You’ve probably read a story that felt off — scenes dragged, dialogue ran too long, or the ending came out of nowhere. Nothing was technically wrong, but it didn’t flow. That’s a pacing problem.

In the Terrible Writing Advice episode on scene writing, pacing and transitions are treated as optional, even unnecessary. The narrator proudly declares he’ll “just end a scene when he gets bored” and “stumble into the next one.” It’s satire, of course, but it highlights a real issue: many writers don’t understand how pacing and transitions control the reader’s experience.

Mastering both is what separates an okay story from one readers can’t put down.

1. What Is Pacing in Writing?

Pacing is the rhythm of your story — the speed at which events, emotions, and revelations unfold. Good pacing feels invisible. Bad pacing feels like slogging through mud or sprinting off a cliff.

Fast pacing builds tension; slow pacing deepens emotion. The art lies in knowing when to use which.

Creative writing tip: Pacing is not about word count — it’s about momentum. A 10-page scene can feel fast if the tension is high, and a single paragraph can feel slow if the prose drags.

2. Common Pacing Problems

The Terrible Writing Advice parody mocks two extremes that plague fiction:

a. The Slow Drag:

Scenes go on too long. Characters talk endlessly, rehashing the same point. The reader starts checking the clock. This happens when writers mistake “detail” for “depth.”

b. The Speed Run:

Scenes jump too quickly. Emotional moments vanish before they land. Readers feel disoriented because they never got time to care.

In both cases, the issue isn’t the amount of text — it’s the flow of information, emotion, and action.

Writing advice: Each scene should have a heartbeat. Speed it up for tension; slow it down for meaning. A story that only sprints exhausts the reader. One that only strolls loses them.

3. Diagnosing a Scene That Drags

When beta readers say, “This scene drags,” they don’t always mean it’s too long. Often, it’s that nothing changes.

Ask:

1. Does this scene introduce new conflict, emotion, or decision?
2. Does it reveal something new about a character or the world?
3. Does it move the story toward its next beat?

If the answer is no, pacing isn’t your only issue — it’s story inertia.

Even a slow-paced, quiet scene can feel gripping if it’s active. Stillness doesn’t equal stagnation.

4. Scene Transitions: The Glue Between Moments

Transitions are how readers move from one scene to the next without feeling whiplash or confusion. The Terrible Writing Advice narrator mocks this by skipping transitions entirely — one moment a duel, the next a space opera.

Transitions give readers narrative continuity. They can be short (“Later that night…”) or subtle (a line of dialogue that hints at what’s coming). What matters is that the emotional and narrative flow feels natural.

Scene writing tip: Think of transitions like breath between sentences — invisible but vital. Too few, and the story gasps. Too many, and it suffocates.

5. Types of Scene Transitions

There are several ways to move between scenes smoothly:

1. Temporal Transitions: Indicate time passing. (“Three days later,” “By morning,” “At sunset.”)
2. Spatial Transitions: Shift location gracefully. (“They left the tavern for the misty road beyond.”)
3. Emotional Transitions: Shift tone or mood. (“He smiled, but the laughter felt brittle.”)
4. Thematic Transitions: Use recurring ideas or imagery to link moments. (“The ticking clock returned, echoing her earlier dread.”)

Using the right transition builds cohesion — readers glide instead of stumble.

6. Balancing Fast and Slow Pacing

A well-paced story alternates between acceleration and rest. Think of it like breathing — inhale (slow moments of reflection), exhale (action, conflict, or revelation).

Too much speed burns emotional impact; too much slowness drains tension. The balance depends on genre and intent.

1. Thrillers thrive on tight pacing and short transitions.
2. Literary fiction often lingers on introspection.
3. Romance fluctuates — tension builds, then releases.

Good pacing feels like an emotional rollercoaster, not a flat highway.

7. Techniques to Control Pacing

Here are practical tools to fine-tune your story’s rhythm:

1. Sentence Length:

Short sentences create urgency; long ones slow reflection. Vary both to control tempo.

2. Paragraph Breaks:

White space signals breathing room. Breaking long blocks of text speeds reading pace and adds energy.

3. Dialogue vs. Description:

Dialogue quickens the rhythm; dense description slows it. Balance them intentionally.

4. Action Density:

More actions per page = faster pacing. Fewer, more deliberate actions = slower pacing.

5. Scene Goals:

Every scene should have a goal that leads naturally to the next. Unclear goals create drag.

8. Fixing Transitions During Revision

Pacing and transitions are best repaired during editing, not drafting. Draft freely, then refine flow.

When revising, read your story aloud. Note where you feel bored, rushed, or lost. Those are pacing or transition breaks.

Try adding:

1. A short line that anchors time or emotion (“By the next morning, guilt had hardened into resolve.”)
2. A visual cue or action to bridge scenes (“She shut the door; on the other side, the storm began.”)
3. A micro-cliffhanger that carries tension forward.

Even one transitional sentence can transform flow.

9. Pacing as Emotional Control

Ultimately, pacing is emotion management. Fast scenes create excitement and anxiety; slow scenes build intimacy and weight. The reader’s heartbeat should mirror your story’s rhythm.

In Terrible Writing Advice, the joke is that pacing “doesn’t matter.” In truth, it matters more than almost anything. Perfect prose means nothing if the reader’s engagement dies halfway through.

Final Thought

Pacing and transitions are invisible craftsmanship — when done well, readers never notice them. But they feel them. The story flows effortlessly, emotions land naturally, and every scene leads smoothly to the next.

Bad pacing makes readers aware they’re reading. Good pacing makes them forget.

So, don’t “stumble into the next scene,” as Terrible Writing Advice would say. Instead, guide your reader — breath by breath, beat by beat — until they reach the end without ever looking up.