#writing pace

There are a number of literary techniques and practices that have some overlap with foreshadowing. Here are a few to keep in mind.

Chekhov’s gun: is a writing best practice often confused with foreshadowing. Russian playwright Anton Chekhov famously said, “If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off.” The refers to the idea that every element in a story should contribute to the whole, and that every detail that “sets up” an outcome should “pay off” in some way. In the example of Chekhov’s gun, that could mean one character shooting another, but an author may also choose to defy that expectation—say, by filling the gun with blanks.

Red herring: Unlike foreshadowing, which is designed to hint at something that will happen in your story, a red herring is a literary device that is designed to mislead the reader, distracting them from the eventual twist. Red herrings are often used in mystery novels, with characters suspected of a crime turning out innocent. (Learn more about red herrings here.)

Pacing is basically the speed of which the action in your story unfolds. Pacing keeps the reader hooked, helps to regulate the flow of the story and sets the tone of the entire book. So how can we write it?

Genre & Tone

Really in any novel the reader has an expectation that the book will be fast paced or slow. Readers will go into an action novel, expecting it to be fast paced. Readers will pick up a romance novel and expect it to follow a steadying climb of pace as the story goes on.

Pace is a good indicator of how the story is going to feel. If you want your readers to feel as if they are in a calm environment, you don't place the events immediately one after the other. If you want your readers to feel some adrenaline, you keep the curveball coming.

How to utilise Pacing successfully

1. Give your readers time to recover

When readers are reading a fast-paced novel, they need a breather and so do you and your characters. By peppering in a few moments between peaks of fast pace, you are allowing your readers to swallow down what they've just read and allows you to explore it further. Consider this like the bottle of water after a run. You need it or you'll collapse.

2. Track Events Carefully

When planning your book's outline or at least having a vague idea of it, you have a fair idea when things are going to happen. Usually books have an arc where pace gets faster and faster until you get to the climax where it generally slows down. If you're writing a larger book, you have to space out your pacing properly or else your reader will fall into a valley of boredom or find the book a bumpy ride. The climax should have the fastest pace - even if you start off at a high pace. Your story always should peak at the climax.

3. Localising Pace

If you want to put your reader into a certain state of mind throughout a chapter or even a paragraph, pay close attention to your sentence bulk. Long flowy sentences but the reader at ease, slowing the pace for them. Short, jabby sentences speed things up. An argument or a scene with action should be quick. A stroll through a meadow on a lazy summer's noon should be slow.

4. Information is Key

When writing pace in your overall novel, the reader should be given more information as you go through the story. You begin any story estentially with the who, what, where of everything. But peppering in all the whys, you broaden the story and keep the reader feeling more able to keep up with everything. For example, in any murder mystery your reader is given the body. As the story goes on, your reader should be given more and more information such as the weapon, the where until you get to the climax.

5. Off/On Stage

Pacing. We love to hate this element in our novels, as it’s something that can be as easy or as hard to control as we make it. Here’s my little tip for today: The amount of detail in your story is crucial to controlling pace.

I’ll say this now: Things will always be happening in your book (I hope, at least). There will always be action or conversation of some sort, or your readers won’t be interested. This isn’t really what we want to change when it comes to pacing.

How much does your character care about the exact shade of blue on that wall when they’re fighting what is possibly the biggest battle of their life? What about when they’ve just finished an exam, and still have to wait about an hour before they can leave? The amount of things your character notices is directly affected by what’s happening around them, and this is how we control pace.

If something on the slower side is happening, allow your characters and your readers to notice the small things. Let them live in this moment of peace before your throw the Next Big Thing at them.

Inversely, you want your readers on the edge of their seats when something action-y is happening. If it’s important enough, they should be sensing what the character is sensing, and that’s nothing but the heat of the moment. They’re going to be living that fight second by second and in that time, you’re not going to need to many details. You’re going to need to know what’s happening and if there are any injuries; that’s about it.

You can also take this time to sneak in something your character will miss in the moment but will be important to the plot later.

Protect your writing process. Every single writer will tell you how important it is to stay organized and devoted to your daily work—this will help you get through the rough patches you’re likely to encounter. It can be extremely difficult to get published, and rejection is the norm for most writers. Coping with it will require a balance. You’ll need humility to accept that your work can improve, but you’ll also need a blazing confidence that will allow your creative inspiration to continue flowing.

