How can you create emotional tension in a film?

If we agree that art imitates life and vice versa, then we can use our lives to create definitions for words relating to art. In particular, in relation to conflict and stakes, when I consider my life, the lives of my friends, and the lives I read or hear about, the most intriguing, gripping, emotionally engaging stakes are personal. The more personal the more invested I am. This means that the phrase 'higher stakes' means more personal stakes. To ramp up the emotional tension of your story, be it for big or small screen, dig deeper into your characters' lives and their settings to ensure your stakes are as personal as possible to your characters.

Characters all the way. If you don't care about them you won't care what happens to them. Stakes only become a threat when you believe something could truly be lost. When you have a well developed character you,as an audience member, have a personal stake in their victory or failure.

A phrase adapted from the Book of Ecclesiastes in the Bible reads; “The thing that hath been, it is that which shall be; and that which is done is that which shall be done: and there is no new thing under the sun.” It begs the question; if there is no new thing under the sun, how do I employ the dual techniques of contrast and surprise in my storytelling to subvert audience expectations and catch them off guard? Whilst there is no one answer fits all, there are three story questions I ask myself when I get to points in my story that require a twist; 1. What directions does that story organically take? 2. What directions give the most dramatic and emotionally satisfying payoff? 3. How do I tell this story under the moon?

Absolutely, strong and relatable characters are crucial for creating emotional tension in a film. Their development and the audience's investment in their journey enhance the overall impact of the story. Additionally, well-crafted plot twists, suspenseful pacing, and effective use of music can also contribute to building emotional tension.

Stories are about people doing things in places. Characters. Plot. Setting. You can have a story without dialogue; A Silent Place anyone? But you can't have a story without a character in a place doing something. Just ask Wall-E. In creating empathy and identification with your characters (this piece is only about characters, let me know if you want me to write on plot and setting), focus on the audience understanding your characters, as opposed to liking them. If I understand where A is coming from, where A wants to go, and why A would most likely kill that barber, it wouldn't matter that I don't like A. Understanding, not affableness, creates the bridge of empathy between the audience and the characters. In doubt? Ask Light Yagami.

It is crucial to establish the stakes and the core conflict as early as the logline. This initial idea sets the tone for the entire narrative, capturing what's fundamentally at risk and why it matters. The stakes should be so intrinsically tied to the protagonist that failure would be akin to a metaphorical death, underscoring the intensity of their journey. This creates a palpable tension, a tug of war for control of the narrative, where the outcome – whether it's a triumph or a tragedy – remains uncertain to the audience. By embedding this sense of high stakes and deep conflict in the very seed of the story, the tension becomes a driving force that shapes every aspect of the film, from the script to the screen.