Mastering Suspense, Structure, and Plot: How to Write Gripping Stories That Keep Readers on the Edge of Their Seats

by Jane K. Cleland

Enthrall Your Readers! Suspense is one of the most powerful tools a writer has for captivating readers--but it isn't just for thrillers. From mainstream fiction to memoir, suspense creates the emotional tension that keeps readers on the edge of their seats. Mastering Suspense, Structure, & Plot is your hands-on guide to weaving suspense into your narrative. Award-winning author Jane K. Cleland teaches you how to navigate genre conventions, write for your audience, and build gripping tension to craft an irresistible page-turner. Inside, Cleland will show you how thirteen no-fail techniques to construct an effective plot and structure for your storyUse Cleland's Plotting Road Map to add elements of suspense like twists, reversals, and moments of dangerWrite subplots with purposeImprove your descriptions, character development, sentence structure, and morePacked with case studies, exercises, and dozens of examples from best-selling authors, Mastering Suspense, Structure, & Plot is the key to writing suspenseful, engaging stories that leave your readers wanting more. ------ "Indispensable! For newbie authors and veterans alike, this terrific how-to is your new go-to. Don't write your book without it--it's a treasure." --Hank Phillippi Ryan, Agatha, Anthony, Macavity and Mary Higgins Clark award-winning author

Genres: Writing, Nonfiction, Crafts, Reference, Research, Self Help, Adult

230 pages, Kindle Edition

First published April 28, 2016

About the author

Jane K. Cleland writes the multiple award-winning and bestselling Josie Prescott Antiques Mysteries. Her short stories are published by Alfred Hitchcock's Mystery Magazine. She’s also written the bestselling and Agatha Award-winning how-to books, Mastering Plot Twists and Mastering Suspense, Structure & Plot , both from Writer’s Digest Books.

Her latest release is the craft of writing book, Beat the Bots: A Writer's Guide to Surviving and Thriving in the Age of AI from Regalo Press.

In addition, Jane presents a free monthly webinar series on the craft of writing as well as the Mystery Mastermind series—her small-group virtual writing workshops. She is also a Contributing Editor for Writer’s Digest Magazine, chairs the Wolfe Pack’s Black Orchid Novella Award, in partnership with AHMM, and is the Vice President of the Florida chapter of Mystery Writers of America.

Jane has an MFA (in professional and creative writing) and an MBA (in marketing and management). Jane is a lecturer at Lehman College where she is also the director of the Program for Professional Communications, and a frequent workshop facilitator and guest author at writing conferences and university programs.

For more on Jane, visit www.janecleland.com.

Reviews

[Karen · Rating 3 out of 5]

I heard Jane K. Cleland speak at a recent Boucherconl, a gathering for crime and suspense writers and the people who love them. I was really impressed by her no-nonsense approach. So I eagerly scooped up a copy of this book and devoured it. It too has her very straight-forward style, breaking down the different genres within the crime/suspense universe and taking readers step by step through the various planning and implementing stages of plotting.

I have to confess, though, I found some of it a bit clinical, almost to the point of formula. Jane's Roadmap, for example, is likely ironclad, but there's something about knowing that a specific type of turn must happen by page 232 (for example) that takes the fun out of drafting! I felt some of the advice came a little soon in my process. I guess that's what I'm trying to say.

[Liz Fenwick · Rating 4 out of 5]

This was a good all round craft book with useful tips and timely reminders...Cleland has some useful ideas like her road map that were an excellent 'new' way for me to look at the writing process.

[J.L. · Rating 4 out of 5]

To continue preparing to write the next book in my series, I chose a craft book dedicated to plot structure with an emphasis on suspense and twists. Rather than being targeted to one genre, the book ensures that all of the writing advice can be applied to any genre, from political thrillers to nonfiction memoirs. 

Cleland doesn't just "lecture" about the proper way to do things. The book includes activities, case studies, and suggestions for ways to create a tight story from character development and plot structure down to the individual sentence level.

This book is accessible to new authors while still being helpful to those who are more experienced, with multiple projects under their belts. I look forward to using some of the recommended exercises and suggestions to craft my next story.

[Emma Sea · Rating 2 out of 5]

2.5 stars.

