How to make your writing suspenseful - Victoria Smith

2,974,175 views ・ 2017-10-31

TED-Ed


μ•„λž˜ μ˜λ¬Έμžλ§‰μ„ λ”λΈ”ν΄λ¦­ν•˜μ‹œλ©΄ μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€.

λ²ˆμ—­: HAST Jungmin Han κ²€ν† : Jihyeon J. Kim
00:08
What makes a good horror story?
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무엇이 곡포이야기λ₯Ό ν₯미둭게 ν• κΉŒμš”?
00:09
Sure, you could throw in some hideous monsters,
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λ¬Όλ‘  λ¬΄μ‹œλ¬΄μ‹œν•œ 괴물을 λ“±μž₯μ‹œν‚€κ±°λ‚˜
00:12
fountains of blood,
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λΏœμ–΄μ Έλ‚˜μ˜€λŠ” ν”Όλ₯Ό ν™œμš©ν•˜κ±°λ‚˜
00:13
and things jumping out from every corner,
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λ¬΄μ„œμš΄ 물체듀을 μ•„λ¬΄λ°μ„œλ‚˜ νŠ€μ–΄λ‚˜μ˜€κ²Œ ν•  수 있겠죠.
00:15
but as classic horror author H.P. Lovecraft wrote,
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ν•˜μ§€λ§Œ 곡포 μ†Œμ„€μ˜ λŒ€μž‘κ°€ H.P. λŸ¬λΈŒν¬λž˜ν”„νŠΈκ°€ λ§ν–ˆλ“―
00:18
"The oldest and strongest kind of fear is fear of the unknown."
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κ°€μž₯ 였래된, κ°€μž₯ κ°•λ ₯ν•œ 두렀움은 미지에 λŒ€ν•œ κ³΅ν¬μž…λ‹ˆλ‹€.
00:23
And writers harness that fear not by revealing horrors,
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그리고 μž‘κ°€λ“€μ€ μ§μ ‘μ μœΌλ‘œ 곡포λ₯Ό μ‘°μ„±ν•˜κΈ°λ³΄λ‹€
00:27
but by leaving the audience hanging in anticipation of them.
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λ…μžλ“€μ΄ λ¬΄μ„œμš΄ 사건을 μ˜ˆκ²¬ν•˜λ©° λ–¨κ²Œ ν•¨μœΌλ‘œμ¨ 곡포감을 ν˜•μ„±ν•©λ‹ˆλ‹€.
00:31
That is, in a state of suspense.
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λ°”λ‘œ κΈ΄μž₯감의 μƒνƒœμ£ .
00:34
The most familiar examples of suspense come from horror films and mystery novels.
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κΈ΄μž₯감은 κ³΅ν¬μ˜ν™”λ‚˜ 좔리 μ†Œμ„€μ—μ„œ ν”ν•˜κ²Œ λ“œλŸ¬λ‚©λ‹ˆλ‹€.
00:39
What's inside the haunted mansion?
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μœΌμŠ€μŠ€ν•œ λŒ€μ €νƒ μ•ˆμ—λŠ” 뭐가 μžˆμ„κΉŒμš”?
00:41
Which of the dinner guests is the murderer?
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저녁식사 μ΄ˆλŒ€ μ†λ‹˜ 쀑 λˆ„κ°€ μ‚΄μΈμžμΌκΉŒμš”?
00:43
But suspense exists beyond these genres.
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ν•˜μ§€λ§Œ λ‹€λ₯Έ μž₯λ₯΄μ—μ„œλ„ κΈ΄μž₯감이 μ‚¬μš©λ˜λŠ” 것을 λ³Ό 수 μžˆμŠ΅λ‹ˆλ‹€.
00:46
Will the hero save the day?
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μ˜μ›…μ΄ ꡬ해낼 수 μžˆμ„κΉŒμš”?
00:48
Will the couple get together in the end?
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연인이 λ§ˆμΉ¨λ‚΄ ν•¨κ»˜ ν•˜κ²Œ λ κΉŒμš”?
00:50
And what is the dark secret that causes the main character so much pain?
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주인곡을 그토둝 νž˜λ“€κ²Œ ν•˜λŠ” μ–΄λ‘μš΄ 비밀이 λ¬΄μ—‡μΌκΉŒμš”?
00:56
The key to suspense is that it sets up a question, or several,
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κΈ΄μž₯감의 핡심은
00:59
that the audience hopes to get an answer to
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μ½λŠ” μ‚¬λžŒμ΄ κΆκΈˆν•΄ν•  점듀을 μ—¬λŸ¬ 개 λ§Œλ“€κ³ 
01:02
and delays that answer while maintaining their interest and keeping them guessing.
