The most important thing about your first novel is finishing it. The only way to learn to write a book, and that *you* are capable of writing a book, is to actually do the job, from beginning through the middle, to the end. Short story writing can teach you all kinds of useful skills for crafting the elements of fiction: character, plot, setting, theme. However, novels have their own special set of considerations.
One of the keys to a great novel is pace. In a short story, pace is often less critical because the focus of the work is clear and direct. The story pursues a single goal, and does so whole-heartedly, without digressions, diversions or dithering. In a novel, you have much more latitude for these things. Especially with a first novel (and even more so with a book of speculative fiction), there is a tendency to be drawn toward two poles: exploring everything possible about the world, the characters, the situation, OR making the plot snap along like the proverbial roller-coaster.
This is the first of a series of articles about how to manage the pace of your novel so that it moves at an appropriate speed for your readership and your material.
Wait a minute–an “appropriate speed”? Isn’t pace all about speed? Not necessarily. Pace is about revealing your plot and characters in the most engaging way for your readers. Sometimes, that will mean moving quickly–bounding from one plot turn to the next to keep them on the edge of their seats. But sometimes it will also mean drawing them so tightly into a moment of character revelation that they are on the verge of tears, fully experiencing a single instant in the fictional realm.
I describe these two poles as movement (the rate at which the plot unfolds for the reader), and intensity (the impact of that plot on the reader). A book which is entirely focused on movement may be described as fast-paced, but is likely to leave the reader unmoved–yes, lots of things happened, but the reader didn’t get involved in the characters and their problems enough to care. A book which is entirely focused on intensity may devolve into chapters of navel-gazing and inner monologue, but leave the reader with the sense that nothing is happening and that they are wasting their time.
The balance between movement and intensity is partially determined by the genre in which you write. Thrillers are known for their fast movement. Romances and literary fiction often lean toward greater intensity–how the character feels or reacts to what happens is as important (or more so) than the actual events. This is why the art of pacing is individual to each book. Even within these genres, individual authors or plots may emphasize a different ratio. The key for your work is to be able to consider how your book will benefit from careful pace-management.
Over the next segments of this series, I will turn first to general principles of creating movement, then of intensity, then two lists of ways to boost either one to craft the best book you can. Next up: the basic building blocks of pace!