| Before going more deeply into the device 'pace', | | | | one of the magical devices that keep the reader |
| let us take a moment to look again at the outline | | | | hooked. Sustained pace throughout the book will |
| of your novel. The plot outline is not to be | | | | help avoid that dreaded pancake effect in the |
| confused with Synopsis. Your plot outline is the | | | | middle. But what is pace and how can the writer |
| blueprint of your novel - scene by scene. Since | | | | make it work for him? |
| the novel will have many chapters, each containing | | | | Remember the initial hook to catch the reader? |
| several scenes, it goes without saying that your | | | | Pace helps to keep that hook firmly in place. If |
| outline will be several pages long containing | | | | the book is written at a good pace it can create |
| perhaps (hopefully) dozens of scenes. You are not | | | | a roller-coaster ride for the reader; he may want |
| trying to tell the story in this outline - it is merely | | | | to get off but he can not because he must know |
| a detailed guide, a route map through the journey | | | | what happens next. |
| of constructing the novel. You will be referring to | | | | When we try to analyse pace we are back to |
| this outline each day before writing to remind | | | | language and style again. A fast paced read is one |
| yourself what the next scene is about and what | | | | where the language is simple, straightforward. No |
| you want to achieve in revealing more of the | | | | complicated syntax. Short, to the point sentences, |
| plot, before starting to write i.e. putting the meat | | | | and most important of all, frequent paragraphing. |
| on the bones. | | | | There is nothing more off-putting to the reader's |
| A synopsis, on the other hand, is best written | | | | eye than solid a block of description or |
| when the novel is finally complete. It should be | | | | introspection that takes up half a page followed |
| one page only, single spaced. Again no attempt | | | | by a second block of words that takes up the |
| should be made to tell the story. It is a 'teaser'. It | | | | second half. The reader's eye baulks at this and |
| mentions the key character by name, the | | | | he skips the page. Skipping pages is a bad sign. It |
| character's desperate struggle to reach his goal, | | | | means that the reader is no longer in thrall; he is |
| and the evil forces that are working against him. | | | | losing interest and is skipping pages to try and find |
| It poses startling questions that can only be | | | | 'the good bits'. It is the writer's job to make sure |
| answered when the reader reads the book. | | | | the reader eagerly gobbles up page after page, |
| A commissioning editor will need to see this | | | | fearful that he might miss something important. |
| synopsis, the first three chapters of your novel, | | | | The writer has captured the reader when he |
| and a very brief letter summarizing your past | | | | hangs on every single word written. |
| writing, some personal facts, like age, and what | | | | The devices that also help to keep up a good |
| you are planning to write in the future. This | | | | pace are dialogue, dramatic action, strong |
| synopsis and three chapters will tell an | | | | characterization and meatiness of plot. |
| experienced editor all he needs to know about | | | | The next article will continue to look at pace and |
| you and your talent as a writer. If he likes what | | | | also go more deeply into each of these devices |
| he sees he will ask to see more. | | | | to discuss how the writer can use them to best |
| One of the things the first three chapters of your | | | | advantage. |
| novel will reveal is the pace of the writing. Pace is | | | | |