How to Write the Middle of a Novel Without Losing Momentum

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?

June 25, 2026 0

How to Write a Set Piece for Your Novel

This is a revised post from a couple of years ago. If you find that the middle of your novel isn’t as compelling as the beginning, your story might need a set piece. Below are my tips for how to write a set piece for your novel.

What’s a Set Piece?

I’ve heard this term in connection with movies, specifically the thrillers by Alfred Hitchcock, so I looked it up. According to Wikipedia, the term originated when a movie needed the production team to build a new set instead of reusing sets leftover from other movies at the studio. To make such an expense worthwhile, the filmmaker made the setting part of an important scene. Now the term means a critical or jaw-dropping scene or sequence within a movie.

The rescue of Princess Leia and the escape from the trash compactor is a set piece in the middle of Star Wars: A New Hope. Foreign Correspondent by Alfred Hitchcock has several set pieces: an assassination on the steps of a large building during a rainstorm, the hero sneaking through a windmill in Holland as he eavesdrops on Nazi spies, and a murder attempt at the top of Winchester Cathedral in London.

So How Do I Use a Set Piece in a Novel?

Use a set piece when you want your story to take a dramatic or unexpected turn that will affect the rest of the story. You can use more than one, depending upon the genre and kind of story you are telling.

In my teen cozy mystery, A Shadow on the Snow, I have set piece smack in the middle of my novel because the plot takes a dramatic turn from that point on. Like in the old days of the movies when the director built scenes around an expensive set, I want my readers to have the time to appreciate what’s happening in the set piece, so I slow the narrative down. The set-up, actual set piece, and wrap up play over three chapters. The set piece itself has a shadowy figure chase my protagonist, amateur sleuth Rae Riley, through her small hometown in a snowstorm on the night of Valentine’s Day. This chase leads to a pivotal scene with her newly found father. In that scene, I let the dialogue take over, which also slows the story down.

If your protagonist uncovers a traitor, take the time to make this revelation in a meaningful setting and a dramatic way. If your protagonist goes against her moral code with disastrous results, slow the pace enough for readers to get the full impact of this dramatic change in the story.

Two Warnings

I said to slow your story, not stop it. Your story is a glider. If you slow it too much, it will crash. Only had descriptions and dialogue that are needed to highlight this major change in the plot. Good writing rules still apply to a set piece–slowing down does not mean getting wordy.

My other warning is that any set piece can’t be more exciting than your climax. If your set piece in the middle of your novel has the heroine save London from certain destruction, she’d better be saving the world from that same fate at the end. In the climax of Foreign Correspondent, the heroes’s plane is shot out of the sky. They are forced to make a crash landing and then cling to the wreckage while they wait for rescue. If you find your set piece is overshadowing your climax, you either need to tone down the set piece or amp up your climax.

I’d love to hear from you. In your writing, had you ever had to add a set piece to your novel? Readers, what’s a memorable set piece?

Here are more tips on writing the middle of your novel.

June 18, 2026 0

Why is the Middle of Our Stories A Muddle?

It’s something of a cliche when writers talk about the troubles they encounter in the middle of a story. But, like most cliches, there’s a kernel of truth to it. So why is the middle of our stories a muddle? As we kick off this month’s theme of dealing with the middle of our stories, I want to uncover reasons for the muddle, which can be different for each writer.

Too Much Freedom

You’ve written a stunning hook and your beginning has set up the main character, the major characters, and the main problem. Now what?

If you haven’t thought beyond the beginning, your story could be suffering from too much freedom. Since you have no direction at this point, you have too many ways you can develop the story.

There are several ways you can fix that.

Develop Your Ending

This may sound like putting the cart before the horse, but knowing how your story ends gives purpose to your middle. If you’re going on vacation, you have an ultimate destination and that limits the routes you can take. That doesn’t mean you can’t explore side routes or take the longer, scenic route, but since you know your final goal, you know how far off the direct route you can go.

Develop Your Characters

Perhaps you’re stuck because you haven’t developed or don’t understand your characters well enough. Go back and review your notes and what you’ve written in your beginning. When I can’t move on in a scene, I ask myself what is the logical next step for a particular character to take. Often that means more complicated writing for me, but the logic for the character makes the story better.

But may your muddle in the middle is the opposite problem.

