In writing we are inundated with talk of conflict. Having it in our plot is absolutely critical. It can be internal or external and without it we have nothing. It guarantees a page-turner, puts our hero and heroine at odds or in danger and makes the HEA all the more satisfying.

Alas, I can hear the groans already but this is not just another lecture on stirring up trouble for your characters. No, my friends, this is about using conflict to crank up the tension – the sexual tension.

First I have to say I highly recommend taking Mary Buckham’s wonderful e-course “Sex Between the Pages” in which I have found this AHA! moment. I take no credit except for the fact I paid my money and signed up. The rest of this is all Mary. *g* (Aside: Mary offers other classes too. Synopsis anyone?!)

For the majority of romance writing, sex is a crucial part of the story but we all know there’s more to sex than…well….sex. It’s the anticipation, the build-up, the sexual tension. But how do we create that tension? Is it by having those “jet pools of warmth” showing up from a casual handshake? I believe the Captain would say “GOOD GOD NO!” And she would be right.

We crank up the tension by cranking up the conflict. The characters need to be conflicted about their reactions and responses to each other. Notice the change from the word conflict to conflicted. It can be that simple. If there is the slightest reason, whether real or perceived in the mind of your heroine, for her NOT to be attracted to the hero, then you have officially created conflict. And in turn, created sexual tension.

First, I’ll give you something I’ve come up with.

Kid walked into the room with the swagger of a rock star. His long blonde
hair reflected the light off the neon sign over the bar and his eyes remained
hidden behind dark shades. A familiar itch started in the pit of Amy’s
stomach and had her crossing the room before she realized she was moving.

Pressing her breasts against Kid’s back at the same moment he
lifted a beer bottle to his lips, Amy whispered in his ear, “I’ve got something
much better than a cold bottle you can put those lips against.”

Kid
pulled her around to trap her between the hard bar and his already hard
arousal. “Your place or mine?”

Attraction? Yes. Sex? Obviously. Tension? Nope. There’s no conflict here. No reason given for either of these characters to fight their attraction. And though this might work in an erotica, there is nothing other than finding out how good these two are at sex for the reader to turn the page.

Now, I’ll give you an example of sexual tension as created by a woman I consider a master of the art, Elizabeth Lowell.

This man’s deep stillness brought out in Elyssa a reckless desire to pry beneath
his composed surface to the heat and seething life of him.

But Life
had taught Elyssa that recklessness could be very costly.

Warily
Elyssa measured the cool reserve in Hunter’s eyes. A deeply feminine part
of her wondered where he had been and what had happened to take from his soul
all but ice and distance … and an echo of pain that cut her like a
razor.

Why should I care about this man’s past? Elyssa asked
herself fiercely. He evaded whichever Culpepper was on guard out in the
pass, and that’s more than Mac with all his hunting skills managed to
do.

That’s all I should care about. Hunter’s
skills.

Yet it wasn’t all Elyssa was concerned about, and she was
too intelligent not to know it. This man drew her as no other ever
had.
(Lowell, Autumn Lover, p 4)

Attraction? Yes. Sex? Maybe. Tension? Hell yeah. This is a woman alone in the wild west trying to keep her ranch and herself from being devoured by the evil Culpeppers. She’s seen enough to be wary of any man and this is a complete stranger who has shown up out of no where, strode silently out of the shadows and offered his protection. She has no reason to trust him, every reason to be afraid of him, yet she wants to crawl inside of him. Tell me you could resist turning the page at this point?

It’s important to note the perceived obstacle or conflict does not have to have anything to do with the overall conflict of the story. It can be as simple as a past negative experience with a jock in HS leaving a heroine wary of large, athletically built men. Which means when she meets and is instantly attracted to a very athletic, virile man, she fights the attraction telling herself she couldn’t possibly have anything to do with him.

Now, am I the only one who didn’t know all this? Are you a master at cranking up the sexual tension and your work is brimming with the stuff? Or are you now realizing what you’ve been missing and running off to add little bits of conflict to all those highly charged run-in with your hero and heroine? Also, what author(s) do you think is a master at creating the kind of sexual tension that has smoke pouring off the pages?