And so is plot.
But unlike life, plot is selective — and what that means, among other things, is that the author is the selector.
The author chooses the actions his characters undertake.
This, incidentally, is one of the primary ways in which fiction differs from journalism, and it’s why “the pressure to record” is not — contrary to what the Naturalist School of Art would have you believe — the primary function of art.
Art creates. Journalism records.
In life, there are a great many actions which are mundane and of no major consequence — whether it’s walking around the block, or scratching your back, or brushing your teeth, or yawning.
Art by definition selects OUT the insignificant, and thereby grants significance to those issues the artist has chosen to focus upon. Art isolates and clarifies those issues, condensing into one single unit what in life might be spread out over a period of years, or even decades.
That, in a nutshell, is the purpose and power of art.
A novel, even a short novel, is a story about human beings in action. If, therefore, your story isn’t presented by means of physical action, it isn’t a novel. It may be a journal, it may be an epistle, it may be a memoir, it may be a diary, and it may be many other interesting things as well. But it is not a novel.
It’s important to note here that physical action doesn’t necessarily just mean fist-fights, car chases, and sex-scenes.
Physical action means that humans are engaged in purposeful action — which is to say, your characters are engaged in the pursuit of values.
Whether you’re writing a potboiler, a romance, a horror, a mystery, a psychological thriller, a sci-fi book, or a literary novel, you must appeal to something real in the body of human experience.
Life, said Nietszche, is a process of valuing. “When we speak of ‘values’ we do so under the inspiration and from the perspective of life” (Friedrich Nietzsche, Twilight of the Idols).
In my experience, the most talented editors are able to flesh out those parts of the story that have always troubled the writer even when the writer has never quite been able to put her finger on exactly what is troubling her. Virtually every manuscript I’ve ever written or worked upon has had issues with pacing. The reason for this, I’ve come to believe, is that writing a book of any length requires, perforce, a certain myopia. And yet sustaining a narrative pace for hundreds or even ONE hundred pages requires the exact opposite of myopia: it requires a kind of far-sightedness. Very often, writers are simply too caught up in the details of their story to see how the overall pace flows.
That, I now think, is the greatest value of an editor: to show where the story grinds to a standstill.
Moby Dick is an example of a poorly paced book.
It is, at times, extraordinarily well written from a stylistic perspective, and Moby Dick remains erudite and interesting on a great many levels, but the fact is, Moby Dick is not even really a novel. It’s a treatise: it’s a treatise on truth, it’s a treatise on whales, it’s a treatise on America, it’s a treatise on God, and it’s a treatise on many other things as well. But it’s not a novel.
Think of pacing as a journey; and will your readers go along? Quoting editor-turned-agent Betsy Lerner:
The challenge of sustaining a certain pace and rhythm throughout an entire book can be staggering, and most writers are too involved with the details to see where the story flags. I like to imagine the narrative as a trip. Just as the ride feels shorter on the way home, a phenomenon all school-age children remark on, even though it is exactly the same number of miles as the trip away, the reader expects that time will pass more rapidly as the book heads toward the finish. Once we know the way, the scenery rolls by like so much wallpaper. Your editor should help you see when the writing has turned into wallpaper (Betsy Lerner, The Forest for the Trees).