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Dresden Files Pacing

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hallowedthings:
From a technical standpoint, what do you think it is that makes each book so fast paced?

So far I've noticed:

Constant danger: There's always the threat of something going wrong, which keeps you on your feet. Time seems to go fast when you're having fun or anticipating something, so scenes never seem as long as they are.
Spectacular fight sequences: The danger regularly tips into a scuffle or a major fight sequence. These look cool and have consequences, so they're both instant gratification and full of tension. There are a large number of them in each book (relative to most other books) so by the time you get to the end you feel like you've had a satisfying amount of adrenaline injected into your system. The fact that there are so many means that you know there's something explosive around the corner -- you just don't know when it will jump out.
Switching between important subplots: This provides variation and adds to that feeling of anticipation because you know all these issues are up in the air and they WILL come down, with consequences. The fact that they're important means that the way they pan out matters, so you care. They also tend to feed back into the plot -- now or later -- so the consequences are generally long-term.
Rate of revelation: Each scene introduces something significant about the main plot or one of the subplots, or both, so it feels like there's constant progression. You're not waiting for things to get moving again.

I've been using these in my writing for a while, because for years I noticed them consistently in all of the action-packed stories I've enjoyed. Thinking back over the Dresden Files made it absolutely clear to me. Pick up on anything I've missed?

PS: I don't encourage checking your story against these while you're writing because it'll most likely stifle your creativity, but it's helpful as a checklist... well, it is for me, at least.

Shecky:
Also remember one of Jim's standard operating procedures: "When I'm unsure how to proceed, I just have someone kick in the door." ;D

LizW65:
Other DF techniques I've noticed are unusually short chapters--often only a few pages each, which keep up the movement and pacing, and a good balance of dialogue with exposition, character, and description.  Someone also pointed out on this board a long time ago that Jim varies the quality of his sentences a lot--short and long, question-and-answer type, breaking the fourth wall, and so on.

Quantus:
The Single POV has a lot to do with it for me.  In 3rd POV, Codex Alera for example, you loose a little momentum each time you switch from one character/voice/plotline to another.  With Dresden, even when you are switching plotlines, it's still the same Voice and POV, its just him having to juggle several flavors of pain-in-the-ass.  He is constantly going from the Frying Pan to the Fire, but you never just drop the plotline and switch to some "Meanwhile" storyline. 

the neurovore of Zur-En-Aargh:

--- Quote from: Quantus on August 28, 2012, 12:27:50 PM ---
With Dresden, even when you are switching plotlines, it's still the same Voice and POV, its just him having to juggle several flavors of pain-in-the-ass.  He is constantly going from the Frying Pan to the Fire, but you never just drop the plotline and switch to some "Meanwhile" storyline.

--- End quote ---

DM had a little bit of that problem for me, which is why it's one of my least favourite; the Red Court plotline and the Fallen one feel almost entirely independent, and some of the transitions grate, IMO.

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