Think of writing horror as being a magician. You don’t want to reveal all your tricks at the start of the show and then have the crowd walk out halfway through. You also don’t want the opposite to happen – bore the reader while you delay your climax so that they drop the book before the action starts.
Timing and pacing are different. Pacing involves varying the tempo and setting your reader on a ride much like a roller-coaster, with ups and downs, twists and turns. You can use each little event to create a knock-on effect where the tension multiplies and grows until your reader is sitting on the edge of their seat with anticipation of what’s to come.
You need to start off with simple tricks that grow in complexity until your climax. Think of each scene in your short story or chapter in your novel as a different trick in a magic show which add up to creat the whole performance. Imagine yourself on stage and how the audience responds to your actions. Do you need half-naked girls and giant bursts of flame to make the show look good, or will the audience be amazed by the act without the setup?
Keep impressing the reader with your illusions and sleight of hand. Make each trick more difficult than the next until you reach the show stopping climax. But remember to save one or two tricks for the dénouement. Dont let your story fizzle out after the bang, throw in a twist that will leave your reader questioning what they see around them and sleeping with the light on.
Timing is knowing when to have the boogeyman jump out of the closet. You use pacing to build suspense but having your crazed cannibals eat the brave explorers too soon will negate the tension that you’ve worked so hard building. Spending too much time setting up a scene can leave your readers time to predict what will happen or to lose interest in the scene. Just how long can you have the crazed serial killer stalking the protagonist from room to room in the abandoned hotel before it loses its impact?
The question of timing comes down to skill. As a writer, you will have to assess how much (or little) you need to set up your scene before the climax. This comes with practice and requires a certain skill – much like a magician who plans her act before the performance. Don’t be afraid to use misdirection and illusions, all great tricks use these, there is no real magic behind it.
So go on, give your work some thought and put on a show that entices, amazes and terrifies your reader!