[Debra Daniels-Zeller · Rating 4 out of 5]

I liked this book but having finished it two weeks ago and comparing it to the many books I've read about writing fiction. For this book, you can't write a novel efficiently without using Jane's Plotting Roadmap, a sort of master strategy with plot and subplots moving alongside each other and resolving in the end. Cleland give plenty of examples of story, narrative question and resolution. She spends a great deal of time on Twists, Reversals and Danger (TRDs), determining appropriate pace and gives plenty more examples including her own stories. What I liked best was part 2 on writing, adding surprise, illuminating fear and dread and revealing answers slowly, but overall I've got to say so many authors of books like these say the same things in different ways and shine a new light here or there, but all cover the same territory in different ways. The last chapter on writing sentences that work felt oddly misplaced as if it should have been in the beginning.

[Amy Reade · Rating 5 out of 5]

This book has sat on my desk, unread, for longer than I care to admit. When I finally cracked the spine and delved into it, I could have kicked myself for waiting so long. It's a brilliant addition to any writer's library of craft books. I like that it gives copious examples of every salient point. It's interesting to see how the author's guidance can be used in nonfiction and in any genre of fiction. This is a book I know I'll be referring to again and again.

[L.R. Braden · Rating 4 out of 5]

A concise book on the craft of incorporating suspense into your writing, whatever your genre. There were no world-shattering revelations, but the writing was clear and easy to follow, and the examples were useful. A terrific reminder of the fundamental role suspense plays in all stories.

[Lauren · Rating 4 out of 5]

Really straightforward and well-written. Even if I didn’t always love the first Josie Prescott book, I can see the elements at play. The four stars is somewhat aspirational because we’ll see how well applying the advice goes.

[Brittany · Rating 5 out of 5]

I’d like to incorporate these lessons in my teaching. Very enjoyable read!

[Chelsea Banning · Rating 5 out of 5]

Absolutely fantastic. I learned a lot from this book. Definitely recommend to any writer wanting to up their game.

[Madeline Vaughn · Rating 5 out of 5]

Great informative read.

[Kimberly Sabatini · Rating 5 out of 5]

Jam-packed with fabulous and actionable information. I can't stop recommending this one to all my writer friends.

[Pedro Fernández · Rating 5 out of 5]

Esto se trata de seguir estudiando para escribir mejores historias. Me gustó este libro, tienes buenos consejos y ejemplos para crear suspenso y misterio. A diferencia de otros libros parecidos, aquí no hay paja.

[Demetri · Rating 4 out of 5]

In the crowded field of writing guides, “Mastering Suspense, Structure, & Plot” announces its intentions early and without coyness. Jane K. Cleland is not here to muse about the ineffable mysteries of art. She is here to show you how to build a story that works. The title is programmatic, almost architectural, and the book delivers on that promise: it is less a meditation than a workshop, less a memoir of a writer’s life than a manual for making narrative engines run.

Cleland’s organizing principle is simple and, for many writers, immediately comforting: suspense is not the exclusive property of crime fiction. Suspense, as she defines it, is the management of curiosity and concern. A novel about a marriage, a memoir of a childhood, a narrative of scientific discovery – all of them can be strengthened by the careful arrangement of questions and answers, by the deliberate use of isolation, dread, surprise, and revelation. From the first chapters, she makes it clear that genre labels matter less than the reader’s experience of wanting to know what happens next.

The book is at its best when it is most concrete, and that begins with structure. Cleland’s “Plotting Road Map,” introduced early and refined throughout, is a visual and conceptual tool for mapping a complete novel: a line for the primary plot, two “service roads” for subplots, turning points spaced at deliberate intervals, tension–raising devices woven in at regular beats. The metaphor is deliberately prosaic – a highway, not a labyrinth – but that is part of its charm. She does not invite you to wander until inspiration strikes; she asks you to plan an itinerary.

This emphasis on structure will feel familiar to anyone who has read the better craft books of the past few decades, but Cleland’s contribution lies in how she breaks that structure down into usable pieces. She names and defines TRDs – twists, reversals, and moments of danger – then shows you where to place them, how to escalate them, and how to avoid repetition. She devotes an entire chapter to the choice and function of setting, not as travelogue but as an extension of character and theme. Another chapter isolates the role of subplots, insisting that they be purposeful, thematic, and fully arced rather than decorative digressions.

