James Patterson: A Master of Pacing

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.