The opposite of a story with a lot of description is one in which the descriptions are sparse and the characters are on a roller coaster.
I know this is only suitable for short stories, but I know that in novels we can have chapters like this too, especially at the end, when we don’t need the descriptions.
How do you manage the pace in your books?
And why do most readers think that after a stormy beginning, the middle is always the slowest and they rush to get to the end.
Or maybe it shouldn’t be that way?
This is a great question! (And a big one.)
Within the space allowed here, I think the biggest recommendation I can make is to be intentional. The fact that you’re asking this question shows that you’re already on the right track!
Don’t just accidentally end up with a slow pace here and a slow pace there. Instead, intentionally decide “I want to slow the reader down and make them sit in this here,” and “I want my reader to feel the emotionalism here so don’t let them stop.”
Ironically, when you want to achieve maximum suspense, slow the pace. When the stakes are a little lighter, pick up your pace. This is usually the opposite of most writers’ instincts.
There are various theories and schematics about how to manage pace in a novel-length work, similar to how we understand story structure. I’m skeptical of anything that’s too formulaic in that regard though.
As far as ballpark advice, just be intentional about pace as a tool. In each scene, decide: how do I want to make the reader feel, and what pace will be most effective at that?
Wow, this really has me thinking. Great point to not have the middle be the slowest part. In the Novel Matrix structure, the middle is the Icarus moment. I actually may have too many things happening there. The tragic moment was the rock bottom and now they are about to catch the guy followed by the news of losing their entire project. Now sure if these characters know whether they are going up down on the coaster.
