Graphing the Pace
In other words the pace should not look like this:
It should look like this:
Although the ante is forever ramping up, you should allow for diminuendos in the buildup to your final climax.
What this means in practical terms, is that your material should contain contrasts:
Short vs. long scenes
Information vs. mood scenes
Interior vs. exterior
Dialogue vs. non-dialogue
Dramatic vs. comic relief
Day vs. night
Slow vs. fast tempo scenes
Present vs. flashbacks
Of course, this can’t be a mechanical process – contrast for contrast’s sake in a “let’s take turns” approach. These contrasts have to fit the demands of the overall structure of your story – the turning points, pinches, midpoint, and so on. As nebulous as it is to say this, the timing and placement of these contrasts are best governed by feeling, or instinct. If you’ve written a highly tense scene that has brought audiences to breaking point, you might consider following it up with a calmer or lighter scene, sooner rather than later – comic relief following a dramatic scene, grants us, well, comic relief.
Another great tip for pacing within scenes, or scene sequences, is the old adage, enter late, and leave early. Although this is not possible for all scenes, the late-in early-out approach is particularly useful in the third act of your story when the pace culminates in the climactic scene.
Pacing refers to the overall flow and rhythm of your narrative incidents. Handled well, it keeps the audience and readers hooked into the story through a series of contrasts in scene length, tempo, dialogue, interior/exterior, drama/action/comic relief, day/night, and time frame.
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