Getting Stuck with a Sagging Middle – by Wendy Nelson Tokunaga

In the novel writing workshop I’m teaching this quarter, we’ve been focusing on the middle of novels. This is the place where a lot of writers get stuck. It’s pretty straightforward why we write the opening and climax of a novel, but the middle? How are we supposed to fill such a huge void?

I’m using a terrific book as the text for this course: Beginnings, Middles & Ends by Nancy Kress, which is great for novelists (and short story writers, too) at all levels. Even the most experienced writers can get stuck in the middle of their novel-in-progress (Yes, says this author, raising her hand), and reading or re-reading a practical craft book can often work as a nice reminder and give a needed kick in the butt.

Kress points out that there are several common reasons for getting stuck in the middle. Here are some examples:

Fear of Failing: This happens when a writer compares herself too much to other writers. Novels become half-finished and the writer runs out of steam because she’ll never be as good as _________ (fill in the blank). I remember being in a short story writing class years ago when a fellow student announced to me that she had just read Ethan Canin’s short story collection. “That’s it,” she said. “I give up. I’ll never write as well as him.” I’ve found it’s much better to try and be inspired by another writer rather than intimidated. Otherwise this can become a recipe for paralysis.

Fear of Being Successful: This also can result in the writer not finishing her novel and stopping in the middle. The line of thinking goes something like, “What happens if I finish this book? Then I’ll have to start another one and I don’t have any good ideas. And then I won’t be a real writer anymore and I’ll lose my identity. . .etc., etc.” So the writer keeps polishing and revising and can safely say that she’s working on the book, but becomes bogged down with “The Curse of the Novel that Wouldn’t End.”

Fear of Not Knowing What Happens Next: Bingo! This is the one I’m grappling with right now in my novel-in-progress. Kress calls this “literary fogginess,” which is often the result of not having worked out the complete plot of the story beforehand (or perhaps realizing the original plot won’t quite work) and hoping to discover what happens from simply diving in and writing.

I’ve taken Kress’ advice and started writing extensive notes as to what my characters want and whether there are things I’ve overlooked. I’m also working on other directions for them to take (even wild ones) that will hopefully excite me so I can get back on track. I’m making progress and am convinced that I will turn my stuck, sagging middle into something tight and taut, provided I do enough sit-ups!

How about you? What do you do if you’re stuck in the middle of your novel or story? Any craft books you recommend that can help come to the rescue?

Wendy Nelson Tokunaga is the author of the novels, "Midori by Moonlight" and "Love in Translation" (both published by St. Martin's Press), and the e-book novels, "Falling Uphill" and "His Wife and Daughters," and e-book short story, “The Girl in the Tapestry.” She's also the author of the nonfiction e-book, "Marriage in Translation: Foreign Wife, Japanese Husband." Her short story "Love Right on the Yesterday" appears in the anthology "Tomo," published by Stone Bridge Press, and her essay "Burning Up" is included in "Madonna and Me: Women Writers on the Queen of Pop." Wendy holds an MFA in Creative Writing from University of San Francisco and teaches for Stanford University's Online Writer's Studio Novel Certificate Program. She also does private manuscript consulting for novels and memoirs. Follow her on Twitter at @Wendy_Tokunaga, friend her on Facebook and visit her website at: www.WendyTokunaga.com

To Be Blocked or Not to Be Blocked?

by Lauren Baratz-Logsted

Regarding the title of today's post? That is the question. And it's a good day to ask a question like that since April 23 is the date of William Shakespeare's death and quite possibly his birth.

One of the topics we're discussing this cycle at GBC is writer's block.

I'll confess something right up front and can only hope no one will hate me for it: I've never had writer's block. I've felt sluggish about projects from time to time. I've become bored (rarely) or otherwise disenchanted (occasionally) and I've wondered what the point of it all is (once in a blue moon). But I've never been blocked, which for our purposes here we'll define as an inability to put words on the page for an extended period of time.

I'm a writer. It's who I am. It's how I make my living, meager as that may be some years. For me, not to write is the same as if, when I was an independent bookseller, I said: "I can't sell books today"; or when I was a window washer, "Nope, I'm afraid those windows must remain spotty today because I just can't do it." When it's your job, you may not always feel like doing it, but still you show up and do the job.

Those times when I do feel sluggish or go stale on a project, I have two - for me - sure-fire ways of dealing with it: 1) spend the day working on some other writing entirely - a nonfiction essay, a blog post, even a really well-crafted email - so I maintain confidence in my ability to put words, good and well-chosen words, on the page in an effective manner; or 2) jump ahead in the story and write a scene I am excited about writing, one I've been dying to write, while vowing to come back later to the problem scene. Whichever way I choose, I always feel refreshed the next day. The trick is to always be moving forward, in some way and however small the step, toward your goal.

Over at Grub Street Daily, there's a terrific interview with Alexander Chee, which you can find here. One of the things I love about it is what Alexander has to say about needing stamina to go along with talent, because without the stamina, your talent won't get you where you want to go. After being led to the interview by a link on Twitter, I tweeted to GSD and Alexander that I would add to that the need for a writer to have resilience (of course, I managed to do it using typos galore, compromising the otherwise brilliance of my obvious resilience).

Resilience is a big deal to me. It's the ability to show up as a writer, sometimes under spectacularly adverse circumstances, and do the work.

One last thing before I go: Over the years I've been doing this, I've come across the occasional person - OK, more than occasional, but I know none of you are Those People! - who has bought into the idea and convinced themselves that writers are artists (which is true) and if a writer is a true artist, that writer must be tortured, a tortured artiste (which is false). Those People work themselves into states about all manner of things and before you know it, they've got a block to go along with it.

Well, the truth is, no one has to be a tortured artist. You can choose to be a happy one - or at least a resilient one! - and you can choose to reject and push aside that block.

And that's all I've got!

Now it's your turn: Have you ever been blocked? How do you deal with writing stumbles or blocks? And finally, am I getting on your nerves yet with my disgusting happy-pappy-sappy resilient talk?

Be well. Don't forget to write.

Lauren Baratz-Logsted is the author of 24 books for adults, teens and childrens. Her most recent novels for adults are The Bro-Magnet and Z: A Novel   and she'd be estatic if you bought one, or both even ($2.99 each; a steal!), but she'll never know if you don't and thus won't be able to hold it against you.