How to Succeed at the Middle of the Story?

[Luxuria]

"Beginnings are easy, endings are hard, but the very middle of a story is impossible." - Ride the Cyclone

That quote says it all. And middles of the stories is where I struggle the most. So, does anyone have any advice? Because I am VERY good at setups and endings. But I struggle with connecting point A and Point B. I have no idea why, but I think it might be a pacing issue. I want to get to end, but I need to have patience to get there. Also, I find it hard to weave character/arcs together in the middle, because you can't just give the reader the plot twist, but you also have to build toward the conclusions.

Any advice? Because I know it is like building a brick road. Every chapter must add something to the character, lore, or world. But I struggle to connect the beginning and the end. When I hit the middle, I tend to wander? Which is weird, but I can set up Batman's Parents dying and then him becoming Batman. But I don't know how to get him to run into the Joker and begin their rivalry. All I see is the Joker in jail as the end goal. But I tend to get side-tracked on the way to endings. Like, maybe there are too many possibilities or something?

I have to always make sure the plot line doesn't wander into 'oh, this sounds cool!' or 'yeah, let's kick this character again, because it's fun!' or "What's the worst thing I can do right now?". Sure, all of those can be useful in certain cases. But most of the time, after meeting to Joker, Batman then has to tend to a bunch of other minor issues and stuff, before tackling the Joker to the ground. But not all those minor issues are needed? But I also feel like it adds to a story to show a character doing things that round out their lives. I get annoyed when a story is so focused on THE PLOT (TM).

So, I guess the question is, how do I balance character development and meaningful plot progression?​

 

[Naomasa298]

Because I am VERY good at setups

Let me ask you this. What do you mean by setup?

 

[Homer Potvin]

I don't think I struggle with middles. Never really thought about it or noticed anything one way or another. Generally speaking, the second act is where all the characters get into trouble, fail at things, experience setbacks, see stakes increase, etc. I'd be curious as to how you feel you do beginnings and endings well but not the in-between. It would seem that the middle is a natural connection between one and the other.

 

[Naomasa298]

Plot events and character development (which includes characterisation) aren't a dichotomy. It's not a case of doing one or the other. You build the daily stuff into plot events with narrative purpose. If they're there for no particular purpose other than because you wanted to show them doing stuff, they don't need to be there. Whenever Stephen King shows characters going about their daily lives, which he does a lot, he does it for a reason.

Setup is not about world-building. It sets up stakes and leads in to the inciting incident, which then leads to the next plot beat, and so on.

If I wanted to get Batman meeting Joker, I would either write a parallel narrative about how Joker became Joker, or I'd just have them meet while Batman is out punching people, and escalate from there, by giving Joker the focus for several scenes. The key is that each scene leads into the next scene. The narrative flow follows naturally. If you're stuck with how to get from A to B, then you probably haven't ended scene A with enough reason to lead into scene B.

Even if you're a discovery writer (i.e. a pantser), you need to be planning at least one scene ahead of the one you're actually writing.

 

[Banespawn]

Brandon Sanderson defines plot as a set of promises, progress and payoffs. The middle of the story is where most of the progress happens.

If your progress is a character overcoming a flaw, then the middle of your story should show the character taking steps in that direction. If your progress is the character traveling from point A to point Z, the middle should show the character reaching points between. If your progress is a timebomb, then the middle should show time passing.

You should have at least a few different types of progression. That progress is what helps carry the reader through the story.

 

[Luxuria]

Let me ask you this. What do you mean by setup?

Well, like setting up the world, lore, character and conflict. So, like how Star Wars (Episode 4/1) had an arc. But I don't know what to do after the Death Star is destroyed. In the scope of things, I KNOW where I want the story to go, but can't quite connect it all to make Empire Strikes Back.

Generally speaking, the second act is where all the characters get into trouble, fail at things, experience setbacks, see stakes increase, etc. I'd be curious as to how you feel you do beginnings and endings well but not the in-between. It would seem that the middle is a natural connection between one and the other.

Thanks for this advice. Because of all those things, I don't know how to get the characters to 'fail' and experience setbacks in a way that still leads to Point B. For example, the Joker manages to escape Batman, but I don't know how he does it? In my current work, Space Magic, the stakes are about to raise and I know what they are. But I don't know HOW to lead the characters to learn about the dangers. Because right now, there are 3 possible ways to do it. As for the reason why setbacks are hard, are because I don't usually give my characters plot armor. Because if they are to fail at a battle or diplomatic negotiation, it drastically alters everything and may not lead me to point B. Or, 'drag' out of the story trying to fix the issue their failure created. I can get side-tracked trying to get them back on track. I know it seems silly, but every action in my story I want to have real consequences and benefits.

The key is that each scene leads into the next scene. The narrative flow follows naturally. If you're stuck with how to get from A to B, then you probably haven't ended scene A with enough reason to lead into scene B.

