After surely leaving you in suspense all week with the dramatic hook at the end of my last post, “Pacing Your Pages – Part I,” I bring you the thrilling conclusion of the joke:
A horse walks into a bar, and the bartender says…
“WHY THE LONG FACE?”
Right. To get back on topic, last time I introduced the first part of author Julie Cohen‘s workshop on Pacing. She’d explained how we’re the “Time Lords” over our readers’ experience with our novel—how engaged they are and how quickly they move through it. We’ve already been over analyzing our use of conflicts, functions, hooks, and variety, so moving onward today…
Keeping secrets is another tool for creating a page-turning novel. As Cohen said:
“Readers are nosy.”
As the writer, we can choose to either keep a secret from the reader or let them in on one that’s kept from a character. However you approach it, try to keep that secret for as long as you can, as wanting to find out what it is (or see the character do so) is what will prompt readers to keep reading. That being said, know when to let it go, even if it’s earlier than you’d want to if it means not distracting or overly teasing the reader. You want them intrigued, not annoyed.
And just when we’ve been talking about how to pick up the pace of your novel, just as important is slowing down. Moments warranting a slow-down are dramatic events, sudden happenings, and emotional high points that we might want to prolong for their significance and to allow the reader to process them. Strategies for expanding on reader time include adding section breaks, changing point-of-view, and leaving an incident for a chapter before returning to it later.
Then there’s the matter of speeding up. If you want to get things rolling a little faster, avoid coffee-drinking scenes and the like with characters just sitting around and gabbing if it’s not moving the story forward, along with description for its own sake. Establishing atmosphere and such can be better achieved through a few concise, well-selected descriptions than rambling on over every detail of everything appearing in a scene—and remember your R.U.E.: Resist the Urge to Explain! Other areas to cut include naturalistic but unneeded dialogue, bits that aren’t hooks at the beginning and end of scenes, and things necessary to real life but not fiction (think going to the bathroom or getting from one side of the room to the other).
Where making these cuts are concerned, Cohen says:
“If you have a sneaking suspicion something shouldn’t be in there, cut it.”
We new writers hear this advice at every turn. That’s because it’s essential, but it doesn’t have to be painful. Looking on the bright side of cutting things out, we can: 1) accept that we’ve learned something from writing it; and, 2) use it again somehow…perhaps in another story, as a “free read” on your website or blog as a means of drawing readership, or, quite possibly, it might even have to be stuck back in the story it originally came from! Cohen herself had this experience—she’d cut a scene out by her own choice, but when her editor later suggested that that part of the story was lacking a certain something, the bit that she’d cut was exactly the solution!
Finally, I’d mentioned her color-coding system before for determining the appearance and interplay of conflict throughout a manuscript. She likewise closed her session with a similar method for outlining other aspects of plot. Basically, however you’d like to slice and dice it, assign each plot element a color (e.g., interaction between hero and heroine, interaction between hero and his mother, etc.) and jot it on a Post-It note. Then go chapter by chapter and apply the Post-Its to a sheet of paper for each to see your story’s development. This isn’t so much for outlining in advance as it is a post-draft diagnostic tool.
* To see a photo of this strategy and read Cohen’s own description of it, see her blog post, “Post-It Plotting“:
What pacing strategies have worked for you? Would you give any of these from Part I or II a go?