by Maria Geraci
My friend Lisa has a fat roll around her waist named Carmela DelBarko. Yes, Lisa has given her muffin top a moniker. Carmela’s favorite foods include chocolate and nachos with cheese dip. And while Lisa and I laugh about her fat roll with the name (I only wish I was half so clever to have come up with this myself) there is one sagging middle that is no laughing matter. And that’s the one in my story.
When I begin writing a novel, I start with a story concept or a character in some kind of trouble. I write without an outline and allow the characters that start popping into my head to jump out onto the pages. This is the part I love, the part that seems to flow. Until suddenly, and sometimes without warning, it doesn’t flow anymore. Then I know I’ve reached the middle of my story.
When I begin writing a novel, I start with a story concept or a character in some kind of trouble. I write without an outline and allow the characters that start popping into my head to jump out onto the pages. This is the part I love, the part that seems to flow. Until suddenly, and sometimes without warning, it doesn’t flow anymore. Then I know I’ve reached the middle of my story.
The middle of the story (or Act 2) is the hardest part to get right. It must propel the story along in such a way that it sets up the ending and must keep the reader turning the pages. It must be full of emotion and surprises but never feel like "filler." Easy to do, right? Well, not always.
Recently, while working on deadline for my next novel, I came to a point in the story where I just had to stop and try to figure out what the heck was happening. After writing almost 150 pages, I knew how the story had to end but getting there seemed overwhelming. I needed some craft advice quick. So I decided to do a little research on how to fix my problem. That's when I came across this great post on a blog site called The Literary Lab. I really like how the author talks about the outer and inner conflict and how alternating them keeps the story moving along. I also like how he talks about the use of subplots. In my opinion, it's the subplots that must weave back into your main plot that keep the middle from sagging.
Recently, I just finished reading The Hunger Games (I know, I'm probably the last person on the planet who hadn't read Suzanne Collin's awesome trilogy) and was struck by the compelling mid act. No sagging middle for this book, that's for sure!
What books have you read that really keep the pace moving? What tricks or devices do you have as a writer to keep your middle from weighing down your story?
Maria Geraci writes fun, romantic women's fiction. Please visit her website at www.mariageraci.com
