Quite often, word counts are associated with dread. "Oh no, I have to cut words," or "My manuscript is too short for the market I want to write for." We might even stress over a chapter that's gotten too big (or too small). It makes sense, since what we can measure is what usually gets measured, and word count is the easiest things to measure in a manuscript. It's how we judge the hard to judge.Which is a bit unfair to the poor word count, because it's actually a very handy too to use when writing. The number of words we have can help us judge our pacing and structure. I even use my word count to help me write my scenes.Keeping an eye on my word count per chapter helps me control my pacing as I write. It varies some from chapter to chapter, but I know there's certain basic structure to my storytelling processes, and keeping track of where I am in my word count guides me in how a chapter should play out.I didn't start off doing this, of course. I realized several years ago that I had a certain structural style I naturally wrote in. My first drafts typically fall around 60,000 words for young adult, and 80,000 words for adult novels. My chapters like to weigh in around 2,500 words. Even within my chapters, I have a typical structure that uses a certain number of words. I'm not purposefully following a template, this is just how my writing brain works.For example, when I begin a new chapter, I check my word count feature (or set it if the software allows that, such as Scrivener). I know generally how many words I typically write per scene to work out a plot event. I have a common word-count curve that more often than not goes 500-1500-500 as I start, build, and end a chapter.

So how does this work?Let's say the chapter I'm working on is starting with a new goal for my protagonist. My scene introductions tend to run around 500 words, so I know this is about how much I need to write to get into the scene and set everything up. By that 500-word mark, my protagonist has been handed a problem, reacted to it, and made a decision about what needs to be done next that propels the scene forward. At the end of the chapter, there's usually a big "eek!" moment, and that typically needs 500 words to lead up to. So I have 1500 words in which to connect those moments.If I get to the decision point and find out I've only written 145 words, there's a very good change I've skimped on description or internalization or I'm not increasing the conflict or tension as much as I need to. I'll add something to flesh out that beginning, such as a problem, fear, some foreshadowing--it varies depending on the scene and what's needed at that point of the book. If I'm close (or over) that 500 word mark, then I continue as planned.I keep writing until I get close to that 2000 word mark, and usually by then I'm ramping up to that big "eek!" moment. If not, chances are I need to start wrapping up that chapter. If I'm nowhere near the ending of that scene, that either means this is a very long scene (which it might be) or I'm wandering and losing focus, possibly unsure where I'm going.Now, I know some of you (especially the pantsers) are probably thinking "Egads, how could she write like that? It's so rigid!" but it's really not. I don't force my chapters to fit my 2,500-word target. If a chapter starts out with only 145 words and they do exactly what they need to do, I don't worry about adding more. If the scene needs an extra 1,000 words to complete what has to be done, I write those words. Keeping an eye on my word counts is a technique to help me, not stymie my creativity.For example If I'm halfway through a chapter and I've written something that can turn into a problem if a character does X instead of Y, I might check to see where in my chapter I am word-count-wise. If it's early on, and that problem might be fun to explore a bit, I let the problem happen. If I'm close to the end of the chapter, I reevaluate that potential problem.Not every problem I come up with is going to serve the story. Just because I can make it harder, doesn't mean I should, especially if it's going to hijack my protagonist from the core conflict at the wrong moment. If I'm excited about the idea, I run with it even if breaks all my guideline "rules" just to see where it goes, because you never know where something awesome will come from.A lot of it is gut instinct, but after years of writing, I've learned I write best when I write organically within an outline structure. It's useful for me to know "I have 1000 words to do stuff in this scene before I get to X plot moment." What that "stuff" turns out to be often depends on what pops out of my head and onto the page as I write itIf a scene spans chapters, then naturally this breakdown goes right out the window, but I've found there's still a plot wave of introduction--building--problem that happens in every chapter. I still keep track of the words, because I've also found scenes that run too short tend to feel rushed, and those that run too long tend to drag. If I've written 1,200 words and I haven't added a new problem, revealed something new, or done something that moves the story in some way, chances are the scene will bore the snot out of my beta readers. It's much easier to deal with it at the drafting stage than revise later.I'll love this process, but I know this is not a technique that will work for everyone. If this sounds appalling to you, stick to your own process. But if you do decide to try it, remember to use whatever word counts work for your writing style. If you write longer, your breakdowns will differ. Study your past work and look at the scenes and chapters you really like, and see if there's a common breakdown you can use as a guide.Maybe it's the artist in me fleshing out a rough sketch, but I've discovered I have the most freedom when I give myself a little structure to work in.Have you ever used word counts to help pace? Does this technique appeal to you or sound dreadful (grin)?