Swamp Survival Strategy #2–Plot Progression (cont.)

In building story progression–especially in the middle of a book manuscript where the story typically loses momentum and sags–it’s important to increase conflict rather than let it slide.

Nothing moves forward plausibly in a story except through conflict. Anything else tends to be a writer contriving events by stringing them together, or stalling because inspiration is not coming, or simply telling readers about character activities through narrative summary. These tactics will sink your plot faster than anything else you can try.

As long as conflict engages the thoughts and emotions of readers, they remain involved with your characters. They will travel through hours of reading time unaware of anything except the unfolding story. They are enthralled.

Hurrah! That’s what we writers want.

When the conflict falters, fades, or disappears, the spell you’ve woven dissipates. Readers detach from the story with a sigh of disappointment. They skip ahead or put down the story.

Boo! That’s what we writers don’t want.

Therefore, in the midsection, make sure your antagonist is bringing more trouble. Keep your scenes strong through opposition to whatever the protagonist is trying to accomplish. End scenes with setbacks, not success. Make sure each scene is progressively tougher, more exciting, and lands the hero in bigger trouble than whatever came before it.

A book’s middle benefits hugely from a big spike of intensity and excitement. That’s supplied by means of a central plot twist that hits the protagonist unexpectedly and sends shock waves through character and readers alike.

Or there can be a big scene of confrontation positioned in the book’s center that’s been planned, plotted, and anticipated all the way from the book’s opening.

Either way, this so-called central event should have dynamite. If you examine, say, a half-dozen genre novels that are either your personal favorites or written by some of the most popular authors in recent years, you’ll find this big event is located pretty much right in the middle.

Example–the suspense novel, HOT MONEY, by Dick Francis revolves around death threats made to the protagonist’s father, a super-successful entrepreneur whose familial relationships have been rocky at best. A succession of dangerous near-misses against dear old dad builds progressively, heightening the anticipation of bigger and bigger trouble, yet the explosive plot twist in the book’s center is anything but what readers expect. It’s violent and shocking. It creates a definite turning point in the story, and it galvanizes the protagonist into taking more assertive action in finding/stopping the villain from committing more violence.

Another example–the book, HOMECOMING, by women’s fiction author LaVyrle Spencer–deals with a man who thinks he’s happily married with a loving wife and two fine teenage children. The Chapter-One arrival in his community of his pre-wedding one-night stand and a son he never knew he had shake this man’s world and threaten to break apart his family. Although his first instinct is to confess everything immediately to his wife, he loses his nerve and chickens out, procrastinating, worrying, and waffling until his best opportunities fade and he is forced to talk to her at a point where her trust is badly shaken. His delay generates considerable reader involvement and anticipation. It also guarantees that his wife will not believe anything he tells her.

By being aware of the need for such a big, exciting plot development as you initially plan and outline your story means you can build to it. You have a firm destination within the middle swamp. Knowing this–and the trouble awaiting your protagonist–helps you avoid that feeling of being lost while slogging endlessly along.