What is suspense?

Epistemic status: This is an attempt to write down what I think I know and understand about suspense — it’s a bit of a work in progress and I’ll update it as I think about it more. I’m writing it down and putting it out into the internet because it forces me to clarify and organize my thinking around this thing which I think is essential and yet often overlooked when it comes to how we talk about how to write.

For whatever reason, suspense seems to be thought of as a genre in of itself or a genre element reserved mainly for thrillers and mysteries.

For me, it’s an essential element of storytelling, something baked into the foundation of a good story — a prerequisite, a necessary condition.

Suspense is about keeping the reader wanting to keep on reading (or watching).

If boredom is the death of a story and interest is the opposite, then suspense is the emotional state of the interested reader or viewer.

Creating suspense means to put the audience in a suspended state, an incomplete state.

Human beings feel anxiety or tension when something is uncertain, undecided, or mysterious.

You can think of suspense as a kind of open loop. When you open the loop, the audience feels suspense that is not resolved until the loop is closed.

Suspense is an emotional state that can only be resolved by finding out what happens, by answering the question, by closing the loop.

Stories make a kind of promise.

When a loop is opened in a story, there’s an implicit promise that it will be closed by the end of the story. If you don’t close the loop, the audience will leave with unresolved tension, and possibly anger at being misled, or contempt at having the loop/promise closed in a way that is unsatisfying (deus ex machina or just shitty writing).

An unresolved loop can compel the audience to return next week (as in a cliffhanger) or just drive them nuts (as in an ending that doesn’t resolve enough).

Suspense is created by drawing the audience’s attention to something.

A woman looking at a tree feels nothing, but if you tell her that the tree could fall at any moment, she will be in a state of suspense: her mind will be focused on the possibility of the tree falling and the state will not be resolved until the tree falls or something happens to resolve her suspended state (e.g. convincing her that you were just kidding or that actually the tree won’t fall, of putting up a support to prevent the tree from falling).

To create suspense, you have to draw the audience’s attention to some uncertainty, mystery, or undecided outcome.

Two detectives looking at a dead body: one says that it’s on overdose. The other one says “no, I think it’s murder.”

Creating suspense similar to positioning in advertising or marketing, where you can change how someone feels about something just by pointing something out or posing them a question. Suspense has this in common with marketing: it’s about tension, tension that propels people towards action (buy this thing, keep reading, keep watching, etc.)

Sports have suspense built in naturally: who will win the game? Will the shot go into the goal?

But unlike stories, sports are only suspenseful in real time. If you know the outcome, watching a game is boring. How many people re-watch their favorite games vs. how many people re-watch their favorite movies?

[I’m still trying to figure out why stories are so different from sporting events when it comes to spoilers. People have been watching Hamlet for centuries and we all know what happens and how it happens, but there’s still something rewarding about going through it again.]

Sports are illustrative in another way: the uncertainty of an outcome isn’t enough to create suspense. You have to care who wins. The biggest, most improbably comeback in cricket is utterly boring to me. I can’t care about it, no matter how much I try. You couldn’t pay me to care about it.

So, stories need to open up a suspense loop, but they also need to make you care about what’s going to happen.

I think that people over-emphasize the role of character in how much we care. It’s not that character doesn’t matter, it’s just that it isn’t essential to creating a compelling story.

Certain story genres have suspense built in — mystery, thrillers, noirs. That’s why we associate suspense with those genres, but dramas and comedies and everything else need to keep the audience interested.

A body is found and the detective says it’s a murder but you don’t know who committed it.

But suspense isn’t confined to media — we use it all the time when we tell each other stories or gossip:

Someone says “did you hear about Jane?” or “did you hear about Jane’s relationship?” This can hook someone into a conversation or story much better than saying “Jane got divorced.”

A story about Jane’s divorce can have many suspense loops open.

The loops can be chained together or nested.

A chained loop goes like this:

  • Did you hear about Jane? [No, what happened?]
  • She got a divorce, but you won’t believe why. [Now I want to know why + the details].
  • Well it started when her husband found a box of fireworks in her garage. [Opens multiple new loops: why were there fireworks? Who put them there? How did her husband find them? How could this possibly lead to a divorce?]
  • And so on.

