Working with a copyeditor is a great time to get an analysis of your work on a paragraph-by-paragraph level. A good copyeditor will talk with you about characterization, syntax, pacing, as well as help you fix 90% of your grammar and spelling along the way. But having to make intensive changes on one of these categories can make the analysis on the others suffer. So we’re here to help you with the basics of paragraph structure for pacing and reader experience:
Let’s Talk about Paragraph Length
It’s likely you’ve heard that the length of a paragraph should be dictated by how long it takes you to express one idea. Okay, sure, but what the hell does that mean? That’s also the dictating length of a scene and honestly your novel should only have two or three ideas it’s trying to convey as well. This rule of thumb is clearly more like a non-answer.
So instead, let’s consider the paragraph length from the reader’s perspective. How frequently does your reader need a tiny moment of pause to internalize the key takeaway from your paragraph to stay on track? This is dependent upon how dense and important each piece of information is at that moment in the story.
There’s also a consideration to make of pacing. Shorter paragraphs allow your readers to take in information more quickly and zoom through your book, but longer paragraphs force them to slow down and feel things more deeply. All books should have a variety of each, but knowing in advance what reading experience you would like to evoke will help keep paragraph and pacing natural.
Highlighting Key Takeaways
Read this paragraph:
“Jack’s face grew hot as he clenched his jaw tight. He tried to keep his breath steady, but the focus he required to control it left is hands unattended. Unthinking, Jack raised them like an Annapolis graduate and let loose two quick jabs to Sam’s solar plexus.”
Readers should be able to condense each paragraph into a very short sentence in their minds without thinking. (Angry Jack punches Sam.) This is what makes your story memorable. Like the story structure of your novel at large, most paragraphs should have setup, rising action, a climax, falling action, and a conclusion. Your key takeaway should be based in the climax and conclusion of your paragraph (Jack punches Sam), but the other sections of your paragraph structure will color how it happened (Angry).
The Function of Varied Sentence Structure
This is a five-word sentence. It conveys a point quickly. It is clear and concise. But many together gets tiring. Reading them feels like work. They begin to run together.
The same can be said, if you don’t mind my mentioning, of a paragraph with too many compound and complex sentences that require some thoughtful consideration to untangle, particularly in moments filled with action. More than one or two really slows down the pace of the reader’s capability to comprehend even if they are well read and educated, and it’s more likely they will put your book down despite its other beautiful qualities.
But look. When I write a paragraph with varied sentence length and structure, it keeps you engaged. This is a pacing technique necessary at the micro level. So, I use short and medium sentences most of the time. Every now and then, however, I use a longer sentence that anchors the text when I know my reader is rested, which creates an opportunity to drive a point all the way home. Neat, huh?
Signs You Need A Paragraph Break
Just like your novel, your paragraph should have a beginning, middle and end. Like any good scene it should be from one point of view, cover one idea, and have one primary character. Here are some key indicators that you need another paragraph break:
You can’t draw one line for beginning, middle and end. One paragraph tells one micro story just like how one scene tells one mini story just like how one plot line tells one macro story. On this scale, there isn’t enough room to incorporate a subplot.
Focus shifts from one character to another. Yeah, you can have multiple actors in your paragraph cohesively, but they must come together to tell one story about that moment in your scene.
Your beta readers seem confused. It’s a common note from beta readers to experience confusion in paragraphs that are trying to convey multiple ideas at once. Stick to one idea per paragraph like that five-paragraph essay format you learned in middle school. The idea is allowed to shift and change, but there shouldn’t be a competing concept.
The POV changes. Never. Not even once. Changes in point of view at this scale is head-hopping. No exceptions.
There’s more than one narrative structure. Even in scenes where there is only one character, readers will track more quickly when new types of action are given separation:
Physical Action – She checked her pockets before leaving.
Physical Reaction – Her breath quickened.
Dialogue – “Shit. I knew I was forgetting something.”
Indirect Internal Narrative (3rd person) – She would have looked like a fool in the meeting without her brief.
Direct Internal Narrative – I would have looked like a fool in the meeting without my brief.
Observation/Description – Her yellow jacked ruffled in the air as she skittered across her apartment.
Even if you have a wonderful story with an inspired plot full of deep characters, an unbalanced paragraph structure can make your readers put down your book or an agent or publisher take a pass. Working with an independent copyeditor can give you a deep analysis and series of suggestions for your novel, but getting ahead of the game by reviewing your writing will only help. Keep up the good work!
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