Using transitions/Time Skips.

[BlueLucario]

I have a question for you. Anyone know what time skips are? Or transitions? It's like when you read a book and the next scene takes place tommorow, or it takes place 3 days later. A paragraph begins with 4 hours later, or something like that.

When's the best time to use this element? Where's the best place where this could be needed.

If anyone needs a further explaination, pleaese let me know.

[lvcabbie]

Most people don't want to guess where they are in a story - they want it to move smoothly from one point to the next. You can include sub-plotzs but they must be within the flow.
Remember, the quickest way to turn someone off is to make them guess what's going on - not in the way of trying to figure out a who-donit.

[ChaosTitan]

When's the best time to use this element? Where's the best place where this could be needed.


Depends. I know it's not the black and white answer you want, but it depends.

We don't need to know every single detail of the MC's life, or of their walk through your novel. Transitions can go from one hour to the next, one day to the next, or from 1934 to 2009.

[Gillhoughly]

When's the best time to use this element? Where's the best place where this could be needed.


That is up to you to figure out in terms of your plot.

If we need to see your hero getting into a car to go some place and he finds a note on the dashboard with a plot point on it, then you don't use a break.

If all he does is get in the car and go to a more important scene without thinking up an important plot point, then skip the drive.

If a scene is just page filler, skip it.

Read books by really good writers to see how THEY used the device.

Tightly paced mysteries from the Golden Age are good for this. Try Doyle, Hammett, Chandler, and Agatha Christie. Some of the new kids--and I AM talking about Robert B. Parker as I've never forgiven him for Poodle Springs. (Dude, next time you try to pastiche Chandler, READ him first!)--don't know what they're doing.

[Olorin]

The best time to use it is to skip boring parts of the story.

My books take place over several years, so months often pass between the end of one chapter and the start of the following one.

As others have said, it depends on your work to a point, but essentially if the reader doesn't need to see it, don't show it.

Hope this helps.

[maestrowork]

Skip all the fillers and travel from A to B, or when nothing happens during those times. A novel is not a diary or a log. You need to focus on what makes sense to the plot, character or theme.

Simply put, every word counts. Don't bore your readers with details that have nothing to do with moving the plot, developing the characters, or strengthening the themes.


It can also be used as suspense. A goes to see B. When he gets there, he's a mess. So what happened en route? We don't know yet, and we're about to find out.

[BlueLucario]

Skip all the fillers and travel from A to B, or when nothing happens during those times. A novel is not a diary or a log. You need to focus on what makes sense to the plot, character or theme.

Simply put, every word counts. Don't bore your readers with details that have nothing to do with moving the plot, developing the characters, or strengthening the themes.


It can also be used as suspense. A goes to see B. When he gets there, he's a mess. So what happened en route? We don't know yet, and we're about to find out.
I do have a big action scene coming. But it's hours away from the scene I'm currently writing. Is there a way to skip there right away without it sounding so rushed?

[angeliz2k]

It has to do with your pacing. If you want a really quick-paced book, you probably are going to use time jumps a lot more frequently. If you want to slow it down, you probably will use them less. And, as someone else said, it depends on your plot, too; don't put it useless scenes just to show the passing of time. Find a more succinct way to show that time has passed instead of throwing in pointless scenes.

[Stew21]

I do have a big action scene coming. But it's hours away from the scene I'm currently writing. Is there a way to skip there right away without it sounding so rushed?


Change in scene with time of day can give you the several hour gap clue. The sun was falling when before it was high in the sky, for example, or mosquitos started biting. or Had to turn the headlights on would work.
Or end one scene with an indication of where the character is going, and begin the other when the character arrives - how long it took, or the several hours between, doesn't matter. Take them to the next scene. Give them a clue if necessary about the time that has past.
I jump in my story from plot point to plot point, I leave the gaps ambiguous where time doesn't really matter, and leave small indications of larger gaps of time, by saying, "over the past several weeks..."
Write the important stuff, set each scene. the gaps take care of themselves. Also, give your reader credit for being smart enough to figure out that something may be happening several hours or days later with simple guidance through scene setting and narration.

[maestrowork]

I do have a big action scene coming. But it's hours away from the scene I'm currently writing. Is there a way to skip there right away without it sounding so rushed?