Her method is relentlessly example–driven. Two extended case studies – a domestic thriller centered on a young mother named Kayla, and a narrative nonfiction project about a math teacher and gambler named Al – thread through the book. We meet Kayla when her purse is stolen and the police are unconcerned; we watch as a series of incidents involving missing knives, a nanny cam, and a stalking ex–husband gradually transform an ordinary problem into a siege. We follow Al as his gambling threatens his job, his marriage, and his sense of self. These are not fully written novels, of course, but scaffolds: sketches of set–pieces, lists of potential scenes, diagrams of where TRDs and subplots might land.

Cleland returns to these characters again and again. When she explains how isolation intensifies suspense, she places Kayla alone in her house, hearing her stolen cell phone ring inside. When she explores red herrings, she imagines the ways an apparently benign neighbor or a missing paring knife can be staged as either meaningful or misleading. When she considers confusion and betrayal as engines of character, she delves into Al’s past injuries and family secrets, asking what kind of lie would truly shake him. The accumulation can feel repetitive, but it is also instructive: you see how the same structural lens can be applied across chapters, and how a story deepens as each new layer of craft is laid over the last.

One of the book’s most persistent themes is that suspense begins not with plot, but with people. Cleland is almost dogmatic on this point. A chase is nothing without someone we care about being chased; a revelation is empty if we have not invested in the character who learns the truth. To that end, she provides long checklists and exercises designed to force the writer past surface description and into the specific: What does your protagonist long for, and what would they consider a betrayal? What sounds are tied to their private history? What phobias shape their choices? How do they interpret ambiguous information, and what does that say about their beliefs?

Her insistence on specificity extends to language. Late chapters focus on sentence–level craft with the same rigorous practicality she has applied to plot. She warns against “label” verbs – see, hear, feel, realize – that place a gauzy layer between reader and experience, and demonstrates how a scene sharpens when we replace “I heard a door click” with the bare click itself, followed by the character’s immediate physical response. She talks about the average length of sentences, the emotional effect of short, punchy lines versus long, winding ones, and the way rhythm can accelerate or decelerate the reader’s sense of time. These are not new observations, but they are articulated with a teacher’s clarity and accompanied by before–and–after examples that make the point unmistakable.

Cleland’s tone throughout is brisk, confident, and warmly authoritative. She assumes the reader is serious about wanting to improve and does not waste time apologizing for the labor involved. When she proposes that you map your entire novel on a Road Map, track every unresolved detail with an “xxx,” and maintain a separate log of threads to be tied off by the end, she does so as if this is the most natural thing in the world to do. And for many writers – particularly those who have stalled mid–manuscript or drowned in a shapeless draft – it may be exactly the kind of structure they crave.

At the same time, that structure can verge on prescription. There are moments when the book’s love of charts, grids, and numbered steps threatens to crowd out the messier aspects of artistic discovery. A writer who thrives on improvisation may bristle at the suggestion that a 300–page novel “should” have two subplots, appearing in alternation roughly every forty pages, or that each subplot scene must perform a defined set of functions. A writer who prefers to discover their story on the page may feel constrained by road maps that seem to anticipate every turn before the car has even left the driveway.

Cleland is not blind to this tension, but she does not always address it directly. Her examples overwhelmingly assume a novelist who outlines extensively, revises against that outline, and is happy to retrofit ideas to fit structural expectations. For writers whose process runs in the opposite direction, the book’s most useful contribution may be as a revision manual: a way to diagnose what, in a completed draft, is sagging, thin, or unresolved. One can imagine scribblers of all temperaments printing out the Plotting Road Map and penciling their scenes onto it after the fact, looking for deserts of inaction or clusters of climax that need to be redistributed.

The focus on suspense, too, is double–edged in a productive way. On the one hand, Cleland argues persuasively that suspense is not about explosions, but about the steady management of questions. Her chapter on surprise warns against an overreliance on “gotcha” twists, urging instead that we treat surprises as spikes in a longer curve of anticipation and dread. Her discussion of fear and dread ranges from social anxiety to existential terror, inviting the writer to tap into the universal fear of abandonment, death, and powerlessness. She is particularly sharp on the uses of denial and dramatic irony: the people in the story may minimize or reinterpret the danger even as the reader sees it clearly, and that gap generates a queasy kind of tension.