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계속 ν˜ΈκΈ°μ‹¬μ„ 가지도둝 ν•˜λ©΄μ„œ λŒ€λ‹΅μ„ λ―Έλ£¨λŠ” κ²ƒμž…λ‹ˆλ‹€.
01:07
So what are some techniques you can use to achieve this in your own writing?
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μ—¬λŸ¬λΆ„μ˜ κΈ€μ“°κΈ°μ—μ„œ κΈ΄μž₯감 μžˆλŠ” 글을 μ“°λŠ” κΈ°μˆ λ“€μ€ 뭐가 μžˆμ„κΉŒμš”?
01:13
Limit the point of view.
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μ‹œμ μ„ μ œν•œμ‹œν‚€μ„Έμš”.
01:14
Instead of an omniscient narrator who can see and relay everything that happens,
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λͺ¨λ“  것을 보고 전달할 수 μžˆλŠ” 전지적 μ„œμˆ μž λŒ€μ‹ 
01:18
tell the story from the perspective of the characters.
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λ“±μž₯μΈλ¬Όλ“€μ˜ μ‹œμ μ—μ„œ 이야기λ₯Ό μ „κ°œμ‹œν‚€μ„Έμš”.
01:22
They may start off knowing just as little as the audience does,
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λ…μžλ“€μ²˜λŸΌ 거의 μ•„λŠ” 게 없이 λ“±μž₯인물이 μ‹œμž‘ν•  κ²λ‹ˆλ‹€.
01:25
and as they learn more, so do we.
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그러면 λ…μžλ“€λ„ κ·Έλ“€κ³Ό ν•¨κ»˜ 상황을 μ°¨μ°¨ νŒŒμ•…ν•΄ λ‚˜κ°€λŠ” κ±°μ£ .
01:28
Classic novels, like "Dracula," for example, are told through letters and diary entries
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예λ₯Ό λ“€μ–΄, κ³ μ „ μ†Œμ„€ λ“œλΌν˜λΌμ—μ„œλŠ”
01:33
where characters relate what they've experienced
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νŽΈμ§€μ™€ 일기λ₯Ό 톡해 λ“±μž₯인물듀이 μ„œλ‘œμ˜ κ²½ν—˜μ„ λ‚˜λˆ„κ³ 
01:35
and fear what's to come.
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μ•žμœΌλ‘œ λ‹₯μΉ  일듀을 λ‘λ €μ›Œν•˜μ£ .
01:38
Next, choose the right setting and imagery.
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λ‹€μŒμœΌλ‘œ, μ μ ˆν•œ λ°°κ²½κ³Ό 이미지λ₯Ό ν™œμš©ν•˜μ„Έμš”.
01:41
Old mansions or castles with winding halls and secret passageways
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λ³΅μž‘ν•œ ꡬ쑰와 λΉ„λ°€ ν†΅λ‘œλ₯Ό κ°€μ§„ 였래된 μ €νƒμ΄λ‚˜ 성듀은
01:46
suggest that disturbing things are being concealed.
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무언가 숨겨져 μžˆλ‹€λŠ” 것을 μ˜λ―Έν•©λ‹ˆλ‹€.
01:50
Nighttime, fog, and storms all play similar roles in limiting visibility
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λ°€ μ‹œκ°„, μ•ˆκ°œ, ν­ν’μš° λͺ¨λ‘ μ‹œμ•Όμ™€ 행동 λ°˜κ²½μ„ μ œμ•½ν•¨μœΌλ‘œμ¨
01:56
and restricting characters' movements.
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λΉ„μŠ·ν•œ κΈ°λŠ₯을 ν•˜μ£ .
01:59
That's why Victorian London is such a popular setting.
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κ·Έλž˜μ„œ 빅토리아 μ‹œλŒ€μ˜ 런던이 배경으둜 자주 μ“°μ΄λŠ” κ²ƒμž…λ‹ˆλ‹€.
02:03
And even ordinary places and objects can be made sinister
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그리고 일상적인 μž₯μ†Œμ™€ 물체듀도
02:06
as in the Gothic novel "Rebecca"
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주인곡의 μƒˆ 집에 있던 꽃듀이 ν”Όμ²˜λŸΌ λΆ‰λ‹€κ³  λ¬˜μ‚¬ν•œ '레베카'μ—μ„œ 처럼
02:10
where the flowers at the protagonist's new home are described as blood red.
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무섭고 λΆˆκΈΈν•˜κ²Œ ν‘œν˜„λ  수 μžˆμŠ΅λ‹ˆλ‹€.
02:17
Three: play with style and form.
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μ…‹μ§Έ, 문체와 λ¬Έμž₯ ν˜•νƒœλ₯Ό ν™œμš©ν•˜μ„Έμš”.
