clue involves another clue, so attractive, don't jump too much, especially in a row, it will make readers confused, which is a big taboo.

58. Suspense is generally a one-way street, that is, when things develop to a place, new situations suddenly appear and the protagonist encounters new problems. But how to develop next, the next level will say that suspense is not an ambush line, but telling readers that there is something new in the previous chapter, and the next chapter will be solved immediately. But this suspense with a very short existence time is the most attractive. To strengthen the value of this suspense, we must set one ring at a time.

Second, suspense is actually what will happen to the protagonist or someone next. The reason why readers care about this suspense is composed of two parts. One is the mystery of the protagonist and supporting role, the suspect and the villain themselves. First, through the description of the characters, it is necessary to hint to the readers that there is something wrong with the characters, and then throw out the questions to drive the readers crazy. Another is the charm of things themselves, such as exploring a horrible scene, first suggesting that there is something wrong with the scene, then starting the scene, and then suddenly cutting it off.

59. Suspense consists of two parts, namely, suggestion, creating momentum for the suspense theme, such as describing the abnormal characters or problems caused by suspense, and then throwing suspense, which makes readers want to stop and go crazy.

60. The basic process of a work is to describe it in sequence, without jumping. Each chapter has a direct description of violent pornography, and then creates suspense. First, hint at the theme of suspense to interest readers, and then throw questions to attract readers to continue reading.

Hachi is a mysterious dog. No one knows where it comes from. Professor Parker picked up a lost puppy at the train station in the town. It seems that the puppy and Professor Parker have a certain fate. As soon as Parker picked up the puppy, he couldn't let it go. When Parker goes to work, the Eight Guilds always send him to the station, and Ha Gong will leave work early and wait at the station.

One day, Parker died of illness. Parker's wife and daughter buried him in deep sorrow, but Hachi, who is still in the dark, is still waiting in front of the station at five o'clock every evening, waiting for his master to return. ...

Hachi: The Story of a Dog, based on a true story that happened in Japan in 1930s, made a box office of 4 billion yen after it was first shown on the big screen in Japan on 1987. In February 2009, the American version of the film was released.

Extreme persistence will make people deeply shocked.

Sixty-two, the end of the novel must reveal the core, which has great human nature.

Sixty-three, we should take out the core first, and then push the story backwards to prevent the problem that the core is too complicated.

When drafting a new novel, you must check all the contents of this article to prevent principled mistakes.

Sixty-five, a novel like Jack the Ripper can't be written without simplifying its core.

Sixty-six, we must have a simple and shocking core, a complex and suspenseful appearance, a shocking, extremely shocking human nature, and a tortuous process.

The trick to an awkward ending is to say half, but it is enough to make readers guess what will happen. If you speak too bluntly, readers will lose interest.

For example, it is more effective to write at the end of a girl's beheading.

The ending should be concise and implicit, and all the lyrical parts should be removed, so that things make sense, and the second and third parts are not well written.

There are too many lyrical parts at the end of the third film.

Sixty-eight, the end is changed to interrogation, not narrative, narrative is too sensational, and it is not good to highlight the key points. It is easier to remove boring details and loopholes than narrative.

Sixty-nine, the whole article should avoid using narrative to explain the case, narrative is only used to explain the detection process, and the case should appear in the form of question and answer.

Seventy, when describing the killing process, we must ask in the dialogue how to deal with it in the late Qing Dynasty, in order to better highlight human nature. For example, at the end of the third film, after the case is over, the seven survivors have an agreement.

Seventy-one, update every day, there must be a plot that makes people have physiological changes, there must be suspense, there must be suspense. There are three major elements.

Seventy-two, every important person should have a detailed introduction, especially the victim, murderer and case handler. Character is charm.

The murderer and the victim sometimes need to solve the mystery until the end, so it may be easy to ignore the detailed introduction. Be sure to remind yourself at the end that the introduction is better, and never ignore it.

Seventy-three, people include resume, personality characteristics, the relationship between people and photos.

Seventy-four, all scenes must choose dark places, such as nightclubs, and do not choose bright places that destroy the dark atmosphere.

Seventy-five, the content attracts people to continue reading because it can constantly give people a sense of excitement, such as dark scenes, crimes, tense conflicts, ferocious and fierce descriptions, abnormal descriptions, sexual descriptions, love, human tragedies and so on. Besides these exciting things, try to avoid all boring descriptions. This is the skin, the connotation of the novel is the core of shock, and the mysterious description around the core.