On the other hand, the lens of suspense can sometimes narrow the conversation. A writer interested in meditative or formally experimental work may find the constant return to questions like “How can you make your protagonist more isolated in this scene?” or “What detail can you withhold to make readers turn the page?” a little wearying. The book occasionally seems to imply that all fiction would be improved by being more like a thriller. It is to Cleland’s credit that she does acknowledge literary and memoir examples – “The Bell Jar,” “Americanah,” “Out of Africa” – and shows how they employ suspense techniques, but she does not spend much time on the ways other values (linguistic play, thematic density, structural innovation) might sometimes take precedence.

There are smaller quibbles as well. The prose, while clear and accessible, can slide into a slightly didactic register; the teacher’s voice is never far from the surface. The scenario–building around Kayla and Al, though useful, occasionally feels contrived, especially when the need to demonstrate a particular craft point leads to melodramatic incident. A few of the extended quotations from other works risk skirting the line between illustration and digression. And while the index and end–of–chapter exercises are generous, some readers may wish for a more streamlined core argument, less encumbered by the apparatus of pedagogy.

Yet it is difficult to resent a book that is so earnest in its desire to help. Cleland’s afterword, in which she recalls her mother’s pragmatic career as a writer of confession stories – the manuscript in the attic, the shrugging acknowledgment that a particularly lurid title is “the new stove” – grounds the whole project in a kind of working–class respect for the reader. She urges writers to honor their audience, to write for them rather than for some internal ideal, and to be patient with themselves as they learn. The values she espouses are unfashionably practical: clarity over cleverness, structure over mystique, revision over romanticism.

If the craft shelf has become a genre in its own right, “Mastering Suspense, Structure, & Plot” occupies the subcategory of books that want you to roll up your sleeves. It will not tell you how to find your voice; it assumes you have something to say. What it offers, instead, is a set of tools for saying it in a way that will keep readers turning pages: a road map for when the story you care about refuses to cohere, a language for diagnosing why a perfectly nice scene leaves no bruise.

Taken as a whole, the book is a solidly effective and often invigorating guide, especially for writers of crime, suspense, and any narrative that relies on tension and revelation. It is not the only model of how to build a novel, nor should it be, but it is a coherent one, and it is articulated with unusual specificity. I would place it at about 83 out of 100 – a well–made, generous manual whose strengths lie in its structure and practicality, and whose occasional rigidity will bother only those who mistrust outlines on principle.

If you are the kind of writer who feels lost in the wilderness of your own draft, Cleland will happily hand you a compass and a map. The route she sketches may not be the only way through the woods, but it leads somewhere, and along the way she illuminates, with patient care, the terrain of suspense that every storyteller must cross.

[Tomáš Paulďuro · Rating 2 out of 5]

Expected this to be a bit better. There were way too many examples, sometimes way too boring, and I also disliked the fact that the author reveals the plots (with twists) of other books, so if you haven't already read The Girl on the Train, The Da Vinci Code or The Murder of Roger Ackroyd, you should skip this. Based on the description, I should be able to write perfect thriller after reading this, but I think watching Dan Brown's Masterclass is more educational. But who knows, in 20 years, when my books will be in the top 10 bestsellers around the world, maybe I will thank Jane K. Cleland for writing this book. Let the future decide!

[Condeiul_Obraznic · Rating 3 out of 5]

Can an amateur writer even review a book about writing?

I think so—after all, someone like me is the intended audience for a guide like this. The book's success should ideally translate into my growth as a writer, right? Hmm...

So, what did I think of Mastering Suspense, Structure, and Plot by Jane K. Cleland? My initial takeaway is twofold:

1. Writers, much like potions in bottles, come in all forms, each with a distinct purpose. Some prioritize social commentary above all else, while others champion aesthetic autonomy—art for art’s sake. For some, the goal is pure escapism, both for themselves and their audience. Writers might gravitate toward short stories or sprawling epics, and their chosen genres are just as diverse: fantasy, drama, poetry, cozy mysteries—you name it.

2. Jane K. Cleland and I are not the same kind of writer.

I realized this early on, in chapter one, when Cleland recounts a conversation with her editor. The editor told her, “I realized overnight what the problem is—you don’t know you’re writing cozies.” In essence: you don’t know your audience, and you don’t deliver what they want in this particular manuscript.

My immediate reaction? “That’s nonsense!” While I agree with Cleland’s advice to “honor your readers,” I don’t think writers should always write strictly for their audience. Cleland acknowledges that some writers might disagree, but her approach felt overly sales-driven for my taste. I get the importance of appealing to readers, but writing strictly to market feels insincere to me.

