On the few occasions I’ve made a cherry cake I’ve carefully followed all the instructions, stirred in my glace cherries (full of E numbers, but stickily delicious), carefully spooned the mixture into the cake tin, then popped it in the oven. Half an hour or so later the cake is ready. Then the first slice…and all the cherries have ended up in one glutinous lump at the bottom. It’s a bit like pacing a novel. The best scenes – the cherries – need to be distributed evenly throughout. The easiest way to check your novel for pacing is to use index cards, one scene per card.
Start with a big table or a clear floor. Draw a few imaginary lines, one for normal, one for exciting, one for incredibly dramatic. Now lay the cards out scene by scene, according to where you think they are on the scale (depending on your novel, the scale may be normal: scary: scariest, or normal: emotional: tempestuous, etc). When you done the lot, step back. Ideally the novel should follow the line of a series of hills and valleys, with the hills getting higher as the novel reaches The End. Of course, not every novel follows this plan – The Lovely Bones is one best-selling exception – but it’s a good one to aim for.
It’s about pace: readers need the contrast in fast and slow, between the heights and the depths, with the ordinary stuff connecting the best scenes like cake mix. If your cherries are clumped into a sticky mess, then spread them out. In cake making the answer is to dredge the cherries with flour before dropping them into the mix. For novels, the answer is some dismantling and rearranging. I love this bit. The hard slog of the first draft is over, and now it’s like cooking: necessity, pleasure and craft are all mixed up together and the result is…mmmmm.
Start with a big table or a clear floor. Draw a few imaginary lines, one for normal, one for exciting, one for incredibly dramatic. Now lay the cards out scene by scene, according to where you think they are on the scale (depending on your novel, the scale may be normal: scary: scariest, or normal: emotional: tempestuous, etc). When you done the lot, step back. Ideally the novel should follow the line of a series of hills and valleys, with the hills getting higher as the novel reaches The End. Of course, not every novel follows this plan – The Lovely Bones is one best-selling exception – but it’s a good one to aim for.
It’s about pace: readers need the contrast in fast and slow, between the heights and the depths, with the ordinary stuff connecting the best scenes like cake mix. If your cherries are clumped into a sticky mess, then spread them out. In cake making the answer is to dredge the cherries with flour before dropping them into the mix. For novels, the answer is some dismantling and rearranging. I love this bit. The hard slog of the first draft is over, and now it’s like cooking: necessity, pleasure and craft are all mixed up together and the result is…mmmmm.
(Another one from the archives...)
2 comments:
You have to cut the cherries in half, wash them in hot water to remove all the stickiness and then dry them, thoroughly. Probably best done the day before, although if you are a cake maker after my own heart you want instant gratification.
Pacing is trickier.
Doesn't the flour-rolling do the equivalent? I'll have to get baking again and experiment. But you do want to end up with them spread out throughout the cake, just like the good bits in the plot.
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