It is the core of shock, and it is a constant suspense description around the core. When describing, it uses something that can bring people excitement continuously as skin, and the short-term suspense brought by each update can't stop.

Seventy-six, the end or important content can be deliberately written very briefly, which can strengthen the shock of key content, especially the end. Because the article is coming to an end and the reader's last impression is at the end, it will be even more shocking to write a concise ending and say half of it.

The main purpose of the ending is to bomb and shock the information, so that you can jump and be brief, not lyrical and wordy. Lyric and wordy will reduce the sense of shock.

Or learn from other people's ending writing, such as "Night Walk".

Seventy-seven, how the core can make people interested, but also deep thinking, perhaps mainly from the charm of the characters.

Seventy-eight, describe the feeling, such as the feeling of putting your hand into the wound, the feeling of being in the mucus, the feeling of dissecting a corpse and stabbing people, just like the diary of a corpse case.

79. Every update must end with a question.

80. If the ending is extremely short, write the main content.

8 1. Sometimes, readers will feel at a loss when reading the confusion deliberately written, and then immediately answer the readers' doubts in the following text, so that readers can have fun reading in this process.

Eighty-two, the direct attraction of the core is very important. The dismemberment of the tender model sounds interesting, and the pet eats people and feels ordinary.

Note refers to the core, not the title. Of course, the title should also be attractive and stimulating, such as pornography or hot topics.

Eighty-three, emotional description may not be as good as non-emotional description, because emotional description is inappropriate, it will appear artificial.

For example, "Could that video be Yin Yuxi's sex video?" Instead of "Is that video a dirty sex video?" Much better.

84. Strange visions that appear halfway, such as ghosts or elves, can't be explained at all and are disturbing. You can buy things that arouse people's strong curiosity, such as the elves and beasts in Princess Miyazaki Hayao. As soon as it appeared, everyone thought there would be problems and looked forward to the answer.

Eighty-five, where each update ends, there must be suspense. If you want to find a suspense, you will always write better.

Eighty-six, Miyazaki Hayao's animation, there is a strong positive energy in every corner, which makes the audience worry, but at the same time there is a complete sense of dependence.

Eighty-seven, violent and bloody descriptions must be exciting enough, and don't waste them.

Eighty-eight, and for example, bodies are found on walls, in meat stuffing, in mud ponds, or broken bodies are everywhere in refrigerators and cupboards, and the like appear in places where people usually contact, which will be very scary and shocking.

Eighty-nine, after determining the core, repeatedly around the core, creating suspense, such as the fourth part of fortune telling, let readers confused, but confused, can arouse readers' great curiosity, is the mental state of the characters, fortune telling, and so on.

Try to write a novel by writing an outline in advance.

91. All words that are boring and vaguely slow will be deleted, and all words that are not good will be deleted.

In writing, to maintain a tight and tense text tension, all descriptions must be words that people can read physiologically. Except for such words, all words that feel boring or can't be read will be deleted or rewritten.

92. The novel is good-looking because it can always make readers feel excited and stimulated, and suspense, pornography, tension, fear, violence, and narrative content that readers care about can bring excitement.

Delete all the words that can't bring excitement, especially lyrical emotional descriptions and boring narrative words.

93. On the surface, there is a hidden, shocking and real reason behind this, just like Zhen Xuan's miscarriage in Harem. On the surface, it was caused by Nianfei being punished and kneeling outside. In fact, it is because the emperor is picky that Nianfei can't get pregnant. And if the victim is not the one who designed it, it will be more dramatic.

94. A preview of a future tragedy, such as a similar scene in a dream or a similar situation in life. For example, in the fourth movie, Yin Yuxi's dream and Liu Ting almost collided with another car.

95. When expressing the emotional changes of characters, it is generally better to directly describe the heartbeat, facial changes, expressions, muscle distortion, eyes, mouth, throat, etc. Instead of using adjectives to express feelings directly.

Ninety-six, some things, such as the incident, the discovery of bodies, etc. It can be described in profile, that is, without warning, it will describe a new scene. Newcomers and readers will be confused when they see it, expecting something to happen. At this time, they can simply describe unimportant life scenes, and then suddenly lead to what to write, which is better than directly describing the crime scene investigation.

Ninety-seven, when writing climax, the text can be a little rough, which can greatly enhance the appeal of the article, not too perfect and delicate.

