The Subtle Art of Writing Tension Without Violence

When you think of tension in fiction, you might picture dramatic fights, gunshots, or car chases. That kind of tension is easy to recognise, and it can certainly grab a reader’s attention. But there’s another kind of tension that’s quieter and, often, more powerful. It’s the kind that sits between two people in a conversation, or in a moment of silence when something is left unsaid.

Writing this kind of tension takes a bit more care, but it can turn an ordinary scene into something unforgettable.

Tension is basically a sense that something’s about to happen. It doesn’t need to be big.

It just needs to keep the reader slightly on edge. You can build this feeling without anyone raising their voice or throwing a punch. All it takes is a bit of control over your pacing, your characters’ emotions, and what information you choose to give (or hold back from) the reader.

One simple way to create tension is to show that something is wrong before anyone says it. Maybe a character hesitates before speaking. Maybe they answer a question, but not the one they were asked. Maybe they smile, but it doesn’t reach their eyes. These small details suggest there’s more going on beneath the surface. The reader starts to wonder, and that’s where the tension lives — in what’s not being said.

Dialogue is another powerful tool. Think about how people talk when they’re uncomfortable. They might dodge the topic, interrupt, speak too quickly, or stay quiet for too long. When you write a scene like this, try not to explain everything to the reader.

Let the words and actions speak for themselves. If two characters clearly want different things, and neither one is backing down, the tension will come through without needing to add drama.

Timing also matters. If a character needs to make a decision, don’t give them the answer too quickly. Let them think. Let them doubt. Let the moment stretch just a bit longer than usual. Even a pause in a sentence, written with intention, can make the reader feel that something’s about to shift.

You can also use setting to support the tension. A quiet kitchen at night. A public space where a personal argument is brewing.

A character alone in their car, staring at their phone but not calling. These situations are not dangerous in themselves, but they carry emotional weight. The key is to place your characters in situations where something matters, where they have something to lose, even if it’s only pride or comfort.

It’s important to trust your reader, too. You don’t have to point out every feeling. If you describe a character tapping their fingers, avoiding eye contact, or repeating themselves, your reader will pick up on their nerves. Over-explaining breaks the tension. It’s more effective to let the reader sense that something is off and figure it out on their own.

Another tip: don’t let the tension resolve too quickly. If two characters are arguing, resist the urge to wrap it up neatly. Let the tension hang for a while. Maybe one walks away. Maybe they change the subject. Maybe nothing gets resolved at all — and that’s okay. In real life, a lot of tension never gets a proper ending. That can be true in fiction too.

Even internal conflict can be full of tension. A character trying to hide a secret, fighting the urge to confess, or second-guessing their choices can make for a tense, engaging read. Let the reader feel the pull in both directions. Let them worry about what might happen if the truth comes out.

In fact, emotional tension is often more gripping than physical danger.

Readers connect with characters on a personal level. They care when someone’s heart is at risk, when a friendship is on the line, or when a relationship is about to break. These stakes might not make the news, but they matter deeply to the people involved — and that’s enough to build great tension.

To sum it up: you don’t need violence or loud scenes to create strong tension. Use silence, body language, pacing, and internal conflict. Let your characters’ emotions come through in what they say — and what they don’t say. Most importantly, let the reader feel that something is at stake, even if it’s quiet and subtle.

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