everyinc Sorkin
Purpose
Check your writing for pacing and momentum. This skill reads like Aaron Sorkin edits—looking for forward motion, urgency, and the feeling that things are happening. Walking and talking, not standing and explaining.
Use this when:
- A piece feels slow but you're not sure why
- Readers are dropping off midway through
- A section feels static or lecture-y
- You need more drive toward the ending
Invocation
/cw-sorkin [text]— Check pacing and momentum in the provided text/cw-sorkin— System asks "What feels too slow?"- Works on selection if provided, asks if not
The Walk-and-Talk Test
In Sorkin's shows, characters deliver exposition while moving—down hallways, through offices, toward destinations. The motion creates urgency even when they're just explaining things.
In writing, "walking and talking" means:
- Information delivered while something is happening
- Forward momentum built into the structure
- The sense that we're going somewhere, not just sitting
Standing still: "Let me explain how the system works."
Walking and talking: "The system was already failing when I arrived. By the time I understood why, it was too late to stop it."
Pacing Problems
| Problem | What It Looks Like | The Fix |
|---|---|---|
| The Stall | Progress stops for explanation. | Weave exposition into action. |
| The Lecture | Writer talks at reader, not with them. | Add questions, stakes, or conflict. |
| The Meander | Piece wanders without direction. | Make the destination visible. |
| The Pile-Up | Too much happens too fast. | Let key moments breathe. |
| The Even Pace | Same rhythm throughout. | Vary sentence length and scene intensity. |
| The Dead End | Section ends without pushing forward. | Each section should propel into the next. |
Techniques for Building Momentum
1. The Destination
The reader should always know (or wonder) where this is going. What's the question we're racing toward answering?
2. The Propulsion
Each paragraph should push into the next. End on something that demands continuation, not a neat conclusion.
3. The Urgency
Why does this matter now? Why can't we slow down? (Even artificial urgency—"I only had three days"—creates drive.)
4. The Interruption
Break up long stretches. A short sentence. A question. A new voice. A scene cut. Variety in rhythm is variety in pacing.
5. The Delay
Counterintuitively, slowing down at key moments can increase momentum—it builds anticipation. But you have to earn it.
Output Format
## Pacing Check
**Overall momentum:** [Static / Sluggish / Steady / Driving]
**Where it stalls:** [The biggest slowdown]
---
### Section-by-Section
**[Section/paragraph identifier]**
- Pace: [Fast / Medium / Slow]
- Problem: [If any]
- Note: [What's working or not]
[Repeat for each section]
---
### Momentum Killers
1. [Specific passage] — [Why it slows things down]
2. [Specific passage] — [Why it slows things down]
---
### The Rewrite
[Sample section rewritten with better pacing]
---
**What changed:**
- [How momentum was improved]
Does this feel urgent enough, or too rushed?
Principles
- Momentum is not speed — A slow section can have momentum if it's building toward something. A fast section can feel static if it's going nowhere.
- Every section needs a job — If you can't say what a paragraph does for the piece's movement, cut it.
- End paragraphs on launch pads — The last sentence should push the reader into the next paragraph, not let them rest.
- Vary the rhythm — Same pace throughout is monotonous. Pulse it: fast, fast, slow, fast.
- Movement comes from want — If no one wants anything, nothing happens. Desire creates motion.
The Sorkin Question
At any point in the piece, can the reader answer: "What are we trying to figure out / get to / understand?"
If not, momentum is dead.
Lessons
[Skill-specific lessons will be added here as they're captured]