98. Bodies suddenly appear around you, such as residual limbs in the washing machine or wardrobe, or charred human bodies.

Ninety-nine, at the beginning of the novel, people make up for the lack of content.

One hundred, watch a novel or movie that impresses you, refine its theme, and then write it yourself. This core theme is easy to write.

10 1. If you don't know how to create suspense, then design the core first, and then push the suspense backwards to lead the suspense to the core.

102. The core is the cause of the case and the motive of the murderer, not the case itself. Or it is the reason why the protagonist is in a certain situation (for example, the protagonist enters the madhouse, and the core is the reason why the protagonist enters the madhouse).

103. The way to create suspense around the core is to reveal clues in the case, and then the protagonist digs deep according to these clues, enters the core of the case bit by bit, and understands the real reason of the case until he finds the murderer and the motive for killing.

One hundred and four, writing a novel, we must first determine the motive of the murderer, (if the protagonist is in a madhouse, etc. This is the core of the novel, and then the way of killing, the way of death of the deceased and how to investigate the case are arranged.

One hundred and five, similar to the fourth part, the protagonist also participates in the whole core, and the core must be cracked after the protagonist's confused participation, that is, the core must be cracked in the end. Don't continue to develop the case after cracking the core. After losing suspense, the appeal of the novel will be greatly reduced.

106. If the wrong suspects are interspersed in the case, each suspect should be given a small nucleus, which is a weak motive for killing.

One hundred and seven, the novel must be based on the motive of killing, and the motive of killing and the way of killing (why kill people in some way) are the core! ! ! ! ! ! ! ! ! !

108. To investigate the core of a case, we must reveal the core content bit by bit, including the background, time and specific details of the characters in the core. All aspects can be used as clues for case investigation. Not every clue is voluntarily revealed by the murderer at the crime scene, but the protagonist should also be arranged to actively investigate and find it.

109. In the process of investigation, the first purpose is to arouse the appetite of readers, not to investigate the case.

1 10. If it is case-based reasoning, then the core is the method of committing the crime, that is, how to kill people, not the motive of committing the crime.

111. Once again, when writing a novel, we should first design the core (the motive, the method and the type of truth that the protagonist doesn't know happened to the protagonist), and then design everything else, including but not limited to the techniques and characteristics of the case, how the protagonist inquires about the core and so on.

112, the unexpected turning point of the text and the confusion brought by the sudden change of topic to readers.

If you want to write a fake murderer, don't write a fake murderer for the sake of writing a fake murderer. You must first reveal the clues related to the core, and then find the wrong person according to the clues, so that after finally identifying the wrong person, the clues leading to the wrong murderer are still valid. In this way, even the fake killers are included in the control core. You must avoid writing a fake murderer for the sake of writing a fake murderer, because the novel is too scattered. Everything must be under the core control.

One hundred and thirteen, writing a fake murderer has nothing to do with the core, whether it can be studied.

1 14. Before you start writing a novel, you should write the core content and outline. Writing the core content helps to conceive a tortuous plot.

One hundred and fifteen, using the core to develop suspense, the mental state of the murderer and others in the core can also make a fuss.

One hundred and sixteen, the novel is good-looking, that is, there are hidden deep suspense, and the shallow suspense at the end is updated every day. The pressure of words is simple, and people can see descriptions with sensory stimuli (pure sensory stimuli such as pornography and violence).

The sense of turning makes readers excited, that is, they suddenly change a topic. However, how to accommodate the sense of turning point and the sense of one ring remains to be studied.

The ending is not very human, but it will leave a deep impression on people who are sick and uncomfortable, such as hiding under the bed and seeing the body and red high heels, or dismembering the body in the order of baby abortion. The profound reason is that after reading it, readers feel that if they go through all this, they will go crazy, so they will have a strong sense of discomfort, and this ending may be better.

1 19. suspense questions are left to the core guidance questions, and the effect may be better.

One hundred and twenty, there must always be a detective in the novel, and at the beginning, there must be a tragic death.

12 1. Suspense If readers can easily explain, even if the explanation is unreliable, it will reduce the sense of suspense. For example, if you disappear for half an hour, readers will think that the protagonist must have lost his memory, so it is not surprising.

122. The novel begins with a normal investigation. If you don't come out, there will be many incredible events for no reason. Wait until the protagonist finds that there seems to be a problem, and then cooperate with these strange things.

These strange signs appear without any foreshadowing, and readers will feel puzzled and unable to enter the state.