Oh, thank you. You're right. I think there are some things missing from the last few chapters. I may have jumped too fast into what I thought was the next plot point. When we should really get settled into the new setting and deal with some politics stuff. That's possible.

Even if you're a discovery writer (i.e. a pantser), you need to be planning at least one scene ahead of the one you're actually writing.

Hahaha. Yeah, I should. But I am a weird mix between the two. I don't plan ahead, but I know the scope of the story. When I have started stories recently, I have started to make a long list of scenes I WANT in the story. Then, I arrange them in logical order and then try to stick to the plan. The problem with the middle of Space Magic right now is that I made that list, but the order feels off. Maybe I should just go back to the drawing board? I also feel I am missing some of the small details/scenes that need to be in there. Also, there is 1 plot point in part 1 I need to fix. So, maybe I should do that before going on. But I also hate going back to edit when I am in a writing mood. But I know from past experience that I NEED to go back, because if I go forward, I could just end up scrapping part 2 completely.

You should have at least a few different types of progression. That progress is what helps carry the reader through the story.

I try. When I write, I make sure to spread out the lore and world building so the reader isn't hit over the head with an encyclopedia. I will keep this in mind, though.

 

[Homer Potvin]

As for the reason why setbacks are hard, are because I don't usually give my characters plot armor. Because if they are to fail at a battle or diplomatic negotiation, it drastically alters everything and may not lead me to point B.

It's more like the characters try something and it doesn't work. Or they come with a plan and something unexpected happens to alter the plan. To use the Empire Strikes Back example, that's the middle movie in the trilogy and the one where the characters get into all kinds of trouble and nothing they do works. The rebel base on Hoth gets attacked and everyone has to flee. Luke trains with Yoda and quickly discovers the Force isn't all it's cracked up to be. Then he loses a hand for good measure. Never mind finding out Darth Vader is his father, which forces him to reconcile all sorts of shit. The Millennium Falcon gets chased all over the stars, breaking down constantly. The Han gets captured and encased in carbonite. Even C3PO gets dismembered! Star Wars isn't the greatest example because it's not terribly character driven, but there's enough.

 

[Banespawn]

I try. When I write, I make sure to spread out the lore and world building so the reader isn't hit over the head with an encyclopedia. I will keep this in mind, though.

The lore and world building are separate from the progression. The progression is the movement of the plot from beginning to end, from conflict to resolution.

Think about what your characters want/need. Each step they take to get it is part of the progression.

 

[Stuart Dren]

Apparently few people struggle with middles (which I'm glad to hear!). I guess we're alone in this, Lux.

If it's hard to come up with what happens in the middle, then I need to more closely examine the themes, and come back from that with more ways to either represent their variability or reinforce the specificity. Sometimes it's hard to know there isn't enough content in the middle because it's like noticing something that just isn't there.

When challenged by the order in which it happens, the best solution I have so far is to write the scenes out of order. When I come up with a satisfactory middle scene, writing it is more important than working out its exact place in the narrative. That, and the necessary changes, can come later when I have a top-down holistic view of scene drafts.

Certain points are planned like trail increment markers, which I tend to work outwards from, but those can also move. Yes, the hero will get his friend killed in a daring move to rescue his aunt, but does that happen before or after he holds hands with the girl for the first time? My early and end scenes are locked-in from the start, though.

I used to write middle scenes as the scenes that merely got the characters to the next middle scenes and eventually the end scenes, and with a scene/sequel approach progressing the plot at that. I always got lost or bored and never finished the novels where I attempted that.

 

[Naomasa298]

Hahaha. Yeah, I should. But I am a weird mix between the two. I don't plan ahead, but I know the scope of the story. When I have started stories recently, I have started to make a long list of scenes I WANT in the story.

So do I. In one of my current WIPs, I wrote all the scenes I wanted, the developing romance, to have in the story first. These are scattered through the stoy. I have an overarching idea of what I want to have in between, and because it's a plot arc, I know where the trajectory goes. Each scene provides the characters with the motivations to make their next moves, so it's not an issue to move them on. The question to answer is simply, what would the characters - either the protagonists or the antagonists - do next?

What does Batman do when he turns up and the crime scene and fails to save all the innocent people from the Joker's laughing gas, and to prevent the Joker from escaping? As a person who's hell bent on revenge, proving his self-worth to his dead parents by punching criminals while dressed as a flying mammal do next? And what does the Joker do when he realises he has an angry furry after him do?

As for your Star Wars example - the Empire has just lost its shiny new superweapon. It isn't defeated, it still has masses of star destroyers, millions of troops, overwhelming firepower. So what's it going to do? It's going to go hunting for those rebel scum, of course. And that's exactly how The Empire Strikes Back begins.

 

[Homer Potvin]

Apparently few people struggle with middles (which I'm glad to hear!). I guess we're alone in this, Lux.

I mean, the middle is the story where most of the shit happens, so I don't see how that would be an issue if it's a coherent story. Maybe we're defining middle differently?

