The ideas in practice using work I’ve written would look like the following excerpts from my novels Swimming Sideways and The Ugly Truth. First determine a scene which you feel would benefit from either technique and determine if you want to highlight the passage of time - compress it - or the importance of a moment - expand it.
Compression (from The Ugly Truth):
In the following scene, Seth, the protagonist, has become aware of himself and the fact his consciousness is outside of his physical body. The compression used in this scene was meant to compress an unknown amount of time for him because time has stopped making logical sense:
The wail of the siren.
Words: “Stay with us, Seth.”
The wail of a woman (I think she is my mother).
Beeps and blips of equipment speaking.
I don’t think it has been very long. If I use the emotion of the woman I think is my mother’s gusts of grief as a measure, this seems recent.
Expansion (from Swimming Sideways):
The following scene is the moment the audience learns what happens to Abby in her past as she attends a party with her friend, Seth. Though the moment explores a party she attended in her past and the subsequent trauma of it, instead of glossing over the idea in a few sentences or a paragraph to tell what happened, I expanded it to heighten the drama of the whole scene.
I close my eyes and slip backwards in time:
Have another drink.
Kanoa is staring at me.
Giddy with his attention.
Another drink. He brings it to me.
Kanoa is all-encompassing. I’ve seen him at school. He’s older.
He asks me to dance.
Pressed up against me, the dance is slow. I feel his body. The ache of want.
A kiss and my heart dances too.
Here, have another drink.
Drown the pain and grief of losing Poppa.
I return to the dance with Seth and shudder. He leans back, lifts my face to look at him. He’s smiling, until he realizes I’m crying. “What’s wrong?” he says.
I shake my head, unable to speak and bury my head against his chest as I return to the past:
Another dance. Another drink. I feel loose.
I feel dizzy. Where are my friends?
Here’s another drink. Kanoa. He’s there.
Have another. Drink up.
Where are my friends?
Inhibition dissipates like steam from a boiling pot.
Kanoa dancing with me.
“Dance for me,” he says.
People encircle us.
The crowd chants my name but they slip away as I move; a show for Kanoa.
Kanoa pulls at my shirt. I help him take it off.
His hands all over my now bare skin.
His undivided attention. His smile.
I dance. He helps me, his hands guiding my hips.
The crowd cheers.
I didn't know there were cameras.
A show for everyone.
It was too late.
Where are my friends?
In a viral moment, I became the resident slut of my high school.
Writing is about making choices to propel our goal as writers of telling the best story we can. My goals for using these techniques were to:
pace the content,
highlight the importance of the moment in the narrative,
add to and build tension, and
finally to continue developing characters.
Is it directly related to pacing? Maybe. Maybe not. You decide.
Practice Point: Choose a moment in your current WIP to expand or compress. Reread the section with the addition. What does it do for pacing and flow?
NEXT UP: Dialogue