(a skilled storyteller brings a lot more than suspense — they omit superfluous details, they pace it well, they tell it with style, pick a good subject. etc.)

Some techniques for opening up a loop::

  • A question the audience wants answered (where’s he going, why is she in a hurry)
  • A puzzle.
  • A mystery.
  • Something unexplained (the ghost at the beginning of Hamlet).
  • An unexplained fact or phenomenon.
  • Any uncertain outcome.

A basic chain for a bank robbery story might look like this:

  1. Who is she?
  2. Why is she talking to this other woman?
  3. Why does she need to talk to her in private?
  4. Are they going to rob the bank?
  5. How are they going to get into the bank?
  6. How will they disable the security?
  7. How will they break into the vault?
  8. How will they get the money out?
  9. Will the police come?
  10. Will they escape the police?
  11. Will they get to keep the money?
  12. Will they still be friends after this?

Related: Editing and Forwards.

A Big Whore in a Small Town! At The Annoyance!

My short play, A Big Whore in a Small Town (the Western comedy I wrote last year) will be performed at The Annoyance Theatre (by far my favorite comedy theater in Chicago, seriously it’s an amazing place) this month as a Triple Feature.

Triple Features are their way of putting up 20-minute experimental works to give people a chance to showcase their work, develop it, and just have an outlet for writers/directors/actors to try new things. So my play will be one of three shown, each 20 minutes long.

I’m really excited about this because I’ve been developing it off and on for a year now. I originally wrote it as a full-length play and had to compress it to get it down to 20 minutes. My hope is that it goes well and I can develop it into a full-length play somewhere.

We had our first rehearsal today and it went well. The other actors are really great and so is the director. And someone asked me “did you just write this so you could play a Mexican bandido and a French bounty hunter?” Um, yes. Yes I did.

It’s funny and irreverent and has a real theme and all. You should see it if you’re into that sort of thing.

Here’s the details:

Triple Feature @ The Annoyance (851 W Belmont)

8pm on January 11, 18, and 25

Tickets: $7

Starting a New Show at The Public House Theatre

A few years ago I did a show with Cleanest Best Pleasure, a now-defunct sketch group, called The Clean Show at The Upstairs Gallery. It was framed as a public access TV show about local events in Chicago and was reasonably successful (notwithstanding the one show that was only attended by my then girlfriend, which if you’re doing comedy in Chicago you’ve experienced at least once or twice).

Anyway, my friend Katy and I have been talking ever since about reviving it in some form and over drinks in November we finally decided to make it happen, not as a revival but as a brand new show with some of the same themes. A few meetings later, pulling in our friend Spencer, and a really solid cast/writing staff with credits from The Onion News Network, Steppenwolf, McSweeney’s, NYTVF, and all the Chicago improv/comedy theaters that everyone in Chicago studies/performs at. (more…)

Great Opening Night for Cut to The Chase

573ede127a8811e381410e5cd106ae28_8I’m officially a playwright now. I was at the opening last night for Cut to the Chase at The Artistic home last night and all of the plays were fantastic and played to a sold-out house.

Date Night had a lot of positive feedback and it was really satisfying to see a lot of the funny moments and jokes pay off in front of a live audience–rehearsal had been tough at times because it was just me and the director (Kristin Collins) watching and honestly, after watching it a dozen times in an empty theater, the laughs stop happening.

That’s pretty normal for comedy and so I’m really proud of the actors (Cole Millette, Tyler Collins, and Jae Renfrow) for sticking through it and not losing faith and really for just doing such an awesome show last night.

If you’re in Chicago and like theater, and especially if you’re someone that wants to go see more theater but you’ve held off because, well, “serious theater” can be intimidating1, then you should come check it out; it’s an easy way to dip your toes in the water because there’s five short plays so if you don’t like one, then no big deal, the next one starts in fifteen minutes. And there’s a nice range of stuff, from drama to comedy to thriller.

Anway, it’s playing Fridays and Saturdays through the end of January.


  1. I’ve had conversations with a lot of people lately that go something like “I really should go to see more (any) theater because I know there’s a lot of great stuff in Chicago but I just never get around to it or I don’t know what to see.”  





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