Watching the Speedometer - Pacing in Genre Fiction
by Susan Vaughan
Whether you're trying to
accomplish ten things at once at home or walking the dog or singing in a chorus
or writing a romance, you know that picking up the pace makes a difference. But
in writing, how do you do that? And should you?
First, what is pace? Pace
is the speed at which events unfold and characters are introduced and developed.
Pacing depends in part on the genre and the writer's individual preference. If
you're writing literary fiction or an epic science fiction or historical novel,
you can afford a leisurely pace. If you're writing a thriller, a mystery, an
adventure-driven book or a series or other contemporary romance, a brisk pace is
important. In a character-driven story, such as a romance, pace should not be at
the expense of character and romance development, however. And faster isn't
always better, but often it's more saleable. I've gathered pacing suggestions
from several sources, including suspense author Rebecca York and Writer's
Digest (January 2006) articles.
Not all of the following
suggestions for creating and maintaining a brisk pace will work in every story.
- Be sure your story is based on
strong conflicts. Conflict drives fiction. It creates and sustains tension, in
readers as well as characters. Crank up the tension even in small ways with
disasters and roadblocks.
- Start the story in the middle of a
dramatic scene.
- Avoid a lot of backstory in the
first chapter.
- Make sure the action of the novel
is tied to the emotions of the characters.
- Keep chapters and scenes
relatively short.
- Begin each scene as late into the
action and dialogue as possible and get out as fast as possible.
- End chapters with a
cliff-hanger—danger, a plot crisis, or an emotional confrontation.
- Add a time deadline, the ticking
clock.
- Raise the stakes as the story
progresses.
- Keep things moving, and that
includes the characters.
- Complicate the plot with new
information, missing information, a friend turning into an enemy, a wrong
assumption, a difficult choice, a lie, etc.
- Keep description brief. Choose one
or two telling details that pique the reader's imagination. Embed description in
character actions and impressions rather than in separate descriptive
paragraphs.
- Make your scenes work three or
more ways. Scenes must serve the plot as well as develop characters. For
example, not in separate scenes but all in the same scene, introduce a
character, plant foreshadowing information, and establish motivation.
- Have longer scenes (action and
dialogue in the story now) and shorter sequels (the emotional aftermath of a
scene). Within a scene, keep emotional reactions brief and selective.
- Employ dialogue. Readers rarely
skip dialogue, but they do skip long narrative passages.
- Rapid-fire dialogue of one or two
sentences, not long paragraphs moves faster than long speeches.
- Cut unnecessary words and phrases.
Eliminate empty adjectives and adverbs, redundancies and lengthy sentences.
There are times when you want descriptive or evocative sentences, but wordiness
for wordiness' sake bores readers and kills pacing.
- Omit detours from your story
focus. Remember goal, motivation, and conflict.
- Remember the rule of three. If you
have several examples or key points about a character, for instance, cut down to
the magic number of three.
- Show; don't tell in scenes. Use
sequels for telling.
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