Suspense is a state of anxiety or excitement caused by mysteriousness, uncertainty, doubt, or undecidedness. [1] In a narrative work, suspense is the audience's excited anticipation about the plot or conflict (which may be heightened by a violent moment, stressful scene, puzzle, mystery, etc.), [2] [3] [4] [5] particularly as it affects a character for whom the audience feels sympathy. [6] However, suspense is not exclusive to narratives.
In literature, films, television, and plays, suspense is a major device for securing and maintaining interest. It may be of several major types: in one, the outcome is uncertain and the suspense resides in the question of who, what, or how; in another, the outcome is inevitable from foregoing events, and the suspense resides in the audience's anxious or frightened anticipation in the question of when. [7] Readers feel suspense when they are deeply curious about what will happen next, or when they know what is likely to happen but do not know how it will happen. Even in historical fiction, with characters whose life stories are well known, the why usually brings suspense to the novel. [8]
An adjunct to suspense is foreshadowing, as found in hints of national crisis or revolution in Isabel Allende's House of the Spirits (1982). [9]
Some authors have tried to explain the "paradox of suspense", namely: a narrative tension that remains effective even when uncertainty is neutralized, because repeat audiences know exactly how the story resolves. [14] [15] [16] [17] [18] Some theories assume that true repeat audiences are extremely rare because, in reiteration, we usually forget many details of the story and the interest arises due to these holes of memory; [19] others claim that uncertainty remains even for often told stories because, during the immersion in the fictional world, we forget fictionally what we know factually [20] or because we expect fictional worlds to look like the real world, where exact repetition of an event is impossible. [21]
The position of Yanal is more radical and postulates that narrative tension that remains effective in true repetition should be clearly distinguished from genuine suspense, because uncertainty is part of the definition of suspense. Baroni proposes to name rappel this kind of suspense whose excitement relies on the ability of the audience to anticipate perfectly what is to come, a precognition that is particularly enjoyable for children dealing with well-known fairy tales. Baroni adds that another kind of suspense without uncertainty can emerge with the occasional contradiction between what the reader knows about the future (cognition) and what he desires (volition), especially in tragedy, when the protagonist eventually dies or fails (suspense par contradiction). [22]
Suspension of disbelief is the avoidance—often described as willing—of critical thinking and logic in understanding something that is unreal or impossible in reality, such as something in a work of speculative fiction, in order to believe it for the sake of enjoying its narrative. Historically, the concept originates in the Greco-Roman principles of theatre, wherein the audience ignores the unreality of fiction to experience catharsis from the actions and experiences of characters.
Alliteration is the repetition of syllable-initial consonant sounds between nearby words, or of syllable-initial vowels, if the syllables in question do not start with a consonant. It is often used as a literary device. A common example is "Peter Piper picked a peck of pickled peppers," in which the "p" sound is repeated.
A cliffhanger or cliffhanger ending is a plot device in fiction which features a main character in a precarious or difficult dilemma or confronted with a shocking revelation at the end of an episode or a film of serialized fiction. A cliffhanger is hoped to incentivize the audience to return to see how the characters resolve the dilemma.
Oedipus Rex, also known by its Greek title, Oedipus Tyrannus, or Oedipus the King, is an Athenian tragedy by Sophocles that was first performed c. 429 BC. Originally, to the ancient Greeks, the title was simply Oedipus (Οἰδίπους), as it is referred to by Aristotle in the Poetics. It is thought to have been renamed Oedipus Tyrannus to distinguish it from Oedipus at Colonus, a later play by Sophocles. In antiquity, the term "tyrant" referred to a ruler with no legitimate claim to rule, but it did not necessarily have a negative connotation.
A Night to Remember is a 1955 non-fiction book by Walter Lord that depicts the sinking of the RMS Titanic on 15 April 1912. The book was hugely successful, and is still considered a definitive resource about the Titanic. Lord interviewed 63 survivors of the disaster and drew on books, memoirs, and articles that they had written. In 1986, Lord authored his follow-up book, The Night Lives On, following renewed interest in the story after the wreck of the Titanic was discovered by Robert Ballard.
Action fiction is a genre in literature that focuses on stories involving high-stakes, high-energy, and fast-paced events. This genre includes a wide range of subgenres, such as spy novels, adventure stories, tales of terror, intrigue, and mysteries. These kinds of stories utilize suspense, the tension that is built up when the reader wishes to know how the conflict between the protagonist and antagonist is going to be resolved or the solution to a mystery of a thriller. The intricacies of human relationships or the nuances of philosophy and psychology are rarely explored in action fiction, typically being fast-paced mysteries that merely seek to provide the reader with an exhilarating experience. Action fiction can also be a plot element of non-literary works.
Thriller is a genre of fiction with numerous, often overlapping, subgenres, including crime, horror, and detective fiction. Thrillers are characterized and defined by the moods they elicit, giving their audiences heightened feelings of suspense, excitement, surprise, anticipation and anxiety. This genre is well suited to film and television.
