The Fine Art of Pace
by Marilyn Henderson
One of the least often discussed techniques of fiction is
pace, probably because it's hard to define easily. When the
pace of a novel is good the reader usually attributes it to
something else: the characters were so real, the action was
exciting or the plot was really terrifying. True as these
may be, they would not evoke empathy, excitement or terror
in the reader if the author hadn't controlled the pace.
Pace is the tempo at which a scene moves. The pace varies
within a novel , depending on the emotion the author
wantsthe readers to experience at any given time.
Most novels open at their slowest pace so the author can
build dranatic tension and suspense from there on. Here, the
author lays the foundation for what's to come and baits the
hook to keep the reader turning the pages. Slow doesn't
mean stagnent. The main function of the opening scene is to
grab the reader's attention and compel him to read on. Once
in motion, suspense and dranatic tension must increase
steadily right up to the finale, which is the most powerful
scene of all and should leave the reader breathless.
By their very nature, action or explosive scenes move faster
than reflective or romantic ones, but words alone do not
create emotion in the reader unless you choose and use them
for that purpose. Like a composer controlling and altering
the tempo of his musical composition, the author controls
the speed and "feeling" of his work. He evokes the emotional
response that fits the mood he wants the reader to
experience.
The musician knows a lullaby creates a soothing, dreamy mood
so the child falls asleep. A love song creates an intimate,
tender feeling. A march rouses the listener to action, be it
foot- tapping or marching off to battle. Salsa music makes
the listener want to get up and dance.
As a writer, you create these reactions with words and the
length of sentences.
Basically, the trick boils down to using longer sentences
when you want the reader to consciously think about what
you're showing him and shorter ones when you want to propel
him through the action with the characters as if he's taking
part in it rather than reading it. You want him to react,
not think. You want him to feel what the character feels, to
"live" the experience.
In addition to the length of sentences, the words you use to
create them make a difference. There are hard words and
soft words, both in sound and meaning. You can choose for
either or both. Hard words are those that contain hard
consonants or create small explosions of breath when
pronounced: b-d-t-v- x-z, for example Soft letters let the
breath escape slowly or creat the sound in your throat or
mouth: j-l-m-r-,s to name a few.
Some words themselves create feeling: He drew her head back,
and he yanked her head back paint different pictures and
create different feelings about the action. Having a
character "flex" his hands hints at strenghth more than his
"stretching" his hands would.
The overall pace of a novel needs to escalate as the story
moves forward in order to keep the reader interested. It has
peaks and valleys along the way. Each peak must be higher
than the ones before it, and each valley not as deep. This
gives the reader less time to catch his breath and little or
no inclination to put the book down.
Starting at a slower pace gives you time to establish your
characters and the story problem. From there on, you begin
the climb toward the big finale, the ultimate peak of
suspense and dramatic tension the reader has been waiting
for.
A good way to learn more about pace is by paying special
attention to how published authors control pace in the
novels you enjoy. When a scene makes you bite your
fingernails or clutch the edge of the chair, insert a slip
of paper to mark the place so you can study the scene after
you finish the book. Analyze the scene this time, notice
things the writer did that caught you up in what was
happening as the pace sped up. How did the author stir your
emotion or evoke a physical response?
Mastery of the fine art of pace comes with experience.
Start getting it now with these few tricks and add and
refine your pacing skills as you grow in your writing
career.
Marilyn Henderson, 42-year novelist, coach and mss critic.
There's no substitute for experience. Let mine help you
reach your dream goal.
eBk: Writing A Novel That Sells, beyond the basics
Email: marilyn@mysterymentor.com
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