A Clipping Good Pace

When it comes to the pacing of your fiction, do you belong to the tortoise camp or the hare’s?

Are you fast from the first word, moving the story crisply from scene to scene, until you blaze through the finale at warp speed?

Or, are you a leisured writer, dwelling lovingly over details, waxing poetic in descriptive passages, lingering in pools of emotion as you wend your way from start to conclusion?

Ideally, of course, a good read serves up a balanced pace. Action is quick, but there are points in the story where things should slow down. A skilled writer controls pacing to aid her readers’ comprehension and enjoyment. Although the modern trend leans toward a generally faster pace than in the past, you don’t want the story to be a blur in your readers’ minds.

Keep in mind that anything–if overused or repeated too much–becomes monotonous and predictable.

Here’s a list of various techniques and their general effect on pacing:

1. Scenes = fast

2. Introspection = slow

3. Change of Viewpoint = slow

4. Description = slow

5. Explanations = slow

6. Dramatic Dialogue = fast

7. Aimless Chatter = slow

8. Background Information = slow

9. Narrative = fast

10. Conflict = fast

11. Hooks = fast

12. Characters in Agreement = slow

13. Cliffhangers = fast

14. Characters Waiting for Something to Happen = slow

15. Passive Characters = slow

16. Dramatic Action = fast

17. Plot Twists = fast

18. Villain Taking the Upper Hand = fast

19. Characters Talking Instead of Doing = slow

20. Dialogue Clogged by Stage Action and Internalizations = slow

As you think about this list, you may perceive that what’s designated as “slow” or “fast” connects to how exciting the technique is going to be.

Well, of course. There’s speed plus intensity to consider. Each affects reader perception of what’s taking place on the page.

Techniques that are fast can either create excitement or confusion, depending on how they’re handled.

Techniques that are slow can either create anticipation or boredom.

Combine and manage them wisely.

Plotting Sequel: Decisions, Decisions

The trouble with letting the story action pause while your character processes his or her problem is that the story has P-A-U-S-E-D.

It’s not advancing.

How do you get the plot going again? By having your protagonist reach a decision.

The weighing of options has to reach an end. None of the choices should look attractive or easy, but the character must choose something to do next.

That decision should connect to the story goal, the overall objective. The decision should be a specific choice of the next course of action. It should acknowledge the motivation that lies behind it. It should point out the risks to the reader and share why the protagonist is going to take that risk anyway.

Then the reader can think, Go for it! I’m right there with you!

Reaching a decision is a critical turning point in the sequel because it signals to readers that the interlude is coming to an end. Action is about to follow.

This signal launches a feeling of anticipation or expectation in the reader. A plan has been laid. We’ve looked at the risks and dangers. We’re going to try to circumvent them this way.

Okay, the reader thinks, so what’s going to go wrong? How can we squeak past the danger point? What if we’re caught? I have to keep reading. I can’t put this book down now.

Reaching a decision is all about the protagonist forming a new goal for the scene that will come next.

You are, in effect, positioning the character for the conflict to come and positioning the reader to eagerly await it.