A narrative, story, or tale is any account of a series of related events or experiences, whether non-fictional or fictional. Narratives can be presented through a sequence of written or spoken words, through still or moving images, or through any combination of these. The word derives from the Latin verb narrare, which is derived from the adjective gnarus. The formal and literary process of constructing a narrative—narration—is one of the four traditional rhetorical modes of discourse, along with argumentation, description, and exposition. This is a somewhat distinct usage from narration in the narrower sense of a commentary used to convey a story. Many additional narrative techniques, particularly literary ones, are used to build and enhance any given story.
Sandra Cisneros is an American writer. She is best known for her first novel, The House on Mango Street (1983), and her subsequent short story collection, Woman Hollering Creek and Other Stories (1991). Her work experiments with literary forms that investigate emerging subject positions, which Cisneros, herself, attributes to growing up in a context of cultural hybridity and economic inequality that endowed her with unique stories to tell. She is the recipient of numerous awards, including a National Endowment for the Arts Fellowship, was awarded one of 25 new Ford Foundation Art of Change fellowships in 2017, and is regarded as a key figure in Chicano literature.
The distinction between horror and terror is a standard literary and psychological concept applied especially to Gothic and horror fiction. Horror is the feeling of revulsion that usually follows a frightening sight, sound, or otherwise experience. By contrast, terror is usually described as the feeling of dread and anticipation that precedes the horrifying experience.
Foreshadowing is a narrative device in which a storyteller gives an advance hint of what is to come later in the story. Foreshadowing often appears at the beginning of a story, and it helps develop or subvert the audience's expectations about upcoming events.
In literature and writing, stylistic devices are a variety of techniques used to give an auxiliary meaning, idea, or feeling.
In contemporary literary studies, a theme is a central topic, subject, or message within a narrative. Themes can be divided into two categories: a work's thematic concept is what readers "think the work is about" and its thematic statement being "what the work says about the subject". Themes are often distinguished from premises.
Narratology is the study of narrative and narrative structure and the ways that these affect human perception. The term is an anglicisation of French narratologie, coined by Tzvetan Todorov. Its theoretical lineage is traceable to Aristotle (Poetics) but modern narratology is agreed to have begun with the Russian formalists, particularly Vladimir Propp, and Mikhail Bakhtin's theories of heteroglossia, dialogism, and the chronotope first presented in The Dialogic Imagination (1975).
A scene is a dramatic part of a story, at a specific time and place, between specific characters. The term is used in both filmmaking and theatre, with some distinctions between the two.
In literature, the tone of a literary work expresses the writer's attitude toward or feelings about the subject matter and audience.
Thriller film, also known as suspense film or suspense thriller, is a broad film genre that evokes excitement and suspense in the audience. The suspense element found in most films' plots is particularly exploited by the filmmaker in this genre. Tension is created by delaying what the audience sees as inevitable, and is built through situations that are menacing or where escape seems impossible.
Affective disposition theory (ADT), in its simplest form, states that media and entertainment users make moral judgments about characters in a narrative which in turn affects their enjoyment of the narrative. This theory was first posited by Zillmann and Cantor (1977), and many offshoots have followed in various areas of entertainment. Entertainment users make constant judgments of a character's actions, and these judgments enable the user to determine which character they believe is the "good guy" or the "villain". However, in an article written in 2004, Raney examined the fundamental ADT assumption that viewers of drama always form their dispositions toward characters through moral judgment of motives and conduct. Raney argued that viewers/consumers of entertainment media could form positive dispositions toward characters before any moral scrutinizing occurs. He proposed that viewers sometimes develop story schemas that provide them "with the cognitive pegs upon which to hang their initial interpretations and expectations of characters". The basic idea of the affective disposition theory is used as a way to explain how emotions become part of the entertainment experience.
Meir Sternberg is an Israeli literary critic and biblical scholar. He is Artzt Professor of Poetics and Comparative Literature at Tel Aviv University. Along with Robert Alter and Adele Berlin, Sternberg is one of the most prominent practitioners of a literary approach to the Bible.
In literature, pace or pacing is the speed at which a story is told—not necessarily the speed at which the story takes place. It is an essential element of storytelling that plays a significant role in maintaining reader interest, building tension, and conveying the desired emotional impact. The number of words needed to write about a certain event does not depend upon how much time the event takes to happen; it depends upon how important that moment is to the story. The pace is determined by the length of the scenes, how fast the action moves, and how quickly the reader is provided with information. A well-paced story effectively balances moments of high intensity and slower-paced sections to create a dynamic reading experience. It is also sometimes dictated by the genre of the story: comedies move faster than dramas; action adventures move faster than suspense. A dragging pace is characteristic of many novels turned down by publishers, and of some that find their way into print but not into the hearts and recommendations of readers. Manuscripts that move too slowly usually discourage readers from reading on. Through various editing techniques, such as cutting unnecessary details, rearranging scenes, or suggesting additions, editors assist in maintaining an engaging pace that keeps readers captivated. Yanna Popova and Elena Cuffari elaborate that as editors they, "explore the participatory structure of a narrative through its temporal unfolding and the specific, non-linear nature of the temporal dynamics of interacting with a storytelling agency". Popova and Cuffari make clear that the way an author unfolds a story through structuring that narrative's tale is essential to the way the audience will interpret it.