02:20
You can build suspense by carefully paying attention not just to what happens
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μ–΄λ–€ 사건이 μΌμ–΄λ‚˜λŠ”μ§€ 뿐만 μ•„λ‹ˆλΌ 사건이 μ–΄λ–»κ²Œ λ¬˜μ‚¬λ˜λŠ”μ§€μ— μ£Όλͺ©ν•¨μœΌλ‘œμ¨
02:24
but how it's conveyed and paced.
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κΈ΄μž₯감을 λ§Œλ“€ 수 μžˆμŠ΅λ‹ˆλ‹€.
02:27
Edgar Allan Poe conveys the mental state of the narrator in "The Tell-Tale Heart"
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μ—λ“œκ±° μ•¨λŸ° ν¬λŠ” μ†Œμ„€ "The Tell-Tale Heart"μ—μ„œ
02:32
with fragmented sentences that break off suddenly.
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툭툭 λŠμ–΄μ§€λŠ” 짧은 λ¬Έμž₯으둜 μ„œμˆ μžμ˜ 심리λ₯Ό ν‘œν˜„ν–ˆμŠ΅λ‹ˆλ‹€.
02:35
And other short declarative sentences in the story
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또 짧은 ν‰μ„œν˜• λ¬Έμž₯듀도
02:38
create a mix of breathless speed and weighty pauses.
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μˆ¨κ°€μœ 속도감과 무거운 정체감을 λ³΅ν•©μ μœΌλ‘œ λ§Œλ“€μ–΄λƒˆκ³ μš”.
02:43
On the screen, Alfred Hitchcock's cinematography
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μ•Œν”„λ ˆλ“œ νžˆμΉ˜μ½•μ˜ μ˜ν™”λŠ”
02:46
is known for its use of extended silences and shots of staircases
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κΈ΄ 정적과 κΈ°λ‚˜κΈ΄ 측계λ₯Ό 톡해
02:50
to create a feeling of discomfort.
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λΆˆμ•ˆκ°μ„ μžμ•„λ‚΄λŠ” κ²ƒμœΌλ‘œ 유λͺ…ν•©λ‹ˆλ‹€.
02:53
Four: use dramatic irony.
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λ„·μ§Έ, 상황적 μ•„μ΄λŸ¬λ‹ˆλ₯Ό ν™œμš©ν•˜μ„Έμš”.
02:56
You can't just keep the audience in the dark forever.
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λ…μžλ₯Ό 아무것도 λͺ¨λ₯΄λŠ” μ±„λ‘œ 계속 λ‚΄λ²„λ €λ‘˜ μˆ˜λŠ” μ—†μŠ΅λ‹ˆλ‹€.
02:59
Sometimes, suspense is best served
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λ•Œλ‘œλŠ”, λ“±μž₯ 인물듀은 λͺ¨λ₯΄μ§€λ§Œ μ΄μ•ΌκΈ°μ—μ„œ μ€‘μš”ν•œ 사싀을
03:01
by revealing key parts of the big secret to the audience but not to the characters.
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λ…μžλ“€μ—κ²Œλ§Œ μ•Œλ €μ€ŒμœΌλ‘œμ¨ κΈ΄μž₯감이 잘 κ΅¬ν˜„λ˜κΈ°λ„ ν•©λ‹ˆλ‹€.
03:08
This is a technique known as dramatic irony,
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이것은 상황적 μ•„μ΄λŸ¬λ‹ˆλΌκ³  ν•˜λ©°
03:11
where the mystery becomes not what will happen
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무엇이 일어날지가 μ•„λ‹ˆλΌ
03:13
but when and how the characters will learn.
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λ“±μž₯ 인물듀이 μ–Έμ œ μ•Œμ•„μ°¨λ¦΄μ§€λ₯Ό κΆκΈˆν•΄ν•˜κ²Œ λ§Œλ“€μ£ .
03:17
In the classic play "Oedipus Rex,"
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'μ˜€λ””μ΄ν‘ΈμŠ€ μ™•'μ΄λΌλŠ” κ³ μ „ ν¬κ³‘μ—μ„œ
03:19
the title character is unaware that he has killed his own father
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주인곡은 κ·Έκ°€ 자기 아버지λ₯Ό 죽이고
03:23
and married his mother.
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자기 μ–΄λ¨Έλ‹ˆμ™€ κ²°ν˜Όν–ˆλ‹€λŠ” 사싀을 λͺ¨λ¦…λ‹ˆλ‹€.
