Then Naples slid across to the window

The action now dramatically changes speed. Note how the author increases the descriptors to slow our reading down, mimicking the considered and deliberate action.

For about thirty seconds nobody moved. Then Naples slid across to the window, standing to one side so that he could look out without being seen. He had to stand on tiptoe to do it, his hands perched on the sill, the side of his face pressed against the glass. When he turned around, he left a damp circle on the window. Hair oil and sweat.

Again, our narrator judges the client. Oily. Sweaty. All qualities chosen to make us not like the character very much and not trust him, even though the detective really wants the job and the money.

In both of these examples the tension is lifted suddenly, which is a good way to add some comedy to the writing. Have a look.

We all stared at the source of the sound for what seemed like ages. Then Fliss strolled to the door to identify the knocker. She squinted through the peephole, one hand on the door knob, the other reaching for the taser I knew was in her handbag. When she looked back at us, she produced her purse instead and broke into a huge smile. “Lunch! Can you handle pizza in your condition, Ms Doe?”

Neither of us breathed for a few seconds. Then D'Angelo slowly leaned forward to get a better view through the doorway. His hands started to shake and thick wet ring of sweat appeared around his tracksuit collar. Then a woman suddenly cried, “It’s true! Jordan is coming out of her coma!” and both of us relaxed. Pacific Palisades. The show was trash, but uber dramatic.

Write your own variation.