It comes down to pacing. If you go from scene A to the big action scene abruptly, it may sound rushed. There are many ways to pace your scenes without boring your readers with unnecessary details. Perhaps get into the characters some more during the "transition."

As far as jumping from one scene to another -- it's all about context. If A is going to see B on three hours. And the next scene A is at B's door, we know 3 hours have passed. That's fine. We don't need to know what happened in those three hours. Or if something happened in those three hours, we could reveal it (again, the suspense thing). But such a transition would be contextual and clean. I like that better than saying, "Three hours later..."

[tehuti88]

I do have a big action scene coming. But it's hours away from the scene I'm currently writing. Is there a way to skip there right away without it sounding so rushed?

Make sure you don't use a time skip or scene change to avoid writing something that you only THINK is boring, but is in fact necessary to the plot. That is, don't fall prey to thinking, "Oh, that action sequence I have planned is going to be so much fun to write! But I have to write some necessary stuff before I get there...blech. I'll just skip it and get to the good part!"

As for determining whether something is just page filler/too boring to write, or is necessary but not as exciting to you personally as the upcoming action sequence, only you can determine that. It can be tricky. Lots of times I want very much to write a really cool upcoming scene, and going over all the stuff that happens before that seems agonizing, but I realize that what seems "boring" to write at the moment is in fact necessary; it only seems boring because I'd rather be writing the "fun" part.

And be sure that the scene you're currently writing is actually done before you decide to skip to the next scene. Don't rush what's necessary. If you do, it will show.

[Takvah]

I'm doing time transitions between the present and the past... but the chapters in the past also switch to first person with my main character narrating the happenings during that time. So far I really like the way it transitions. Since only one character is transitioning through time and you always know when the "I"s start it's Gabe that's talking, it isn't confusing. Betas to this point like the way it moves the story along (allowing the relevant plot points in the now to evolve), while building up the foundation on which those events are taking place. Basically, if you do transitions correctly, they should be pretty seamless. If you're noticing them and they seem clunky... they probably are... approach it from another angle.

[Gynn]

I do have a big action scene coming. But it's hours away from the scene I'm currently writing. Is there a way to skip there right away without it sounding so rushed?

Finish up the previous scene and then either start a new chapter or, if it's part of the same scene, use a break.

Just start it with something like "As the sun fell".

[BlueLucario]

So using this element, Is it really that simple? Wow.

You guys make it seem that way.

Sometimes I get into the habit of narrating every minute of things, when I really don't need to. I'm detail oriented.

[Chasing the Horizon]

All the books I've written or am working on have long time frames (years rather than days or weeks), so scene breaks are very much my friends. In short time skips (hours) I've found that either the time of day changing or the simple fact the characters have gone from one place to another is enough to keep readers oriented as to what's happening (and if they think it's been one hour when it's actually been five, who cares?). In my fantasy series the passing of time is vague. I frequently end one chapter with the characters preparing to leave for a destination and begin the next with them arriving. I don't bother saying that weeks have passed in between; I figure the fact they're going from one continent to another by sailing ship is enough for readers to assume that it's been at least a week or two. Every now and then I'll mention how much time has passed since an important event to keep the reader oriented. Showing the passage of time in my contemporary novel was easy because of Earth's seasons and holidays.

For the situation the OP is in, I wouldn't bother with any statement for the fact a few hours have passed. Just put in a scene break. Unless the exact amount of time passing is important to the story (say, the timer on a nuclear bomb is ticking down or something), then who cares exactly how long it's been?

[Melenka]

Transitions kick my ass. When I read, I despise abrupt time jumps because they take me out of the story, so I really try to avoid those in my writing. When you need to go from point A to point B, ask yourself how that happens, not how long it takes. Frequently I find that hesitation in writing transitions is an indication that I need part of the subplot to take place. Because I'm writing from three points of view (yeah, some editor will kick my ass for it later), it's frequently the minor character who steps in to move the story forward.

Also, phone calls and emails can set things in motion if you're in the modern world. Things like: He avoided checking his email for three days, not wanting to see what he knew would be there. or It took her two hours and five phone calls to undo the mess she had made in five minutes.

You don't need to detail his avoidance of his computer or the minutia of her job to give the reader what s/he needs to know. Just make sure there's a reason they need to know it.

