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The delayed register is distinct from simple denial or suppression. Denial is conscious — a character refusing to accept the truth. The delayed register is neurological — the brain simply hasn't caught up yet. Don't narrate the character's thoughts during the delay; describe only the physical action in precise, almost clinical detail.

Kazuo Ishiguro uses this masterfully in 'The Remains of the Day.' When Stevens confronts the magnitude of what he's lost, he continues discussing household schedules before the weight shifts his language. The ordinariness of his composure is what breaks the reader's heart.

Gabriel García Márquez employs a variation in 'Love in the Time of Cholera.' When Fermina Daza receives news of her husband's death, Márquez lingers on her noticing the parrot is missing — a displaced observation — before grief arrives. That detail belongs to two minutes ago, and its intrusion into this terrible new reality is profoundly moving.

To practice: take a scene where a character reacts instantly to bad news. Insert exactly one sentence of mundane action between the news and the reaction. Read both versions aloud. The second will land harder, because you've given the reader a breath in which to brace — and that breath is where empathy lives.

Avoid two pitfalls: don't make the delayed action symbolic or ironic (readers see through it), and don't extend the delay too long (more than two beats reads as indifference).