| Pacing...keeping the story moving, getting rid of | | | | time to time and causes problems for Nicole. As |
| the saggy bits and moving the characters | | | | well as complicating Nicole's life, she represents a |
| forward. That is what this article is about. | | | | certain segment of Paris society at the time. |
| You have to capture the reader's interest in the | | | | Layering the Plot |
| first few paragraphs of your novel and you have | | | | As you write, it helps if you keep a notebook |
| to provide a satisfying ending. The difficult part is | | | | near to jot down ideas that come to you. It's also |
| making the whole novel move from one point to | | | | a good idea to keep the notebook with you at all |
| the next in a smooth, entertaining and compelling | | | | times because you never know when your |
| manner. | | | | subconscious will yield something about your novel. |
| ACTION is the single most compelling page-turner | | | | Because you began with a plot, you know |
| there is in fiction. However, there is a fine line | | | | generally where you are going. After the first plot |
| between adding exciting scenes and deadening the | | | | point, I like to take my plot and layer it. |
| reader's emotions by having endless big events | | | | By this I mean that I take a look at some of the |
| rain down on the characters. | | | | ideas that have come up while writing and see |
| Action does not have to be a big event. | | | | where they might fit in. I add on the layer of a |
| Movement and dialogue provide action enough and | | | | subplot or the impact of a minor character or the |
| there should be some of either on nearly every | | | | repercussions of a new turn of events. |
| page. Otherwise, you may have your characters | | | | I stop about every fifty pages or so and take |
| sitting in one place and mulling over their thoughts | | | | another look at the plot. Have I used the scenes I |
| or, worse, having their thoughts explained to the | | | | had originally planned? If not, can they be moved |
| reader. People tend to skip parts like this. | | | | elsewhere? And I layer the plot a little more. |
| In genre and mainstream novels, it is a good idea | | | | THERE SHOULD BE A RHYTHM TO THE NOVEL |
| to have a big event every three chapters or so. | | | | -- AN EBB AND FLOW OF ACTION AND |
| Something must happen to propel the characters | | | | EMOTION. |
| forward. | | | | Pacing Exercise |
| SUBPLOTS are necessary in order to provide | | | | 1. Now that you have begun writing your novel, |
| contrast and backdrop for the main action. At | | | | explain in a sentence or two: |
| least twice, the subplot and the main plot should | | | | (a) Your protagonist's conflict with the |
| cross each other's path. In my Queen of | | | | environment? |
| Diamonds, the subplot of Fersen and the Queen | | | | (b) What is his or her chief motivating force? |
| touches the main plot when Fersen takes Gilbert | | | | (c) What is his or her tangible objective? |
| to Sweden because Fersen needs to be away | | | | (d) Does he or she achieve the objective? |
| from the Queen to avoid rumors about her | | | | 2. Have any of these above-mentioned aspects |
| having an affair and again when Fersen intercedes | | | | changed or grown since you first wrote them |
| with the Queen on Nicole's behalf. | | | | down? |
| MINOR CHARACTERS help provide background | | | | 3. What is the primary subplot? |
| and relief from the main plot. Again, in the Queen | | | | 4. Where does it touch the main plot? |
| of Diamonds, Cecile Vergennes appears from | | | | |