Here, read this lesson, then run out and–

The problem with teaching pacing is that I’m not absolutely sure it can be taught.  I am, however, contrary to a rejection I once got, absolutely sure it can be learned.

What do I mean by that?  I mean that pacing that is right for one type of book will be absolutely wrong for another, and that if you, for instance, pace a fluffy fantasy like a thriller, most of the people will be puzzled, if not outright upset.  (For info see my second published book, All Night Awake.)

So, first thing you do, just like when making rabbit soup, catch your rabbit.  In this case, figure out what pacing is appropriate for your story.

If you are like me and you write many different things, beware that pacing “sticks.”  That exquisitely paced – slow and sultry – historical you finished will totally infect your science fiction adventure.  So take a break in between and read thing with the pacing you wish.

Other minor things on pacing, before we start going instance by instance and I give you my – meager – techniques in coming weeks.  (And I’m sorry if this introductory post is scattered.  I’m feverish again.  Yeah, yeah, doctor tomorrow.)

1 – Sometimes your pacing is right but your technique is wrong.  Make sure your technique fits the action.  Suppose you open the book with your character getting caught in the middle of a firefight.  Right out the gate, he’s getting shot at, running…  Why does everyone tell you it’s way too slow.

a) could be that you’re describing everything in exact detail.  People don’t do that when caught in action.  They see some relevant (or sometimes irrelevant) or telling details, then next action, then.

b) Your sentences are too long.  I know this sound silly, but short, gun-burst sentences work best to describe fast action (and the reverse, of course.)

c) You have too much passive voice.  Unlike a lot of authors, I think there’ a time and place for your passive voice.  That is not however, fast scenes.

2- But my scene is supposed to be slow, and people tell me it’s not interesting.

a) interesting is not the same as fast.  To catch someone into, say an historical that’s supposed to be slow but riveting, open with the worst thing you can think of.  Describe it graphically.

b) alternately describe something so startling that people want more.

c) use five senses to draw us into the scene.
3 – Doesn’t pacing means I have to have lots of interesting things happen, one on top of the other?

a) not really.  Actually it’s a good idea to layer action scene, then character scene, then action scene, then…  As long as you ratchet the problem upward it helps pacing.

b) interesting is not the same as action.  And interesting is not the same as “in peril” – think of even action movies.  They allow you to relax a little as your characters drive away from the shoot out, before the siren comes on behind them.  Like that.  If you’re always on the edge of your seat, there’s nowhere to go.

c) remember pacing can apply to any of the “obligatory scenes” or reader cookies that readers expect in a genre.  Romances expect certain things at certain times (and normally it’s not a man with a gun.)  Mysteries have timing for first murder, second murder, etc. If you’re in a mystery and no one has died by page fifty, you might have wrong timing.

Okay, more substantial case by case post next week when I’ll hopefully be better.  Also, as I get better I’ll read your posts from last week.  Meanwhile, because pacing is a highly individual thing, send questions to madgeniusworkshops@gmail.com