[Use Her Name]

I always had a problem with transitions. The way I figure it is that stories are not a day to day account. My WIP takes place over February to May 1970. Some days I have a bunch of pages, some days nearly nothing. My MC has a few injuries in that time, he obviously lays on his back in bed for a week or so which I don't really write much about. Some things are important to the story. An affair with a married woman and the subsequent "revenge," and a series of sporting events leading to a major event are important, and a few subsequent sub plots which have full story cycles. To be totally truthful, I don't even toy with transitions until all the scenes are in place, because transitions, like "cutting' a movie are done in the editing stages (as far as I am concerned). What I am doing when I am writing is very cinematic (my metaphor for my own work, you don't have to use it). I write scene after scene, sometimes in order, sometimes not, and then, I have 200 scenes and place them all in order, do a bit of re-shoots, then I begin cutting the "film" some lands on the floor as outtakes, a lot is in there, some is re-written. In writing though usually there are layers where in film, what you see is what you get. I guess writing is more like animated film, anyway, that is how I layer it. If I do a magnificent scene, and can't use it, I save it and use it for a short story.

[bartender]

In the first draft, You just move directly into the next piece of plot-driving action with total disregard for transition. Transition is something you can tinker with in later drafts when you know the complete story. By then you'll come up with effective techniques customized for what you're trying to accomplish.

[Faolmor]

I'm going to be brave and post one example of exactly how I've done this in one of my WIPs. Several hours (in this instance) have passed between part A and part B. I began part B with a lead-in to show that several hours had passed. Plus added a "padding" sentence before launching back into the action. This (at least I hope) has the effect of easing the reader back into the new time zone.


Owyn regarded the warrior closely. “If so you say,” he replied, after a moment. He made as if to wheel his horse and hesitated. “I had not thought there a need to make clear my reasons for maintaining a common tongue, my lord,” he said. “We are far, yet, from Dyval. I would sooner not have treachery plotted beneath my nose.”

Tarik met the Captain’s gaze directly. “No treachery is afoot.”

“See that it stays that way.”

***

They rode late into the day. As Orian dimmed, a misting rain dismissed the lingering humidity, bringing much looked-for relief to the men and horses both. Tarik, however, was only further troubled.

Etc...

[Clarec]

You can also make a throw away reference to something your MC has been doing to pass the time e.g. "it was only when she finished the report, some hours later, that she decided to check out the ticking parcel," or "the old man was interesting to listen to and before she knew it, two hours had passed and she was late for his meeting with death,".

Or, and this is my favourite, "how long have I been unconscious?" ;-)

Clare

[Use Her Name]

"how long have I been unconscious?"



"Oh, eight chapters. That's okay, you're still in the book. Barely."

[Charlie Horse]

Look at the Harry Potter books.

[Toothpaste]

"As the months passed, he began to think she'd never call!"

"Two weeks was a long time to wait for a package, but when it finally arrived, Susie felt elated."

"Twenty years later there was still no arrest in the Jones' case."

[Faolmor]

"Oh, eight chapters. That's okay, you're still in the book. Barely."

:ROFL:

[Clarec]

Look at the Harry Potter books.

You mean: "after the long winter hiding in the woods, Harry decided on a course of action,". Ok, maybe I'm paraphrasing a little.

Clare

[Charlie Horse]

Six months after the hernia operation, Joe decided it might be time to consult a doctor about the excruciating pain he had been experiencing.

[Quossum]

You mean: "after the long winter hiding in the woods, Harry decided on a course of action,". Ok, maybe I'm paraphrasing a little.

*snort* If only! Sometime during that long winter that tome came mighty close to being launched against the nearest wall!

I persevered, though. Just like through those damn swamps with Sam and Frodo. *brrrr*

--Q

[Charlie Horse]

*snort* If only! Sometime during that long winter that tome came mighty close to being launched against the nearest wall!

I persevered, though. Just like through those damn swamps with Sam and Frodo. *brrrr*

--Q
Wow, you just managed to take a poke at two of the iconic literary works of our time all in one post.:poke:

[Melenka]

Wow, you just managed to take a poke at two of the iconic literary works of our time all in one post.

In both cases, I am right there with Quossum. And isn't poking at iconic figures, literary or otherwise, the basis for entire careers?