Suspense by  L. Ron Hubbard

     The surprise in the first that a sentinel would be there and that Smith was discovered perhaps made the reader blink.

     The dragging agony of suspense in the latter made the reader lean tensely forward, devour the page, gulp...

     Or at least, I hope it did.

     But there’s the point. Keep your reader wondering which of two things will happen (i.e., will Smith get through or will he be discovered) and you get his interest. You focus his mind on an intricate succession of events, and that is much better than getting him a little groggy with one swift sock to the medulla oblongata.      That is about the only way you can heighten drama out of melodrama.

     It is not possible, of course, to list all the ways this method can be used. But it is possible to keep in mind the fact that suspense is better than fight action.

     And speaking of fight action, there is one place where Old Man Suspense can be made to work like an Elkton marrying parson.

     Fights, at best, are gap fillers. The writer who introduces them for the sake of the fight itself and not for the effects upon the characters is a writer headed for eventual oblivion even in the purely action books.

      Confirmed by the prevailing trend, I can state that the old saw about action for the sake of action was right. A story jammed and packed with blow-by-blow accounts of what the hero did to the villain and what the villain did to the hero, with fists, knives, guns, bombs, machine guns, belaying pins, bayonets, poison gas, strychnine, teeth, knees, and calks is about as interesting to read as the Congressional Record and about twice as dull. You leave yourself wide open to a reader comment, “Well, what of it?”

     But fights accompanied by suspense are another matter.

      Witness the situation in which the party of the first part is fighting for possession of a schooner, a girl or a bag of pearls. Unless you have a better example of trite plotting, we proceed. We are on the schooner. The hero sneaks out of the cabin and there is the villain on his way to sink the ship. So we have a fight:

      Jim dived at Bart’s legs, but Bart was not easily thrown. They stood apart. Jim led with his left, followed through with his right. Black Bart countered the blows. Bone and sinew cracked in the mighty thunder of conflict....Jim hit with his right....Bart countered with a kick in the shins....

     There you have a masterpiece for wastebasket filing. But, believe it, this same old plot and this same old fight look a lot different when you have your suspense added. They might even sell if extracted and toned like this:

      Jim glanced out of the chart room and saw Black Bart. Water dripping from his clothes, his teeth bared, his chest heaving from his long swim, Bart stood in a growing pool which slid down his arms and legs. In his hand he clutched an axe, ready to sever the hawser and release them into the millrace of the sweeping tide....

Suspense continued...

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