One hundred and twenty-three, so, first of all, we must investigate normally, and then slowly find out that something is wrong, and then more and more wrong, and then solve the case.

One hundred and twenty-four, two people must cooperate.

125. You have to go to a strange environment to close the case.

All readers who can't correctly understand suspense should not write unless there are special circumstances.

One hundred and twenty-seven, the novel to mislead the reader a false truth, and then suddenly deny the truth, leading to the real truth, this is inversion. It can also be reversed constantly, such as wrong and wrong, or wrong and right. The key of skill is to draw a wrong conclusion from the clues in the correct core, and then deny it with new clues. This is the direction of future development.

One hundred and twenty-eight, feel that readers may be confused, in the name of the protagonist to sort out clues, clear ideas, to help readers understand, so the effect is not good, stop execution.

129. Novels are always interrupted at key points. In this way, the feeling of creating suspense is cultivated.

130. The core is two points: the reason why the case happened and the reason why you want to kill people like this.

Later, in the process of investigation, new discoveries at the crime scene, the cause of the case, the situation of the victim and the murderer, etc. It is equivalent to restoring the puzzles of the case piece by piece, finding them out linearly in a dark atmosphere, and then slowly forming the final core truth, that is, the reason why the case happened and why it was done.

13 1. When creating suspense, you should use your own feelings to evaluate whether the suspense is attractive enough.

132. When you are pushing a corpse or something, you meet an acquaintance or something terrible, or something is taken away, and it may be a big problem if it is exposed. Such silks and satins will make people suffocate. For example, in psychological warfare, the streets are full of boxes carrying dead bodies.

One hundred and thirty-three, you can write a series of strange and terrible actions that may have problems, and then decrypt them, saying that someone did it for another talent, which is true and has no mental problems and can infect readers.

One hundred and thirty-four, lyrical words and expressions of the protagonist's nervousness should be reduced, and more gloomy and depressing objective descriptions should be given, which makes people feel bored.

135. When faced with a choice, choosing A may make you lose, such as the death of a relative, but when you should choose B according to your conscience, you can dream to reflect the dark side of people. For example, in psychological warfare, Adam Cheng dreamed that his daughter and her daughter, friends and colleagues fell into a well and chose to save her daughter.

136. Suspense should be linear. After one suspense was cracked, another suspense appeared immediately. Instead of setting a lot of suspense and then solving none, it is better to look down with a hook.

One hundred and thirty-seven, the plot is compact, that is, there is no repetition of content, no useless nonsense, no redundant emotional description, and every paragraph has new progress and information that cannot be ignored. The necessary criterion to check whether it is written well is to see whether the information in this sentence has been seen by the reader, whether it has conveyed new information or strengthened the effect, that is to say, if the reader reads it, it is unnecessary without any positive changes.

138. The reader's requirements for the order of things are very low. As long as the key points are mentioned, some of them are out of order, and it will not affect the fun of reading. The key is that every sentence should have new progress and focus as far as possible, so that people dare not give up any sentence and will feel serious and excited.

139. If you imitate a famous novel, readers may lose patience because they think they can guess the ending. At this time, they will feel bored. If this boredom can't be removed, they won't imitate particularly famous routines or novels to write new novels.

140. The core includes the motive and method of killing. The motive of killing is generally sad past events, and sad past events are a core part. The whole process of the protagonist's search is the process of finding the motive of killing and why he should adopt this way of killing according to clues such as the way of killing, the background of the murderer and the victim.

Adventure novels can also be written. The key is to write every suspense to lure readers to read.

One hundred and forty-two, like a mental hospital, the suspense style is not good, but the suspense style based on everything is the most attractive, and the inexplicable suspense is not used.

One hundred and forty-three, narrative should be delicate, constantly write new content, not rough description, and don't repeat what has been written before, two: one is delicate, the other is not repetitive, to prevent roughness and wordiness.

One hundred and forty-four, the basic requirements of daily update, single clue, a ring set of a ring, exciting, suspense ending.

Don't start multithreading, readers will be at a loss, reduce their sense of exploration, waste clues, and reduce their interest in reading, so that readers can solve puzzles one by one.

One hundred and forty-five, guide the next clue, be sure to make it clear what to investigate, don't use such words, let's go somewhere to have a look and investigate, but to check the relationship between XXX and XXX.

The more specific the question, the more interested the reader. Don't forget, readers don't have to think when reading, and all the questions must be written clearly by me.