In this video we'll be looking at pacing techniques. If the reader felt the speed of an emotional storm with every story word, her capacity for emotional involvement would soon become exhausted. A book filled with the unrelenting intensity of scene after scene would quickly overload the reader and lever without time to process what happens in the scenes. The reader needs a break between the important intense conflictual parts of the story. He cannot simply read seven important scenes in a row without taking a breath. Pacing ebbs and flows in the well paced book.
Faster emotional pace, hear slower here, then faster again. Remember, fast paced means the reader feels the passage of each moment more strongly. His heart beats with the characters heart. She feels the action instead of watching it feels as if Where they're living the heroines life, or the hero's life. Pull the reader into the action as she feels the speed pickup, push her back and her heartbeat slows down. For example, on page 109, my heroine is watching her brother record the songs that she wrote.
This is a bridging passage at sequel and I'm slowing the pace down. She left in the third week of recording taking a jet from Los Angeles to Vancouver where she retrieved her van from the parking lot. The only action you get to see specifically in those three weeks of time is the action of melody getting her van from the parking lot at the airport. The reader feels slowed down. Become recommends controlling the pace of your novel by juggling scene and sequel. He says even the longest scene reads swiftly and seems to rush along and Little Reader Time.
Even a brute brief SQL or bridge, slows her down, relax the sum of our attentions, and gives the impression of more of her time passing more of the readers time passing. If your story is going to slowly build up your scenes, those, watch those close ups and shorten your sequels, those wide angle shots. In other words to speed up the pacing, give your important scenes more words and give fewer words to the sequels. Beckham goes on to say if your story is going to swiftly and thoughtlessly trim your scenes or build up your sequels. The key here is thoughtlessly. If the reader doesn't have time to absorb the importance of scene one, before you dump him into scene two, he won't absorb scene two.
He's in sensory overload. Too many details, make the story in It's a hedge. If everything in the book had the detail and space given that first kiss in a romance, the reader would lose track of what she was reading. It's too much. When you're in a scene, you need different techniques than when you're crossing a bridge. These techniques help determine the pace.
As we discuss each of the following techniques. Think of yourself as a person with a camera and the action of the story. So, technique, zoom in. If you want to make the reader feel intimate with the action, zoom in for a close up, the reader will slide deep into the character's viewpoint, seeing through the character's eyes because you're giving her the information to see those details. Feeling through her fingers because you're telling the sensory details. He's reading faster, feeling more and experiencing the intensity Emotional pace wide angle technique to if you want the reader to catch his next breath as he prepares for the next scene, back off with your camera lens wide angle now, the details aren't so clear and there's more in the picture.
More events covered with fewer words. At the extreme, you may actually slip out of viewpoint and be watching your character from above, instead of looking through her eyes. This sentence she left in the third week of recording taking a jet from Los Angeles to Vancouver, where she retrieved her van from the parking lot. There's no feeling of looking at things through melodies eyes here. We're watching her get on a jet. We're observers standing back time is going by for melody All right, three weeks, but we don't feel the speed, the slower pace and gives us a breather.
And speaking of taking Getting a breather. Now it's time for you to take a breather. Before we look at pacings relationship to emotional intensity, camera angle, and viewpoint. We'll look deeper into those. Thanks for watching and I look forward to seeing you in the next video.