Pasolini, attraverso Orson Welles, descrive l'uomo medio italiano nel mediometraggio “La Ricotta” del 1963. “Conformista, razzista, colonialista, schiavista, qualunquista.” L’opera ha 55 anni, ma la definizione è ancora straordinariamente attuale.
Come quando si comincia ad andare sempre più di rado a trovare un amico, a leggere sempre meno un poeta, a frequentare sempre meno un caffè, dosando dolcemente il nulla per non ferirsi.
— Julio Cortázar, Rayuela (Il gioco del mondo)
Come quando si comincia a leggere sempre meno un poeta
“Today the sight that discourages book people most is to walk into a public library and see computers where books used to be. In many cases not even the librarians want books to be there. What consumers want now is information, and information increasingly comes from computers.
That is a preference I can’t grasp, much less share, though I’m well aware that computers have many valid uses. They save lives, and they make research in most cases a thing that’s almost instantaneous.
They do many good things.
But they don’t really do what books do, and why should they usurp the chief function of a public library, which is to provide readers access to books? Books can accommodate the proximity of computers but it doesn’t seem to work the other way around. Computers now literally drive out books from the place that should, by definition, be books’ own home: the library.”
― Larry McMurtry, Books
Computers drive out books from the place that should, by definition, be books’ own home: the library
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
All events of the story do not need to be shown on stage. When you want to slow things down, allow things to happen away from the readers view. If you show event after event at your readers, everything is at a faster pace.