In chapter two, Cleland emphasizes that “structure is king.” Her explanation includes elements like linear vs. nonlinear timelines, multiple perspectives, single POV, bookends (symmetry between the opening and closing images), and categories (clarifying themes through places, people, or events). While this might be helpful for beginners, I found her definition of structure overly simplistic. For someone familiar with three-act or five-act structures, her approach didn’t feel particularly revelatory. For example, I wouldn’t categorize flashbacks or flash-forwards as “structure” in themselves—they’re more like techniques or tools within the structure.

Cleland’s “Plotting Road Map” is where our approaches diverge the most. She provides exact page markers for key elements like twists, reversals, and danger (TRDs). This level of detail might be invaluable for writers of cozy mysteries or thrillers—it’s a clear formula for pacing and structure. However, I found it too rigid for my style. While her roadmap could help ensure a tightly plotted mystery, it feels less adaptable to genres like fantasy or literary fiction.

I also didn’t connect with her insistence on things like maintaining a 20-word average sentence length. While she mentions a balance between short and long sentences, her approach leans toward conciseness in a way that might work for her genre but doesn’t resonate with me. I’m not going to start calculating my average sentence lengths per paragraph—that’s just never going to happen.

That said, there were aspects I genuinely appreciated. Cleland’s advice on using sensory details to bring settings and characters to life is excellent, and I’ll be incorporating more of this into my writing. Her idea of choosing a setting that contrasts with the protagonist’s conflict also stood out. Additionally, her tips on maximizing the potential of subplots were insightful.

Regarding suspense, Cleland’s breakdown of techniques like red herrings, the bandwagon fallacy, and the halo/devil effect was genuinely helpful. While these concepts weren’t new to me, her explanations deepened my understanding, especially when tied to character expertise. I also appreciated her discussion on the distinction between surprise and suspense and how they can complement each other.

The chapter on “Whisper, Don’t Shout” was another highlight. Her advice on word choices—using adjectives and adverbs sparingly and opting for specificity—was spot on. This section, in particular, felt relevant to my work.

If it isn’t clear by now, I have mixed feelings about this book. If you’re aiming to write literary fiction or fantasy, I’m not sure how much value you’ll find here. That said, I did learn a few things about crafting suspense, which was the main reason I picked up the book, so I’m not entirely disappointed. Ultimately, this is an excellent resource for crime/mystery/thriller writers who want a clear recipe for success. 3⭐

[Bonnie Schroeder · Rating 4 out of 5]

Not just for mystery/suspense writers, this useful handbook will help any writer create compelling stories. It contains specific advice and relevant examples of the points she is making. There is enough commonsense wisdom here to make this the kind of book a writer would keep within reach, both for that messy first draft and for the revisions that follow.

[Rachel Lulich · Rating 5 out of 5]

I would recommend this book to any writer. Not because I agree with everything author Jane K Cleland says (I don't); not because her methods are universally applicable (they aren't). I would recommend it because it presents a way of thinking about writing that proved, for me, very useful. I started experimenting with her suggested method of plotting (the TRD roadmap) and found that it didn't work for me at all. But working through many of the pre-writing questions Cleland provides (e.g. What is your project's narrative question?) caused me to stumble upon a completely different method that, so far, is working very well for me. So don't read it as a rule book and don't read it as Gospel truth. Read it as a prompt. Let it help you think through an analysis of how you work and find what methods work for you. For that, it is really excellent.

[Nev March · Rating 4 out of 5]

This is a great book on writing craft. I like to work with an outline so this seemed a good skill to shore up. Jane Cleland’s focus on structure made me think through some of my subplot ideas and work out more clearly what my characters are processing. While I disregarded some bits that felt too formulaic, there was much in this book that lent itself to valuable prework, which makes me more confident in my outline.

I completed every exercise. Yes every one.
Why? Because I believe writing is a muscle. The more you use it the stronger it gets. And like athletes, we need to keep building stamina, technique and confidence. It takes work, but that’s fun when work gets so engrossing.
With a deep understanding of psychology and human cognition, Jane takes us through what readers experience.

This book was chock full of great exercises, ideas to build suspense and tips. Thanks Jane!

