Jack M. Bickham, Scene & Structure, Chapter 8: Scene-Sequel Tricks to Control Pace
A disclaimer before we start: Bickham is writing about how to structure a very specific kind of book, which could be described as “action-oriented popular fiction”. His advice (as several commenters on earlier posts have noted) is not universally applicable.
Scenes are fast-reading, because they’re action-packed, full of conflict.
Sequels are slow-reading, because they’re thoughtful.
Therefore, you can control your novel’s pace by how you handle your scenes and sequels.
If your novel is too slow, consider ripping out a sequel between two scenes that follow on logically from each other (the disaster in one leads straight to the goal of the next), and just running them into one another.
Or replace the sequel with a brief transition.
Consider trimming or “boiling” (reducing down) the sequels you keep – make them less wordy, review less.
Look for more opportunities for big, extended scenes that you might have overlooked.
Raise the stakes. Make the characters more desperate, so that they escalate their argument. Look for other issues they can fight over.
Can you boost your disasters, make them bigger than they are?
Can you make your disasters require action in a shorter timeframe?
If your novel is too fast, with events falling over each other in a chaotic mess in which nobody stops to think and nothing makes sense:
Consider cutting a scene and summarising its action in a later sequel. Warning: this can flatten your book out unless you pick ones that are already at the milder and more minor end of the goals-and-conflicts spectrum. It’s the structure of the scene that makes it fast, not the content.
Trim or soften your scenes to shorten them. This may involve reducing the timeframe in which they take place.
Jump into the middle of the scene and trim out the first few back-and-forths of conflict.
Give your viewpoint character more internalizations during the scenes. They’ll cover little story time, but will slow the reading pace. (My note: this can be overdone, to the point where the reader has to page back to find out what the other person said, having forgotten by the time the protagonist finally responds six pages of internal reflection later.)
Give your protagonist more breathing time between scenes, in which to reflect. You may have to adjust your scene goals or disasters to make the timeline less urgent.
Look for sequels you’ve missed, and insert them; expand the ones you have. Go deeper into the emotion, consider more options. The lack of good options may even drive the character back into emotion again.
Have the character make a decision in the sequel that doesn’t lead to action right away.
Calm down your scenes: give the character a less clear goal, make the antagonist mildly helpful, have a subtle disaster that the character has to think about (in a sequel) before realising that it’s a disaster. This moves the disaster into the midst of the sequel.
Most [action-oriented] novels that fail, though, fail because they move too slowly, not too fast. Inexperienced writers dodge conflict, focus excessively on the interior life of the characters, underestimate how many scenes they need for the planned length and pad with sequels, avoid the hard work of writing scene conflict, or dwell too much on philosophy, ideas or character emotions. Or they overdescribe the action, slowing it to a crawl and choking it with internalizations.
#sceneandstructure