One of the hardest things I’m trying to learn is correct pacing. As a writer I want the reader to have that I can’t put this down feeling I have often experienced with good novels.
One of the first books I ever read was Magician by Raymond Feist. This large book is an amazing saga across two worlds. There are small snippets of action throughout the first few chapters however mostly this section introduces the reader to one of these worlds and importantly a number of solid characters. Suddenly the story takes off and finds its pace. By this time I had developed a very solid interest in the key characters and literally couldn’t stop reading it.
Most things I write seem to hit their full speed from the middle and gain a racing feel to the climactic conclusion. Often this is followed by a relatively short wind down, a chance for the reader to catch their breath as the story leads to a natural end. Importantly the pace of the end five percent is slow compared to the first ninety five.
On the flip side new stories require a lot of complicated structuring in the first few chapters. I need to introduce the main characters as they are just as important as having a fantastic idea for the plot. They must be at least partially relatable and usually likeable at the same time. I have to introduce these new people into the readers psyche in a very believably, realistic and charismatic way.
I also have to paint the scenario, the specifics. The information has to be sufficient enough to spark interest but not so much the book feels weighed down. I think it is usually best to simply have the characters performing natural actions which introduce the context.
For example, the start of Impatience covers a few things at once. Simon’s routine feeding of the animals shows us he is a practical, good natured boy. His interaction, albeit short with his father Gary are easy going and again natural. Gary’s phone call with his friend is realistic as farmers really do talk all the time about rain, especially as most of Australia has been in drought for so long. The homeliness of their farm life is a critical element to the decision making process for these main characters. It is what binds them at the start of the story.
Some people argue a good book should start at the action. Drop the reader in the middle and you can always fill out the details later. My issue with this is I simply don’t care enough yet to worry about character X who is in some perilous situation. It might be exciting but I want my readers to have already developed an emotional connection to the characters before I go and put them through hell 
To summarise, stories usually start relatively slowly, due to the level of detail and character introductions however fast enough to spark interest. The middle must maintain this interest and fuel it somehow drawing the reader to the exciting resolution. The end should be a relatively relaxing phase and tidy up all the loose ends.
Easy huh!
