I found this in an obscure corner of the ether. Good advice.
(p. 79) "The pursuit plot is the literary version of hide-and-seek." "The basic premise of the plot is simple: One person chases another. All you need is a cast of two: the pursuer and the pursued. Since this is a physical plot, the chase is more important than the people who take part in it." First phase: establish the situation, who is running and who is chasing, and why? Stakes? Motivating incident? Second phase: the thrill of the chase! twists, turns, reversals, death-defying plunges, narrow squeaks, and that's just the beginning! Third phase: the resolution. Are they caught? Or do they escape? The cardinal rule: Don't Bore the Reader! The tension is greatest at the moment just before it seems capture is inevitable. Wham! Foiled again, and off and running.... Don't forget confinement--limit the motion, and feel the tension mount. Checklist: 1. The chase is more important than the people, so stress it. 2. Make sure the pursued is really in danger of getting caught. 3. Give the pursuer a reasonable chance of catching the pursued; even let her catch him...for a moment. 4. Physical action! 5. Make sure the twists and characters are stimulating, engaging,and unique--the plot surely isn't. 6. Develop characters and situations against type to head off cliches at the pass (ouch!) 7. Make the area of the chase as confined and tight as feasible. 8. In the beginning, make sure the reader knows the ground rules for the chase, the stakes involved, and the motivating incident that starts the race. [I should skip by it, but something tells me I should point out that Roadrunner and Wily E. Coyote have been doing the chase scene for quite a while now...beep-beep!] link
Photo of a coffee stall in Dakar by me