[Tish · Rating 2 out of 5]

On the plus side, it was a quick read. Most of the advice in this book is aimed at those who aspire to genre writing, and probably a great beginning for anyone who has never taken a 101 creative writing class. It is full of well-trodden dogma. But the examples are tedious, rather than illuminating, with nothing new or noteworthy, except for the racist slur (page 72) the editors didn't catch. If you have never been introduced to the rudiments of writing, by all means, this is great place to start. If you're a writer who has a basic working knowledge of craft, skip it. If you need useful tools to build structure in your work, I heartily suggest McKee's Story: Substance, Structure Style, or Save the Cat by Blake Snyder.

[Patricia Bowen · Rating 5 out of 5]

I read this book when it first came out, then read it again last week. I've been a proud 'pantser' for the past couple of years, but when I got stuck writing a sequel to my recent book, The Cure, I decided to try some detailed outlining. I worked on the exercises in each chapter of Cleland's book and found them most helpful. Though I've seen similar road maps in workshops and online, her detailed examples that supported "Jane's Roadmap" put me in the right territory. Maybe I just picked it up again at the right time. I'm eager to see the results in my writing.

[Matt Cannon · Rating 4 out of 5]

Want to gain a better understanding of the writing process? Want to write your own book or communicate better? Then this book is for you! I likely won't look at books and writing the same way again! Just as a software program has design and architectural considerations, so does a story. At least if you want it to be a good one. The systems, tips and techniques are very good and make total sense.

[Charly Troff (JustaReadingMama) · Rating 3 out of 5]

This had some good information in it, though ultimately I found myself wanting more. I wish she had focused on suspense and tightened up the book, going more in depth there rather than trying to touch on a lot of topics (some of which, like pov, felt unrelated to the rest of the book).

Overall, it's not a bad book to read and I learned some, but it's not my favorite book on writing.

[Calypso · Rating 1 out of 5]

Writing by numbers. I wish I could remember who recommended this book so I can never trust them again.

[Mermarie · Rating 2 out of 5]

Pretentious bunch of formulative hacking vibes.

[Ann · Rating 1 out of 5]

i write a lot of short fiction casually, i read a lot of suspense/mystery/thriller, and i want to better hone my craft in the hopes of writing something vaguely submittable. this is not a book i would recommend for beginners, because the explanations are... lacking, i'd say. there's a plethora of examples, case studies, some exercises, but there's a lot of basic stuff that just isn't explained. it's a DNF for me but not just a "this isn't for me" DNF--this is a "highly would _not_ recommend" DNF.

im really surprised that i disliked this so much that i dnf'd it, because apparently every other person on goodreads loved it. someone's going to have to explain to me why this is good, because honestly i think reading a save the cat writes a novel beat sheet and a handful of NYT best seller suspense novels did more for me than this book. im willing to be converted tho 👀

some things i had a lot of difficulty wrapping my head around within the first quarter of the book (i stopped after this)
- one section discusses novel POVs, and she uses a specific book as an example of a multi-POV story where she labels the chapters by the character function (protagonist, victim, etc). that's cool, but like... why is one character labeled an antagonist and another labeled a villain? why does she distinguish between the two and why do these POV switches serve a function? and then there's no specific discussion on using multi-POV builds suspense (eg withholding information to the reader by switching POVs).
- she gives her plotting road map, which says "start in the middle of the inciting incident", but i don't think she actually explained what an inciting incident is yet (maybe she brings it up later, but that's not made clear). there's a bunch of examples immediately after that do not refer to the road map at all (they're examples of tracking key elements of books but there's no context or continuity wrt the chapter as a whole. why do the key elements include a 'beginning'? why is that different than an inciting incident? is it just a set up? why do i care that we're tracking key elements of a regency novel if in the same chapter we don't get any concrete examples as to the suspense devices within the novel?)
- same chapter, case study where she explains how she'd start a thriller and move from twist/reversal/danger to twist/reversal/danger: but they're not labeled? and the pages don't line up with the roadmap graphic? and are there subplot things included, because there's a few points here that don't sound like they're related to the main plot? to be clear: it's not a BAD thriller plotting start. it's totally sound. it's just impossible for a beginner to put the theory to the practice, because they don't line up, period.
- in general there's a lot of examples that don't have very much context. like, there's a few regency stories that she brings up repeatedly as examples, but it's never really clear why those stories are illustrating specific pieces of suspense building. or as mentioned, she'll throw out key themes of books but like... why should i care about the theme of a memoir versus the theme of a mystery versus the theme of a historical romance? i do care, but it's the point of the craft book to tell me why, and that's not clear.

im sure she's a good writer; there's definitely a few "this is how i'd do ..." examples where im like "oh that sounds legit". but if i were a beginner, i'd be totally lost as to how to replicate it. and as an intermediate writer, i don't think i got anything new, nor did i find clarity and affirmation in the things i already knew about writing.