Find your space. Some authors like to carve out intensely personal space. Authors need to write, no matter the distractions: Jane Austen wrote in a busy family parlor, E.B. White wrote in his crowded living room. Ernest Hemingway and Kurt Vonnegu all worked in the early mornings to limit distractions. Maya Angelou famously rented hotel rooms to get away from daily nuisances. Try to find a space that works for you. It should be free of distractions (a definition that will depend upon your tolerance level) and provide a source of inspiration to you.

Make your writing flow. Some authors are sticklers for the placement of apostrophes, others swear by modern, free-form structure. Regardless of which you align with, your writing should still flow well and be easy to understand. Cut out any superfluous adjectives and adverbs (a likely result of an overly enthusiastic dive into the thesaurus in search of just the right word) and try to eliminate passive voice in favor of active voice. Make your writing more active by looking carefully at your word choices, getting rid of generic words and clichés, and choosing concise phrasing.

Experiment with narrative point of view. Point of view is the “eye” through which you’re telling a story. Most novels are written in one of two styles: First person, which involves a narrator who tells their story. (“I ran toward the gate.”) Or third person, which is the author telling a story about a character. (“He woke up that morning.”) While first person narration can provide intimacy, it is also limited by the perceptive abilities of the character. This can be useful when creating an unreliable narrator or when creating red herrings. Third person narration is a more flexible choice. It allows you to switch between characters’ points of view. You can even zoom in and out from complete omniscience (a narrative voice that has access to all information in the novel) to what’s called a limited or “close” third point of view (a narrative that adheres to a single character).

Believe there’s no such thing as writer’s block. Writer’s block is often an overwhelming feeling of being stuck. You’ve written part of a novel, maybe you’ve even finished an outline, but you just can’t move forward. Every time you sit down at your desk, your mind goes blank, or you can’t decide what to do next. This experience is common among writers, and there are ample tools for working through it. Take a break from the work, do something else for a while, and return a few days (or week, or months) later to view your draft with a fresh eye. The most important rule is to keep moving, whatever that means for you.

Focus on character development. Character and event are inseparable—a person is defined by the series of events that happen to them. In a novel, a character interacts with events over time. Your job as a writer is to learn about your main character by observing how they interact with the world around them. Characters—like real people—have hobbies, pets, histories, ruminations, and obsessions. They have a backstory. It’s essential to whatever you’re writing that you understand these aspects of your character so that you are equipped to understand how they may react under the pressures of events they encounter. Ideally, your characters will be distinct enough to be memorable, but for all those minor characters who are emerging in your novel, it’s good practice to provide hints that will help the reader distinguish who each character is, so they can remember their various story arcs.

Find balance in the types of sentences you use. In all writing, there are two types of narration: scene and dramatic narration. In scene, you show the characters performing an action or having a conversation. This tends to speed up the pacing. In dramatic narration, you simply tell the reader what the characters did, but the event remains “offstage.” This type of narration can slow the story down. To keep pacing from feeling monotonous, it’s a good idea to vary the two modes of writing. For some writers, that means breaking up long flowing sentences with sentence fragments on a paragraph-to-paragraph level, while others switch tones between chapters.

Get your story down on paper. Focus on getting through your first draft from start to finish, and remember that you can always go back and change things later. If novel-writing feels too intimidating, try writing a short story instead. (Though short stories can be deceivingly more difficult to write than novels since they require a concise and extremely economical narrative containing all the elements of a novel—in a fraction of the space.) You can begin with the first chapter, or you can use an outline—you can choose to approach your story in any order that feels right for you. You will inevitably make changes to your original plan along the way, and this is a good thing. If tracking your word count feels empowering, set up daily goals. If you prefer to let your words of prose flow in a self-determined fashion, be kind to yourself and respect whatever output comes.

What Is Foreshadowing?

Foreshadowing is a literary device used to give an indication or hint of what is to come later in the story. Foreshadowing is useful for creating suspense, a feeling of unease, a sense of curiosity, or a mark that things may not be as they seem.

In the definition of foreshadowing, the word “hint” is key. Foreshadowing does not necessarily mean explicitly revealing what will happen later in your story. In fact, when it is used effectively, many readers may not even realize the significance of an author’s foreshadowing until the end of the story.

For example, in a story where the main character keeps seeing ghosts, there can be multiple events that foreshadow, or give hints, that the character is herself a ghost. The reader may not understand those foreshadowing examples until the very end when this major plot twist is revealed.

While foreshadowing is a common tool in mystery novels, which rely on building suspense, it is not exclusive to that genre. In fact, foreshadowing can be used successfully in any type of book.

Why Is Foreshadowing Important?

Foreshadowing is a key tool for writers to build dramatic tension and suspense throughout their stories. Foreshadowing makes your reader wonder what will happen next, and keeps them reading to find out.