 

[Naomasa298]

Don't think of your plot as transition between set pieces or big planned scenes. Think of it as progression towards the next story beat. Write it with that perspective in mind, while thinking from the perspective of your characters foremost, and it should almost write itself. That should be an ideal approach for discovery writers.

 

[Luxuria]

It's more like the characters try something and it doesn't work. Or they come with a plan and something unexpected happens to alter the plan. To use the Empire Strikes Back example, that's the middle movie in the trilogy and the one where the characters get into all kinds of trouble and nothing they do works. The rebel base on Hoth gets attacked and everyone has to flee. Luke trains with Yoda and quickly discovers the Force isn't all it's cracked up to be. Then he loses a hand for good measure. Never mind finding out Darth Vader is his father, which forces him to reconcile all sorts of shit. The Millennium Falcon gets chased all over the stars, breaking down constantly. The Han gets captured and encased in carbonite. Even C3PO gets dismembered! Star Wars isn't the greatest example because it's not terribly character driven, but there's enough.

This is actually a really good breakdown of what they try and how it goes wrong. I never thought of it like that, weirdly enough. But you're right and I think this can help me with my story.

The lore and world building are separate from the progression. The progression is the movement of the plot from beginning to end, from conflict to resolution.

Think about what your characters want/need. Each step they take to get it is part of the progression.

True. But sometimes events change the lore, or add to it. And true. I do need to think about what the characters want. The issue I am having is that the main characters GOT what they want. They signed a peace treaty with the sci-fi government. Now, the two are wondering what to even do with their lives. The bad news is, the bad guys haven't gotten what THEY want. Which is two specific things that need to happen in a specific order. Also, our heroes don't know the truth of their sci-fi world or that it's seriously in danger. I think maybe I need to have the bad guys take action first? Like the Empire deciding to hunt down the rebels?

If it's hard to come up with what happens in the middle, then I need to more closely examine the themes, and come back from that with more ways to either represent their variability or reinforce the specificity. Sometimes it's hard to know there isn't enough content in the middle because it's like noticing something that just isn't there.

When challenged by the order in which it happens, the best solution I have so far is to write the scenes out of order. When I come up with a satisfactory middle scene, writing it is more important than working out its exact place in the narrative. That, and the necessary changes, can come later when I have a top-down holistic view of scene drafts.

That's interesting. Weird thing, I don't really think about Themes in my writing. I just write a story and if there happens to be an overarching theme, great. I don't think about it that much for most of my work. I honestly have tried writing scenes out of order, but it's like growing several different plants in different pots. Each scene end up being its own branch and I can never connect the pieces. It's weird. I have tried writing out of order, but that causes me to get sidetracked and I have tossed at least a half-a-million of words out doing it like this. (Not kidding. Half-a-million). But anyway, I will keep this in mind. Thanks for the advice.

I used to write middle scenes as the scenes that merely got the characters to the next middle scenes and eventually the end scenes, and with a scene/sequel approach progressing the plot at that. I always got lost or bored and never finished the novels where I attempted that.

Um, interesting. Maybe then, I shouldn't THINK this is part 2. Just keep writing Part 1? Basically trick my brain into thinking it's still part 1? Haha.

The question to answer is simply, what would the characters - either the protagonists or the antagonists - do next?

Thank you! Yes! I realize this is what I need. I think I have a new solution that just came to my head. Which is: don't have the bad guys wait. Just have them begin plan B now! It's really simple. Invite victims to private party and kill Moose and Squirrel, Natasha! *Evil Boris laugher*

Don't think of your plot as transition between set pieces or big planned scenes. Think of it as progression towards the next story beat. Write it with that perspective in mind, while thinking from the perspective of your characters foremost, and it should almost write itself. That should be an ideal approach for discovery writers.

Okay, I will try. I think I am really good at then when starting out, but I think I get in my head when I begin any 'Part 2". Because I feel I need it to not suck. Haha. So, I will try this.

 

[Luxuria]

I mean, the middle is the story where most of the shit happens, so I don't see how that would be an issue if it's a coherent story. Maybe we're defining middle differently?

Missed this! And maybe? I think my brain also thinks of the Beginning as Book 1. Where there is a full narrative arc, but what do I do after the climax of the first arc? And then I get in my head about sequels and wanting it to BE GOOD! Haha.

 

[Homer Potvin]

Missed this! And maybe? I think my brain also thinks of the Beginning as Book 1. Where there is a full narrative arc, but what do I do after the climax of the first arc? And then I get in my head about sequels and wanting it to BE GOOD! Haha.

Not sure where you are in the project, but I wouldn't worry about a sequel until the first book is finished. Or about whether it's good or not before it's finished. Not sure if you've ever written one before or not, but all books are half a dozen key scenes with the rest being filler, to one degree or another. Kind of like any cake or cookie is 80% flour (or flour substitute) no matter what it looks or tastes like in the end.