Writing a novel is a balancing act. You’ve got to balance exposition with action, description with dialogue, you’ve got to balance multiple character arcs and the needs of the external conflicts and the internal conflicts and lots of other stuff, too. Go too far in one direction and you wind up with a book that is either boring or one that is too frenetic to follow. It will come as no surprise then if I tell you that doing this well is hard, hard work.
When I write a novel (and, I would guess, when a lot of people write novels) there are certain scenes, sequences, or sometimes even specific lines that I know I want to show up in the book. They are the tent-pole scenes – the ones that hold up the rest of the story. The pivot points of tension and reward, of strike and impact (to borrow a phrase from this excellent craft thread from @dongwon) circle around those scenes.
Now, really intense reads – the books that really have you turning pages, that have you staying up late to finish them – have the best tent-pole scenes. They are constantly drawing you from crisis to crisis, giving you a helpless sense of being drawn along through events. A book, though, can’t be nothing but those scenes – it’s impossible. You can’t have nothing but car chase, because very quickly the chase scenes stop mattering (for reference, watch the second Matrix film). You need to build tension and you need to set the stage for the chase. The more understood the stakes are, the more powerful the payoff will be.
The trouble though, is how much buildup do you need? When I’m writing the first draft of a novel (as I am now), I get bogged down sometimes in preparing for the big scene to happen. I know it needs a stable platform to stand, so I just keep shoring up my foundations, over and over and over, until its clear I’m wasting time. In revision, I trim a lot of this buildup out, keeping the bare essentials – balancing set-up and payoff, essentially. This is a challenging process because it is difficult for the author (who has had this pivotal scene in their head for possibly years) to know if the scene is landing for a stranger.
Often I feel I’ve missed the mark – I get feedback from readers and editors who say things like “why is this happening” and I’m like “DUH, CAN’T YOU READ MY MIND?” Naturally, I’ve got to go back then and fill in blanks that I didn’t know were there. This sometimes feels frustrating – I feel like I’m back where I started, wasting everyone’s time. Let’s be honest, if it were possible, we’d like to write nothing but chase scenes and pivotal battles and emotionally wrenching death scenes and stuff. “All Killer and No Filler” as they say.
You can point to various thrillers and action-packed reads and say “see! They did it!” What isn’t commonly realized, though, is that the “filler” – the set-up, the build – is still there. It’s just done so elegantly that you don’t notice. They have just enough to make the action land, but not so much that you get bored waiting. In other words, they balance it perfectly.
I can’t say I quite do this to my satisfaction, yet. But I’m working on it.