Too Little Freedom

If you’re a plotter and have your book outlined, you may reach your notes on the middle and find it isn’t working. Many times, once I begin writing, I throw out my notes because what seemed so good in the outline turns out lousy in the writing. Give yourself permission to make a new outline, based off what you’ve actually written in the beginning. Make several outlines, testing different approaches.

Writers, why do you think the middle of stories is a muddle?

June 5, 2024 2

Examine Your Settings for Plot Points

When building your plot, be sure to examine your settings for plot points. Or if you are stuck at a certain point in your story, analyze your setting to see if it can provide inspiration.

Take a look at the photo above. What aspects of this setting could help you develop plot points? It’s dark, so bad guys may be able to move more easily and attack your hero. The darkness can also heighten a surprise–meeting someone new or bumping into an old acquaintance. The main character can stumble over something new, like a mysterious shop or stray dog that follows him. The night and the narrow streets can confuse your main character, if she doesn’t know this part of the city well. She could get lost while looking for a pet and asks for help from the wrong stranger. Or the right one, depending upon what kind of story you’re telling.

For more writing prompts for setting, click here.

Now it’s your turn. Examine this setting for plot points and let me know how you’re inspired.

August 14, 2023 0

Kick off the Plot at the Beginning

As many new writers learn, the job of the first page of the story is to hook the reader. There are many cheap ways to do that–like a dream or the reader finds out that the first thrilling five pages are part of the a story the main character is reading. But if you can kick off the plot at the beginning as well as establishing the major characters and setting, you are also creating a hook for the reader that genuinely reflects what they can expect in the story.

Below is the opening paragraphs to my YA mystery, A Shadow on the Snow, with analysis

1. I’M NOT FOOLED, RAE. YOU’RE JUST LIKE YOUR MOTHER.

This novel is a mystery and the first line kicks it off by showing what somebody wrote in an anonymous note.

2. I stared at the sheet of copier paper in my hand as the note fluttered in a gust of January wind.

The reader knows that this “I” is a female named Rae. When you write in first person, you need to establish right away if the narrator is male or female, so readers can start imagining the character. A disembodied personality will turn off readers. I’m also setting the scene in this paragraph—it’s January and Rae is outside.

3. Really? It had only taken three weeks for someone to hate me and my mom enough to leave an anonymous insult?

Since the entire novel is told from Rae’s POV, every word is supposed to be from her. The first paragraphs are the readers’ introduction to her personality. I also work in some backstory.

4. Turning over the envelope, I saw my address was written in the same marker, same all-caps style. It was postmarked. I must have missed it when I grabbed my mail last night.

These are details to help the reader see the setting and the action. It also shows what kind of mind Rae has, since she’s examining the letter, not just reading it

5. Shivering on the miniscule landing to my apartment, I blew out a sigh, which formed a little cloud in the freezing air. At least the idiot hadn’t crept up to my mailbox in the dead of night. I shivered again, and it wasn’t from another gust.

More scene setting, more thoughts to get to know Rae.

6. People could hold a grudge in Marlin County, Ohio. I’d learned that in the last three weeks since I discovered Mal was my dad and announced Bella Rydell was my mother. The strained smiles, cold stares, conversations that didn’t get much past “hello” and “I’m fine.” Mom had made a lot of enemies, but that was twenty years ago. I’d told everyone who asked the story of how she’d been saved and changed her life. Well, most of it.

Just enough backstory to help readers understand Rae’s thoughts about the note

7. I shoved the piece of paper back in the envelope, tossed it inside my apartment, and locked the door behind me.

Action and scene setting.

8. Holding my tripod and a roll of leftover bulletin board paper in one hand, I clutched the strap of my backpack with the other and climbed down the icy steps to the pad in front of the garage. Picking my way across Mrs. Blaney’s snow-covered lawn, I pulled the keys to my ancient truck from the pocket of my down vest. The Rust Bucket sat by the curb, draped in a thin layer of snow that couldn’t disguise its demolition derby appearance.

More action and scene setting. I provide specific details about the scene such as “holding my tripod”, “clutched the strap of my backpack”, “my ancient truck”, to help readers “see” the scene and to know Rae better. The action, thought, and setting work together to carry the plot, which is the mystery surrounding who wrote the nasty note and why.

For more tips on writing plots, click here.

What stories have you read that do a great job to kick off the plot at the beginning and hook readers on the first page?

August 10, 2023 2

Tag: How to write a plot for a novel