Q&A: Audience Disconnect

In general, is there anything writers should avoid when writing torture scenes?

You don’t want your audience disconnecting.

So, this is a term you’ll usually hear in marketing. Audience disconnect is when the reader tunes out. Not, literally changes the channel (it can be that too), but they’re no longer engaged with the material. At that point, as far as they’re concerned, your story’s over, they don’t care anymore.

This is a danger with any, significantly intense violence, but torture, particularly torture inflicted by characters the audience was previously sympathetic to, requires very careful management.

We’ve talked before about how the tension in torture is about the fear of what comes next. It’s not what the torturer has done to their victim, it’s about what they’re about to do. This is the fear that breaks the victim.

I don’t mean this as a pejorative statement, but most readers don’t have the stomach to read about your character inflicting pain on a defenseless victim for an extended period of time. The more detail you go into, the more discomfort you’ll inflict on your readers. Get them too uncomfortable, and they’re going to look for something they enjoy. Hint: it’s not going to be your story.

With that in mind, when one of your sympathetic characters is torturing someone, keep the sequences short. This doesn’t mean that the torture didn’t go on for longer, but you don’t need blow-by-blow documentation. Prose as a singular advantage of allowing you to cover events without having to go into detail. This is not fully possible in film or other media. If your character is working someone over for eight hours, you can do that in two one or paragraphs. Make sure you get the critical information in, but, after that, you can back off.

If your torturer is supposed to remain sympathetic you need the audience on board with their reasons and motivations to engage in torture. This is not easy to do well.

The kludgy solution is to make torture victim someone so repugnant that the audience won’t sympathize at all, or even cheer on your torturer. You’ve seen this. Rapists, pedophiles, human traffickers, lawyers. No, wait, that’s not right.

I don’t mean the lawyer joke, but that’s the problem. When you’re trying to implement this solution, it’s easy to lose track of your personal biases, and pick someone who your audience won’t completely, automatically, accept. This is especially true if you’re counting on elements of your world building to pick your victim.

You’ve probably run across this before with pieces from thirty or more years ago, where someone who’s mentally ill fell into that acceptable victim range. Read now, it’s horrifying, because the author expects you sign off on the torture and get on with your day.

Torture where your sympathetic character is the victim works a little differently. The same basic limitation applies, the more detail you go into, the more discomfort you inflict on your audience. Too much; they leave.

When your character is the victim, you need to be careful to track the consequences. This something that’s true of everything you write. Good stories come out of a flow from cause to effect, but when you’re selling a character who was tortured, the aftermath is at least as important as the event itself.

Torture changes everyone. This is as true in your writing as it is in the real world. Your audience will never look at your characters the same way again after a torture sequence. Plan accordingly.

Don’t use torture for simple shock value. It will do far too much to the way your audience perceives the work as a whole.

There are ways to use torture effectively in your writing, but, it needs to be managed carefully.


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