It's the Holiday Season, a time of joy... and gifts. So this year I decided to Give Away one of my writing secrets as a Christmas present to you all. If it's one thing I'm known for it's the fast-pace of my thrillers. How do I achieve this?
Yes, this is a writing tips post... so let's talk about Martial Arts.
When I teach Martial Arts I often use the strange and unpredictable to get the message across. One such trick had all my students dancing to a Waltz on the tatami. A widely-held opinion at the time was that I’d finally flipped, but no, there was madness in my method.
You see, everything in life has rhythm, even a fight. Sometimes it’s natural, like the tapping of rain on a window pane as a storm ramps up; on other occasions it is man-made – the clacking of train wheels on the metal rail joints or the swishing of car tyres on an asphalt street come easily to mind.
And so with your novel.
Different genres have different rhythms, so how do you find the right one for the genre you have chosen.
Let’s use my genre, Thrillers, as an example.
I have always heard that old adage that all thriller novels should be like a roller coaster ride. At first, your reaction, like mine, may be to agree. But we would both be wrong.
Times and writing styles are changing. Today, most thrillers start with a bang; something that grabs the reader’s attention and refuses to let go until they have finished the novel. Yet it was not always this way.
If you examine some of the thrillers of just twenty years ago you may notice they start with a slow burn, like a lit fuse that does not cause the explosive opening to the tale until several chapters have gone by. Thriller writer David Morrell is a master at this type of start; he builds tension and suspense then the BANG happens. That is the starting gun for the speed of the novel to increase and take the reader on a fast ride. This is still a perfectly valid way to write a thriller novel and it does conform to the analogy of a roller coaster where we sit in the car and are drawn slowly to a great height before being released into the waiting troughs and peaks. Although most rides also end on the flat, rolling to a gentle stop as your novel’s climax is passed and ‘normality’ returns.
If you have read any of my books (if you haven’t, what are you waiting for?) you will notice I like to start AND end with a bang. The ending may often be a cliffhanger of sorts, not necessarily implying there is to be a sequel, but trying to get you to discuss the denouement and draw your own conclusions.
The important bit, however is the middle.
This is the bit where you can bore your readers, so you need to keep an eye on the rhythm of your novel.
This is my secret weapon:
I call this my Pace Meter.
The one I use for all my books was generated in five minutes using a spreadsheet program, but if that is beyond you technical scope, then paper, pencil and a ruler are all you need. Red ink is optional, but it does add a little flair!
My Pace Meter has a row for every chapter in my book and a scale (column on the spreadsheet) of five. I’ve found this to be about right and it’s easy to decide what value you are going to insert in each one.
The example shows the real Pace Meter for the end of ‘2012’ and you can see how the amount of red grows as I near the end of the novel (that’s the dark bits, for the fifty shades people). This is the scale I use:
You will immediately notice two things: There are several ‘troughs’, where the pace slows, that occur just before it speeds up dramatically, and after a fast-paced bit, which may span several chapters, I deliberately slow things down.
Why do I do this? Surely a thriller needs to be fast-paced throughout?
Well the trick is in the VARIANCE of Pace, not the Pace itself. Readers would quickly become bored with a novel that maintains the same rhythm throughout.
Now, you might ask, am I monitoring this from the moment I pen the first word, and the answer is a resounding NO.
If you are going to use this method, and I’ll tell you how to apply it to your genre in a moment, forget about it until the Second Draft – never try to apply this to your First Draft.
Writing a First Draft should be EXCLUSIVELY about getting the tale down on paper. Nothing else. From then on we can start to polish that tale and make it easier to read, more interesting for our potential readers.
You see, the relationship between a writer and his reader is twofold – there’s entertainment and there’s engagement. Of course you want the experience of reading your novel to be enjoyable for your reader, because then they will talk about your book and maybe buy the next one. This is a passive involvement in your tale, however; if you do it right, your reader will place their eyeballs on page one, finish your book and then smile, sigh, cry or emote in some fashion, just before writing their glowing review of your work.
But we writers are a greedy bunch. We want to sequester the innocent holding our novel and drag them onto the page. We want them involved with the action, interested in the characters, worried about the outcome of events. In short, we want them emotionally engaged with our tale. Pacing is an important part of this.
Play with the Pace you create; let the reader relax then hit them with something that’ll knock their socks off. Change it up… and down… and you will have your reader there, on the page, with your protagonist, living the events as they happen.
Am I sure that readers react this way?
My answer, all modesty aside, is to reproduce part of a real review, a very insightful review, I might add, from someone who knows how to write a useful one (and NO, it wasn’t a Five-star review – I’ve included the snippet so you can see that readers do notice the use of this trick):
“Gates' writing style dictates your mood towards the story. At times he uses short, choppy sentences, making the action seem even more intense. Other times his writing is soothing. Yet again, the way that his sentences are put together brings out further compassion for the characters involved. Each section of the novel is written in a way to maximize impact, while still flowing seamlessly together. The novel also remains gripping throughout. Even the parts that are simply background information or descriptive narrative are never boring.”
[Taken from Jonel Boyko’s review of ‘the CULL – Bloodline’, cited here with permission. Check out Jonel’s website purejonel.blogspot.com and especially read her thoughts on book reviewing – this is a professional attitude!].
The comments also highlight some of the tricks I use to play with the Pace. Remember, you are looking to generate an emotional reaction in your reader, so to make their heart beat faster, shorter sentences, even ones that contain one or two words (one of my trademarks) work well as long as you don’t overuse them.
But this is just the start...
In the next post, part two of this one, I'll reveal many more secrets to managing the Pace within your novels, as well as show you how the Pace Meter can be made to work for your genre.
Merry Christmas everyone!
Have fun, spread the joy and above all READ A BOOK or three (preferably mine!)
With so many reviews
my LATEST THRILLER
is the IDEAL CHRISTMAS GIFT:
With so many reviews
my LATEST THRILLER
is the IDEAL CHRISTMAS GIFT:
(article adapted from 'How NOT to be an ASPIRING writer')
Eric @ www.ericjgates.com