I thought today I would build upon an issue that came up with my last blog post on subplots. Someone asked in a comment whether a subplot could help with the infamous ‘sagging middle’ and my response was (basically) that an author needs to resolve why the middle is sagging before throwing in a subplot to try and ‘fix’ the issue. So today I thought I’d discuss the whole ‘middle’ of the novel issue, and see what processes or cures we might come up with that could help avoid the angst that comes with a middle that seems flat, meandering or just plain soggy…
Once again, I like to refer people to Jim Bell’s great book on Plot & Structure. His approach to the infamous middle focuses (and Jim I hope I’m not misquoting you here!) on two main areas: (1) stretching the tension; and (2) raising the stakes. I am particularly drawn to (2) as I like using the middle of a novel to up the ante for my protagonist. For me, the middle is where you really get to complicate and stir things up for your characters. As an outliner, I focus quite a lot on the middle and often find myself graphing out the tension levels in the novel I’m drafting. If I see a flat line in the middle then I know I’m in trouble. But, whether your an outliner or not – what do you do if, after the first draft is complete, you realize that the middle section just isn’t working? Here are some of my ideas:
(1) Reassess the premise of the novel and explore ways in which you can add complexity, drama and tension to this in the middle.
This could involve adding an additional obstacle for the protagonist, introducing a subplot to add more emotional resonance or tension, or it could be introducing an event that raises the stakes for your characters. Sometimes, the reason the middle of a novel is flat is because the author may not have sufficient depth (in either the premise of the book or its execution) and so the middle feels like ‘treading water’ until the resolution/final conflict occurs. Taking a step back and re-examining the premise might help you identify this and come up with some solutions.
(2) Map out the plot and brainstorm ways to raise the stake or add tension.
As an extremely visual person and a strong believer in outlining, I like to try and display the plot in a visual way that helps me identify places where I might need to add scenes that raise the stakes or add tension. I find once I can see the chapters that meander or sag, I can brainstorm ways in which I can alter the plot to add dramatic tension. This could be the place where an unexpected death occurs, a new character walks in to shake things up, or another obstacle is thrown in the protagonist’s way. Whatever you decide, it should all be aimed at keeping the reader turning the pages…
(3) Eliminate the boring bits!
Sometimes the middle gets bogged down with clues or details of an investigation, the mechanics of the plot or the protagonist going through the motions/actions necessary to progress the novel towards its denouement. One thing I like to bear in mind is that readers get bored…so when re-reading a draft I like to identify areas that even I am starting to glaze over. If, as the author, I’m not riveted, then it’s time to ditch those boring bits and think through how to maintain the tension rather than deflate it.
(4) Use your beta readers!
Another set of eyes and an honest opinion can really help when it comes to working out why the middle of your novel may be meandering or sagging. I like to give my beta readers specific questions to bear in mind while they are reading and one of these is often ‘let me know where you start to lose interest’. Sometimes beta readers help you realize what isn’t working (and often this can come at surprising moments in the book) and can identify the moment they started to find their interest waning. The key, of course, is finding beta readers critical and honest enough to tell you this (rather than what they think you want to hear!).
These are just four options for trying to wrestle with the issue of the dreaded ‘middle’ – TKZers do you have anything to add or feedback on your own experiences with the dealing with middle-of-the novel ‘sag’?