Foreshadowing is also a great tool to prepare your reader emotionally for big reveals. For instance, if an abrupt revelation or twist ending is not adequately “set up” via foreshadowing, your reader may come away from your story feeling annoyed, disappointed, or confused, rather than surprised and satisfied.

2 Types of Foreshadowing

There are two basic types of foreshadowing:

Direct foreshadowing (or overt foreshadowing): In this type of foreshadowing, the story openly suggests an impending problem, event, or twist. Direct foreshadowing is usually accomplished through the characters’ dialogue, the narrator’s comments, a prophecy, or even a prologue. For instance, in Macbeth, Shakespeare uses direct foreshadowing when the witches predict that Macbeth will become Thane of Cawdor and, later, king.

Indirect foreshadowing (or covert foreshadowing): In this type of foreshadowing, the story hints at an outcome by leaving subtle clues throughout the story. With indirect foreshadowing, readers likely won’t realize the meaning of the clues until they witness the foreshadowed event. A great example of indirect foreshadowing occurs in The Empire Strikes Back: In a mysterious vision, Luke Skywalker sees that the face behind Darth Vader’s mask is his own. Later, the audience understands the significance of this foreshadowing when it is revealed that Vader is, in fact, Luke’s father.

Here are all 17 steps of the hero’s journey, as outlined by Campbell:

DEPARTURE

1. The call to adventure: Something, or someone, interrupts the hero’s familiar life to present a problem, threat, or opportunity. 2. Refusal of the call: Unwilling to step out of their comfort zone or face their fear, the hero initially hesitates to embark on this journey. 3. Supernatural aid: A mentor figure gives the hero the tools and inspiration they need to accept the call to adventure. 4. Crossing the threshold: The hero embarks on their quest. 5. Belly of the whale: The hero crosses the point of no return, and encounters their first major obstacle.

INITIATION

6. The road of trials: The hero must go through a series of tests or ordeals to begin his transformation. Often, the hero fails at least one of these tests. 7. The meeting with the goddess: The hero meets one or more allies, who pick him up and help him continue his journey. 8. Woman as temptress: The hero is tempted to abandon or stray from his quest. Traditionally, this temptation is a love interest, but it can manifest itself in other forms as well, including fame or wealth. 9. Atonement with the father: The hero confronts the reason for his journey, facing his doubts and fears and the powers that rule his life. This is a major turning point in the story: every prior step has brought the hero here, and every step forward stems from this moment. 10. Apotheosis: As a result of this confrontation, the hero gains a profound understanding of their purpose or skill. Armed with this new ability, the hero prepares for the most difficult part of the adventure. 11. The ultimate boon: The hero achieves the goal he set out to accomplish, fulfilling the call that inspired his journey in the first place.

RETURN

12. Refusal of the return: If the hero’s journey has been victorious, he may be reluctant to return to the ordinary world of his prior life. 13. The magic flight: The hero must escape with the object of his quest, evading those who would reclaim it. 14. Rescue from without: Mirroring the meeting with the goddess, the hero receives help from a guide or rescuer in order to make it home. 15. The crossing of the return threshold: The hero makes a successful return to the ordinary world. 16. Master of two worlds: We see the hero achieve a balance between who he was before his journey and who he is now. Often, this means balancing the material world with the spiritual enlightenment he’s gained. 17. Freedom to live: We leave the hero at peace with his life.

What Is Seven-Point Story Structure?

The seven-point story structure is a list of sequential events within a story. Writers use these seven plot points as a guide to help map out their story. From beginning to middle to end, there are certain milestones every story should reach to propel the plot forward, like the opening hook, turning points, and the climax. The seven-point structure outlines each important element to guide a writer while they’re crafting a story.

How to Write a Story Using Seven-Point Structure

1. Hook.

The hook is the first scene of act one. This is your starting point. In this first section, you establish the setting and introduce your main character. In every story, the main character goes through a transformation. In this first section, the writer must give readers a solid feeling of who the main character is and what their life is like before they embark on their mission.

2. Plot Point 1.

After you’ve introduced readers to the people and places of your story, next comes the inciting incident. This is the event that fuels the plot and sets the protagonist off on their journey, forcing them out of their comfortable existence. There must be a strong reason that compels them to reluctantly accept this challenge. It’s a point of no return and roughly where the traditional second act begins.

3. Pinch Point 1.

As act two gets underway, your character sets out on their journey and reacts to their new surroundings and challenges. External conflicts begin to apply pressure on them. This is where antagonists, or bad guys, are often introduced.