03:25
But the audience knows, and watching Oedipus gradually learn the truth
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ν•˜μ§€λ§Œ λ…μžλ“€μ€ μ•Œμ£ . μ˜€λ””μ΄ν‘ΈμŠ€ 왕이 κ·Έκ±Έ μ°¨μ°¨ μ•Œμ•„κ°€λ©΄μ„œ
03:29
provides the story with its agonizing climax.
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μ΄μ•ΌκΈ°λŠ” μ ˆμ •μœΌλ‘œ μΉ˜λ‹«κ²Œ λ©λ‹ˆλ‹€.
03:34
And finally, the cliffhanger.
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λ§ˆμ§€λ§‰μœΌλ‘œ λ…μžλ“€μ˜ 손에 땀을 μ₯κ²Œ ν•˜μ„Έμš”.
03:36
Beware of overusing this one.
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ν•˜μ§€λ§Œ λ„ˆλ¬΄ 자주 κ·ΈλŸ¬μ§€λŠ” λ§ˆμ„Έμš”.
03:38
Some consider it a cheap and easy trick, but it's hard to deny its effectiveness.
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μ–΄λ–€ μ΄λŠ” μ†μ‰¬μš΄ 방법이라고 μ—¬κΈ°μ§€λ§Œ νš¨κ³ΌλŠ” λΆ€μ •ν•  수 μ—†μ£ .
03:43
This is where a chapter, episode, volume, or season
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μ΄μ•ΌκΈ°μ˜ μ±•ν„°λ‚˜ μ—ν”Όμ†Œλ“œ, μ‹œμ¦Œ 등이
03:46
cuts off right before something crucial is revealed,
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μ€‘μš”ν•œ 사싀이 λ°ν˜€μ§€κΈ° 직전에 λλ‚˜κ±°λ‚˜
03:50
or in the midst of a dangerous situation with a slim chance of hope.
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싀낱같은 희망만 μžˆλŠ” μœ„ν—˜ν•œ μƒν™©μ—μ„œ λλ‚˜κ²Œ ν•˜μ„Έμš”.
03:55
The wait, whether moments or years,
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κΈΈλ“  μ§§λ“  κΈ°λ‹€λ¦¬λŠ” μ‹œκ°„μ΄
03:57
makes us imagine possibilities about what could happen next,
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λ‹€μŒμ— μ–΄λ–€ 일이 λ²Œμ–΄μ§ˆμ§€ μƒμƒν•˜κ²Œ ν•˜λ©΄μ„œ
04:01
building extra suspense.
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κΈ΄μž₯감을 μ‹¬ν™”μ‹œμΌœ μ£Όλ‹ˆκΉŒμš”.
04:04
The awful thing is almost always averted,
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거의 항상 μ–΄λ €μš΄ 일은 λ‹€ ν”Όν•˜λ©΄μ„œ
04:06
creating a sense of closure and emotional release.
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이야기가 λ§€λ“­μ§€μ–΄μ§€κ³  감정적 μ•ˆλ„λ₯Ό ν•˜μ£ .
04:10
But that doesn't stop us from worrying and wondering the next time
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ν•˜μ§€λ§Œ κ·Έλ ‡λ‹€κ³  λ“±μž₯인물이 λ‹€μ‹œ μœ„ν—˜μ— λΉ μ‘Œμ„ λ•Œ
04:14
the protagonists face near-certain disaster.
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κ±±μ •ν•˜λŠ” 마음이 λœν•΄μ§€μ§€λŠ” μ•ŠμŠ΅λ‹ˆλ‹€.
이 μ›Ήμ‚¬μ΄νŠΈ 정보

이 μ‚¬μ΄νŠΈλŠ” μ˜μ–΄ ν•™μŠ΅μ— μœ μš©ν•œ YouTube λ™μ˜μƒμ„ μ†Œκ°œν•©λ‹ˆλ‹€. μ „ 세계 졜고의 μ„ μƒλ‹˜λ“€μ΄ κ°€λ₯΄μΉ˜λŠ” μ˜μ–΄ μˆ˜μ—…μ„ 보게 될 κ²ƒμž…λ‹ˆλ‹€. 각 λ™μ˜μƒ νŽ˜μ΄μ§€μ— ν‘œμ‹œλ˜λŠ” μ˜μ–΄ μžλ§‰μ„ 더블 ν΄λ¦­ν•˜λ©΄ κ·Έκ³³μ—μ„œ λ™μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€. λΉ„λ””μ˜€ μž¬μƒμ— 맞좰 μžλ§‰μ΄ μŠ€ν¬λ‘€λ©λ‹ˆλ‹€. μ˜κ²¬μ΄λ‚˜ μš”μ²­μ΄ μžˆλŠ” 경우 이 문의 양식을 μ‚¬μš©ν•˜μ—¬ λ¬Έμ˜ν•˜μ‹­μ‹œμ˜€.

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