Novel-Writing 101: Must-Have Middles

Welcome to the second article of three to go into deeper detail about story structure. If you missed the overview article I wrote on story structure, you can find it here. And if you missed the first article of this series on Bright Beginnings, you can read it here.



While the beginning is what will sell the story to your readers, its unwise to underestimate the importance of the middle. All-too often writers concentrate on the beginnings and endings, which leaves the middle in a muddle. The second act of the three-act story structure in where the real heart of the story begins. The middle is what gets your characters and your story to the ending.





Add increasing tension/conflict throughout Act II to keep the story moving.

If you already know your story beginning and your story ending, it's a good idea to lay out the middle with a series of events that seem to climb or escalate, so that by the time you reach the third act, your readers are slobbering all over themselves to find out what happens. If you don't your story will sag like a tent with no center support. The story line will wander about with no clear direction, and you'll lose the reader.



A good way to keep forward motion in your story is to incorporate the following:



Inciting Incident

The second act begins when something happens that hurls the main character into a new situation. Sometimes this is also a new world, perhaps a new job or new task. It may or may not be related to their original story goal. The hero/heroine might welcome this new situation, but more times than not they will resist and/or dislike this new direction. As an example I'll use the movie The Wedding Planner . Our heroine Mary suddenly discovers that her current client is engaged to the man who recently saved her life and captured her heart. She almost backs out of the wedding, but her friend and associate talks her out of it.



Hero's Response

The reader needs to see how the hero/heroine responds to this new situation. Our main character will often seek advice from friends and tests the water to uncover who is their friend and who is their foe. He or she will come up with new plans. They'll try out different options to see what works and what doesn't. (Side Note: As difficult as it can be, writers must set their main character up for failure at this point. They try to "fix" things, which only leads to further trouble either immediately or down the road.)



Unfold the Antagonist's Plan

Bit by bit, novelists must gradually open the curtains on the antagonistic force to reveal their plan bit-by-juicy-bit. And yes, you MUST have something or someone that stands in opposition to what the main character wants. Without it, you don't have a story. And honestly, it won't hurt to have several things that keep our hero/heroine from achieving their goals--inner fear, natural calamities, an opposing character, good friends who with good intentions which cause even more problems for the main character--the list is endless. Somewhere along the 3/8th's mark in the story, you need to show the antagonist in full swing. That way the reader, and possibly the main character, know what they're up against. (Sometimes it better suits the story for the reader to recognize danger for the character that they can't see for themselves. This is a GREAT way to add tension/conflict to the story.)



Gradually Reveal Backstory

Why is backstory needed at all? Because readers want to understand why your main character thinks and behaves the way he/she does, and that always comes from something in the character's past. A word of caution: Don't include backstory that isn't relevant to the story. That just adds junk that further drags down the story. Also, make sure that you reveal it little by little, as the reader needs to know. Don't dump it all in one spot.



The Lie Seems True

We all have lies about ourselves that we mistakenly think are true. Usually these lies can be traced to traumatic events from our past. For example, a character who was constantly bullied at school may believe in adulthood that somehow they're deficient or "not good enough." Something needs to happen close to the beginning of Act II that confirms the lie in the main character's mind. This lie can also be a fatal flaw, such as blinding pride or jealousy. Whether lie or flaw, the reader needs to see it confirmed for the character. (Note: At this point in the story, your character will most likely not realize their flaw or lie, but throughout the story they'll begin to recognize it and take steps to overcome it. This overcoming of the lie/flaw will take place at the climax of the story.)



Mentor/Wise One Points to A Better Way of Thinking/Acting

Just about every story has a character which serves as an adviser to the hero/heroine. In Star Wars Obi Wan Kenobi and Yoda serve this purpose. These mentors/friends/advisers are dispensers of truth for the main character to help battle the lie/flaw. It's important to remember that at their core, people have beliefs, which in turn determine their values. These beliefs and values determine the way we think, and how we think determines our actions. That's why I think it's important to know your character inside and out before you start writing your story. Know their beliefs and values and thoughts, because those things will determine their actions. The role of the mentor/wise one is to help your character act on the things that deep down they know to be true.



Tests and Training

The main character will face tests during the first part of the second act of the story in order to train them for the big battle ahead. In It's A Wonderful Life George Bailey is accompanied by Clarence the angel through a series of scenarios that test and train him to help him overcome the lie that he should never have been born. This testing and training will offer the conflict and tension that is sorely needed in the second act to keep it from sagging.



Point of No Return

At the mid-point of your novel, something needs to occur where our hero/heroine are forced into further action from which there is no way to turn back. In The Firm Mitch begins his undercover operations to bring down the firm, and there is literally no way out but through. Often this point will mirror the dark moment at the beginning of Act 3 in some way. In the third book in the Miller's Creek series, The Way of Grace, Gracie experiences a "shot" that damages her reputation and standing in the community which is mimicked in the story's dark moment.



Now It's Personal

In the second half of Act II, the battle becomes intensely personal. Maybe in the first half, the hero/heroine is in the battle on behalf of some cause or for someone else, but whatever happens at the midpoint makes the battle personal for the main character. In Miracle on 34th Street Susan asks Santa for the impossible. It is here that she puts her faith on the line.



New Plan of Attack

At this point in the second act, the character has to come up with a new plan of attack. More training takes place for the purpose of defeating the antagonistic force once and for all.



Another Disaster

Just as it seems the hero/heroine is on the right path, the antagonistic force shows up again before the main character is completely ready and wreaks the usual havoc. This will happen at approximately the 5/8th's mark. This is yet further confirmation that the lie/flaw is true. More tension!



Impossible Choices

Here the main character must make what seems like an impossible choice. This is often in the form of the hero/heroine having to choose between rescuing someone dear to them or going after the bad guy, in other words, what's best for them or what's best for the world. In Sabrina Linus must choose between his plan to boost the profits of his family's company and the woman he has fallen in love with. Still more tension!



Loss of Key Allies

With the loss of key allies comes even more conflict. In Miss Congeniality FBI agent Gracie Hart loses not only her partner but her love interest at a critical point in the plot of the story. In Texas Roads (Book 1 in the Miller's Creek novels) Dani loses the support of the folks of Miller's Creek and our hero Steve Miller when she needs them the most.



A Pre-Dark Moment Lull

Usually right before the pandemonium of the Dark Moment hits (the beginning of Act III), there is brief lull in the story where the conflict seems to diminish momentarily. This is for the purpose of delivering a double-whammy to the main character (and hopefully, the reader!) during the following scene.



As you can see by looking back over the main points of this article, conflict and tension are key. In addition, that conflict and tension needs to increase ever so slightly throughout the second act. Following the key points above will help create that tension. A helpful exercise is to sit down ahead of time and write out some possible bad things that can happen to your character in the context of the story. Then rearrange those things by seriousness and fit them into your key points.



Hope you find this useful in constructing the second act of your story. I'd love to hear your comments, suggestions, and questions.



Happy Writing,