[Joseph Hirsch · Rating 4 out of 5]

The writer Charles Bukowski once said words to the effect that "Nothing teaches you more than failing, and regrouping after your failures." That's definitely true, but that doesn't mean that heeding what others have learned might not save you some time on your own journey. There is some practical advice in "Mastering Suspense," some useful techniques for writing clearer and more readable prose, and also sections on how to keep multiple plot threads under control and in play in the service of a larger narrative without losing sight of either the subplots or main plots.

I generally find that if I glean two or three usable bits of info from a "How-To" book, it's money well-spent. Madame Cleland's book met and exceeded my expectations in that regard. The only caveat I would add, though, is that some of the book reads more like a pep talk/motivational speech from a real estate seminar. Other parts are a bit too mercenary for my taste. "Honor your readers" or "Write for your readers, not for yourself" sounds like good advice, and may be, but if there weren't some exceptions to these rules (or writers who didn't create heedless of a lot of the principles laid out in this book) the literary canon would be a poorer place.

This is a minor gripe, though, and some of the charts, exercises, and most prosaic bits of advice are worthy accessories to any writer's toolkit, whether you're just getting started or you've been in this crazy game for a long time. Recommended.

[Christy · Rating 5 out of 5]

017 WINNER of the Agatha Award for Best Nonfiction (2016)

Enthrall Your Readers!
Suspense is one of the most powerful tools a writer has for captivating readers--but it isn't just for thrillers. From mainstream fiction to memoir, suspense creates the emotional tension that keeps readers on the edge of their seats. Mastering Suspense, Structure, & Plot is your hands-on guide to weaving suspense into your narrative. Award-winning author Jane K. Cleland teaches you how to navigate genre conventions, write for your audience, and build gripping tension to craft an irresistible page-turner.

Inside, Cleland will show you how to:

Implement thirteen no-fail techniques to construct an effective plot and structure for your story
Use Cleland's Plotting Road Map to add elements of suspense like twists, reversals, and moments of danger
Write subplots with purpose
Improve your descriptions, character development, sentence structure, and more
Packed with case studies, exercises, and dozens of examples from best-selling authors, Mastering Suspense, Structure, & Plot is the key to writing suspenseful, engaging stories that leave your readers wanting more.

------
-Indispensable! For newbie authors and veterans alike, this terrific how-to is your new go-to. Don't write your book without it--it's a treasure.- --Hank Phillippi Ryan, Agatha, Anthony, Macavity and Mary Higgins Clark award-winning author

[J.C. Pillard · Rating 4 out of 5]

I found this book after picking up another book Jane Cleland, Mastering Plot Twists: How to Use Suspense, Targeted Storytelling Strategies, and Structure to Captivat E Your Readers, which I haven't read yet. Still, I decided to start with this one first.

Cleland does a good job breaking down her three topics into easily digestible chunks. Each chapter takes on a different idea, whether that be the use of subplots (Cleland recommends no more than 2), TRDs (Twists, Reversals, Dangers), the creation of metaphors, etc. Some of the points are more geared towards writers of popular fiction rather than genre fiction, which is my bread and butter, but this is a good overview of tips and tricks to avoid writing stumbling blocks - such as not having a plot before you start writing!

[Adam Davis · Rating 3 out of 5]

I'm in two minds about this book about writing. At times, it seems to offer advice I haven't heard anywhere else, great advice it seems and it helped me develop a roadmap of sorts to help with my fiction writing. Then, at other times, this book felt like regurgitated pieces of advice from the many other books I've read on the subject. So, in saying those two things, I am not sure exactly where I lie on judging the merits of this book. It offers a lot, and then seems to just re-hash other people's writing as a means of showing what good writing is. And to be honest, I can find that by reading any well written book. So, my "review" of this book is a bit confused ... like the book itself I think. It has some great advice, but overall, I have read better books on the subject. But, in saying that, at times, Cleland's book seems to offer suggestions I haven't seen else where and that will be of great use, so it is most certainly not all bad. In fact, it's not bad at all, just a bit, predictable at times.