Pacing your story
Pace is, as you no doubt know, the speed at which the novel moves.
It’s one of the many aspects of writing for which you need to find the correct balance. Too slow and it’ll bore
the reader into closing the book; too fast and frantic and it’ll unsettle them and won’t be a comfortable read.
Just as in real life, readers need breathers now and again.
The trick is to get this balance right, and I don’t think anybody can tell you where to find that balance. It’s
one of the decisions you as the writer must make. The pace you choose will depend, for example, on your style as a
For example, Elmore Leonard, who writes very fast-paced books, is quoted as saying, “I try to leave out the
parts that people skip”, and nobody can deny that his books are fast-paced.
As a contrast, consider any of the older novels, such as Jane Austen’s. Their pace is much slower.
I would suggest that you have your novels more quickly paced than Jane Austen’s however. People are more
impatient now, there are too many other things competing for their attention - they don’t have the time or interest
for leisurely pacing.
But whether you go as high-paced as Elmore Leonard or not, is the decision you must make. It depends on your own
tendencies, your genre, and your readership.
But no matter what the overall pace of your stories are, it must vary within the story.
Try to alternate fast-paced scenes with slower ones. That way your reader will enjoy the excitement of the
action, but will also get a rest, a chance to recuperate (if you’re doing your job right, your reader will have a
huge amount invested in the book and will be as exhausted at the end of the high-action scene as your characters,
and will need as much of a break!).
So what makes pace? What’s the accelerator, and what’s the brake?
Action is the accelerator. Whenever something’s happening, you have a brisk pace.
The brakes (or breaks!) are things like description, and rumination by characters.
Here’s a bit more detail.
To speed up pace:
- Have a lot of action, a lot of stuff happening (to whatever extent is appropriate for your novel).
- Avoid having much (if any at all) description, and make it terse and hard-working.
- Avoid rumination by the characters.
- Have the narration be close-up. If it was a film, the camera would be focussed on the action, on the people
- rather than having a panoramic vista. Tell the story the same way, e.g. the beads of sweat on the face rather
than, say, the streetscape. If you want to describe what’s happening to the streetscape, then do so through
detail - the overturned chairs, perhaps.
- Have everything from the viewpoint character’s POV, even if the rest of the story is in Third Person
Omniscient. (If this doesn’t make sense, it will after you read the Point of View section).
- Have short snappy sentences. A good rule is to do all possible to avoid commas, as commas facilitate longer
- Cut adverbs and adjectives to an absolute minimum. Use stronger nouns and verbs.
- Dialogue should be abrupt and to the point. You won’t have your characters saying hello or commenting on
the weather; they’ll be straight to the point. And that point should be high-stakes - advancing the plot.
To slow down pace the advice, not surprisingly, is pretty much the opposite of the above:
- You don’t need as much, or any action. This is the time for reflection and description. If you do have
action it can be gentle (e.g. making tea, journeying) rather than frantic.
- Have a wide viewpoint - like a camera panning back. Think of the film Lord Of The Rings - in
the journeys they took in between their fights, the camera often panned back to show them riding or walking in
- You can have longer sentences, even more flowery ones. (Just avoid self-indulgence!)
- You can use adverbs and adjectives, as much as a writer should ever use adverbs and adjectives (i.e.
- Dialogue can be more relaxed. It should always have a point to it - in novels characters don’t talk for the
sake of it. But the point can be wrapped in pleasantries, and the point can be about exposing character rather
than advancing the plot.
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