Copyright 2018 by Gary L. Pullman
In Murder Beyond the
Grave, the world's #1
bestselling author, James Patterson, tells (or retells) two of the
true-crime stories that originally aired on Investigation Discovery's
Murder Is Forever: the
book's title story and Murder in Paradise.
On
the inside of the front of the flyleaf, the publisher summarizes
each; since this post is concerned only with Murder Beyond
the Grave, we'll limit ourselves
to quoting its synopsis:
MURDER BEYOND THE GRAVE.
Stephen Small has it all—a Ferrari, fancy house,
loving wife, and three sons. But the only thing he needs right now is
enough air to breathe. Kidnapped, buried in a box, and held for
ransom, Stephen has forty-eight hours of oxygen. The clock is ticking
. . .
So how
does Patterson keep the pace of his story moving? Here are
several of his techniques:
Short
chapters. Typically, a Patterson chapter is no more than 3.5 pages long, or
about 320 words. The first page starts a bit past the halfway mark
and contains 18 lines; each line contains approximately 11 words: 189
words (we'll round to 200). The second page is a full-length page,
numbering 29 lines, or about 320 words: 29 x 11 = 319 words. The last
page, a half page, numbers about 10 lines, or 110 words (11 x 10 = 110), for a rand total of 630 words: 320 + 200 +
110 = 630.
Short
paragraphs. Most of Patterson's paragraphs are short, longer ones
usually lasting no more than four or five sentences. The effect of short
paragraphs, like that of short chapters, is to suggest that the
reader is reading more quickly than he or she is likely to be
reading, which could imply that the pace itself is quicker than
usual.
Large
font. Patterson's novels typically employ a larger-than-typical
font size, which creates the illusion that one is reading faster than
usual, which may, in turn, create the impression that the
story's pace is unusually quick.
Present
tense. Patterson writes in the present tense, which may create a
heightened sense of immediacy, suggesting that the action is
occurring before one's own eyes. What we see often seems to occur
very quickly, almost instantly, whereas what we hear (and past tense
implies we are hearing about, rather than witnessing, events)
appears to present itself more slowly.
Brief
descriptions. Only a sentence or two is used, enough to set the scene:
“Flakes of snow drift in the air. Danny's breath comes out in
bursts of visible vapor. Cars drive by, slicing through gray slush”
(23 words). (As short as these sentences are, they could be even
shorter: “Flakes of snow drift through the air. Danny exhales
bursts of vapor. Passing cars slice gray slush” [17 words].) Brief
descriptions do not drag the story; thus, the narrative appears to
move more quickly.
“Head-hopping”
economizes characterization, allowing the omniscient narrator to
describe all characters' inner states.This technique helps move the
story along, keeping it from bogging down, and, therefore, speeds the
narrative's pacing:
When the man opens his arms to give Danny a hug, Danny
awkwardly thrusts a hand out for a shake instead.
“How have you been?” Danny says, feigning a smile.
“Oh, you know,” says his longtime associate, who,
unfazed by the rebuffed embrace, claps Danny on the shoulder. “Same
o', same ol!'. . . .”
Maintenance
of forward momentum: The story drives
relentlessly forward: “Danny opens his mouth for more small talk,
but the host cuts him off with a nod toward the kitchen. 'He's
waiting for you in the back. Told me to send you in straightaway.'” (Italics added.)
Use of scenes:
The action is staged in scenes, as if the reader were watching a
film. Transitional phrases or sentences link the scenes: “Outside
in a nondescript panel van, two police officers listen with
headphones.” It's as if Patterson writes a screenplay first, which
he then transforms into a novel or a novella.
Expository dialogue.
Dialogue keeps the story moving by explaining what happened or is
happening. In other words, dialogue acts as exposition: “Damn it,”
says the first officer. “He's been made!”
Suspenseful
dialogue. Dialogue also maintains suspense,
which compels readers to continue to read and facilitates the sense
that the pace is brisk: “Wait,” says the other. “This guy Danny
is a slick operator. Let's see what he does.”
Brief back story.
Patterson's characters tend to have brief back stories. Usually, the
back story is presented as a flashback that is inspired by or
otherwise associated with imagery or scenery related to the
character's past. One's childhood neighborhood can evoke memories. As
much as possible, such memories are presented in active voice, and
only during the flashback is past tense used.
Interconnected action:
All of the story's bits and pieces of action are interconnected:
Danny Edwards is summoned by Mitch, a mobster. Though a microphone Danny wears,
police listen in on his conversation with Mitch. The police raid
Mitch's office, arresting Mitch and Danny. Danny remembers his
childhood. Danny works as a laborer in the construction business.
Short on money, Danny asks his father for a loan. While visiting his
father's home, Danny sees a wealthy neighbor, Stanley Small, of whom
Danny is envious. After encountering Stephen at a marina, Danny
learns that Stephen is worth $65 million. Danny decides to kidnap
Stephen and bury him alive so Danny can demand a ransom from
Stephen's family. Danny buys supplies at a lumberyard and builds a
contraption (a coffin equipped with PVC tubing) that mystifies his
girlfriend, Nancy Rish. Danny reconnoiters Stephen's house. Danny
fills a milk jug with water and leaves Nancy in the middle of the
night, without explanation. Danny deposits his coffin and supplies at
a remote site. Danny takes Nancy for a ride, making her promise to
return to the remote area at 3:00 AM to pick him up, but does not
tell her what he is up to. Danny pretends to be a police officer, luring
Stephen out of his house early in the morning. Danny kidnaps Stephen,
forcing his victim to drive to the site where Danny has hidden the
coffin and supplies. Danny records Stephen's plea to his wife to pay
the ransom Danny demands for Stephen's release. Danny buries Stephen
alive with only forty-eight hours' worth of air. Such interconnected
action unifies the story, giving coherence to the incidents of plot,
and allows a shorter plot, creating the sense of a faster pace.
Clock:
The time for which Stephen's supply of oxygen will last (forty-eight
hours) provides suspense, which encourages readers to continue to read,
or even to skip passages, thereby seeming to speed the pace of the
story.
Factual tone:
Most sentences are written as if they merely report objective facts:
“Danny climbs out of the cab . . . . Danny reaches for the shovel .
. . . Danny stabs the blade of the shovel into the loose soil.”
This factual tone not only lends verisimilitude to the action, but it also economizes wording, making the pace seem faster.