4. Midpoint.

About halfway through a story, there needs to be a major event. As a result, the protagonist sets their eyes on the prize and pivots their strategy from reaction to action. As the story begins its upward climb to the climax, the intensity and tension kick into high gear.

5. Pinch Point 2.

As the protagonist moves full steam ahead, something goes wrong. The protagonist hits an obstacle. It’s a turning point and creates suspense by making the reader question whether the protagonist will be victorious at the end. The protagonist doubts their own abilities as they gather the energy to face the enemy and complete the journey. As this section builds towards the big climactic showdown, the protagonist gains a new perspective, and they find the confidence to persevere as the end of a traditional act two draws to a close.

6. Plot Point 2.

It’s here that the story approaches the climax. This is where the protagonist finally meets their nemesis face to face. This is the peak of a story’s dramatic and emotional intensity and must provide a big payoff for readers.

7. Resolution.

Also known as the denouement, this final scene (the conclusion of act three in a traditional structure) is where the protagonist returns to some semblance of normalcy or accepts their new normal. By the end of this act, character arcs conclude and the protagonist has undergone a transformation that leaves them in the opposite state they were in when the reader first met them.

Writing can be difficult. It requires a lot of effort, time and energy, sometimes leaves you quite badly drained as well. This may leave you unmotivated to write, or you use words that tire out your readers.

Don't think this is an act! I say this from experience, I do this dumb thing too and gosh do I get annoyed by this.

One thing to remember, readers sometimes don't want wordy sentences in stories, think about it, you are reading an intense fight scene do you want a 20 words sentence? NO!

Well here are some tips to help you refine your writing in an effective way so you don't tire out your reader. Articulate clear precision as well.

1. Embrace brevity. Extra words, long words, unnecessary phrases, and contrived chapters may boost word count, but they won’t improve your writing. A writer is more effective when they make their point efficiently without resorting to unnecessary words, redundant words, and redundant phrases. Aim to communicate your point with the fewest words possible, and if your prose feels too spartan, you can always beef it up later.

2. Use words you fully understand. Many writers, especially new ones do this, I still do it time to time but the thing is we don't need it all the time. Finding big words that may sound sophisticated but that may not be precise synonyms for the simple words they’re replacing. Smart readers will spot these false synonyms. A single word can upend an entire sentence if used incorrectly. So while there’s nothing wrong with using advanced vocabulary, always prioritize clarity and precision.

3. Use technical terms sparingly. Know your audience. If you’re writing for a trade journal or sending business letters (such as cover letters for a job), it may be appropriate to use technical jargon from certain industries. But if you’re writing for a general audience, be prudent about using technical terms. Too many of them—particularly too many unexplained terms—will negatively impact the readability of your work and cause audiences to lose interest. Take note of what the most successful writers do. New York Times bestselling authors like Stephen King and Dan Brown aren’t forcing their readers to wade through a river of jargon to get to the plot. They tell stories in language that feels comfortable to most readers, and their readers show them loyalty in return.

4.Write in the active voice. In a sentence written in the active voice, the subject performs an action. “He caught the ball” is active. “The ball was caught by him” conveys the same information using passive voice, and it’s a less appealing sentence construction. Sometimes you need to write a passive sentence to accurately describe a situation, but generally, the active voice is more direct. Choose active verbs when given the chance.

5.Use qualifiers and intensifiers judiciously. A qualifier is a word or phrase that limits the reach of a statement. For instance, you could call a person the “best athlete in the world” or you could call them the “best American athlete in the world.” This sort of precision can be a hallmark of good writing, but the overuse of qualifiers can weigh down sentences with prepositions and weak language. Intensifiers can produce strong statements (such as the word “extremely” in the phrase “the weather was extremely unpleasant”), but a gratuitous intensifier can leave you with a long sentence that is needlessly wordy. If your first draft is heavy on qualifiers and intensifiers, be ready for a revision process that starts with weeding out needless prepositional phrases and extraneous words.

6.Vary sentence length. Short sentences and long sentences both have a lot to recommend them. The key is to provide your reader with variety. If your first sentence is a compound sentence with multiple clauses, make your second sentence short and simple. Amateur writers tend to fear shorter sentences, erroneously believing they’re inherently less sophisticated. To compensate for this, they end up producing one wordy sentence after another, replete with vague words. Yet many great writers, from Ernest Hemingway to Judy Blume, made their name on short sentences.

7.Watch out for nominalizations. Nominalizations are multi-word phrases that would be better replaced with a single word. Instead of using a phrase like “gave an assessment of,” just write the single word “assessed.” That way you instantly give your reader the right word without forcing them to read extraneous phrases.__