When writing the middle of your novel, you can run into two common problems with momentum: it’s either too short or too long. Here are my tips for how to write the middle of a novel without losing momentum.
If the middle of your novel is too long
By too long, I mean you exceed your word count for a novel in the particular genre you write, you find it boring, or you’ve lost your plot, your point, your protagonist, or all three. Since the middle of your novel is the largest part of it, it’s easy to overwrite this section or lose your way. To trim it or drastically reduce it, try these techniques.
- Write a one to three sentence paragraph that sums up your novel. It sounds impossible, but you should be able to describe who your protagonist is, what the problem of the novel is, and how the protagonist intends to solve the problem in just a few lines. Post those sentences where you can see them while you edit. Cut the subplots that don’t support the problem listed in those sentences. For example, my amateur sleuth’s young half-brother always invents some device during each of my novels. But I only include his invention because I can use it to effect the course of Rae’s investigation to solve the mystery.
- Is your protagonist the active agent? It’s easy to let secondary characters take over in the middle. But your protagonist(s) should be front and center of most scenes. If the novel is written from 1st person POV, then the protagonist is the mover and shaker of every scene. Cut those scenes where the protagonist isn’t actively involved.
If the middle of your novel is too short
By too short, I mean you are way under your word count, the middle isn’t the longest part of your novel, or your novel feels rushed or boring.
- Examine your beginning. The beginning introduces and establishes characters and plots for the novel. The middle complicates and explores those introductions and establishments. Have you explored relationships you set up at the beginning? Have you complicated the path your protagonist is following to solve the main problem of the story? Don’t be afraid to put serious obstacles in the way of your protagonist as he tries to solve the problem of the novel. The more challenging the obstacles, the more satisfying the resolution.
- Are there subplots you’d like to add? Maybe you thought of some subplots but didn’t think you had the space to include them. Now that you see that you do, add them and see if they support your one-to-three sentence synopsis. For example, in my third Rae Riley novel, A Riddle in the Lonesome October, I introduce Rae’s cousin Claire. It may look like she’s just an extra in the ticket booth at the Halloween attraction where Rae has a temporary job. But that would be silly to introduce her if I can’t give her a pivotal role in solving the problem of the novel, which is discovering a lost inheritance.
Here are my other posts this month on writing the middle of a novel.
What have your learned about the middle if you’ve written a novel?