TECH: Missing Links

[mbarker.livejournal.com]

Original posting 11 April 2012

Writer's Digest, July 1996, pages 30-32 and page 67 have an article by Elizabeth Lyon with the title, "Find Your Novel's Mis ing Links." Yes, the second s in missing is missing! The short summary under the title suggests "If your novel is troubled by a week middle, you need to build it up with the deft positioning and construction of plot points. Follow these five steps to use them well."

The middle is where a lot of people have trouble. Oh the beginning may be exciting, really get people interested. There may be great characters, original plot, and fascinating imagery, but somehow the middle just isn't all that interesting. So what's missing? Well, Elizabeth suggests that plot points are what really structure the story. Sure, there are obstacles and small crises, between the beginning and the end there are probably only 3 to 6 big scenes where the plot really has a major revelation, change in direction, or whatever. And once you've identified these big scenes -- your plot points -- Elizabeth suggests you use these five steps or approaches to tie everything together, making sure that readers can't wait to get to the plot points and to your climax.

First, name the big scene. Part of this is just foreshadowing, but giving that upcoming event a name can help the reader see it coming. It's not just that place, it's the intersection of Fourth and Main. You can start with a fairly casual mention, and then add to it. Let us know that something is coming, and it's going to be significant. First meetings, weddings, reunions, job interviews, confrontations of all sorts. Build up the anticipation and expectations ahead of time.

Second, provide a preview scene. Put in small previews mirroring big scenes, giving us a slight taste of what's coming. You can explain things, provide some of the details or technicalities in the small previews so that you don't need to slow down the big scene.

Third, try creating a contrasting scene. If the big scene is going to be negative, lead into it with a positive scene, or vice versa. Happy versus horrifying, relaxing versus edge of the seat tension? Contrast helps build pressure.

Fourth, make the scene big! When you get there, fulfill your promise. Let the reader share the thoughts and feelings, make sure there's enough about all the senses, give it enough time and details. Make this crisis important to your characters, and let your readers experience it. "Overwrite these major scenes; you can always edit them later if necessary."

Fifth, don't forget the disaster and revelation. Every crisis in a novel needs to end with a disaster and a revelation. The disaster should be clear, so that readers know what happened. The revelation is what the characters make of that disaster. Remember, your big scenes often change the direction of the plot -- the disaster gives the impetus, but the revelation shows us which we're going next. Let the characters reflect on what happened.

The revelation doesn't change the overall story goal. That stays the same from inciting incident all the way to the climax. But the big scenes often change the strategy pursued by the protagonist. This is a great point for characterization, for the character to really show us what they are thinking and what's important to them.

All right? Name the big scene and let us know it's coming. Provide some preview scenes building up to it. Use contrasting scenes to make it stand out. Then make the big scene big! And finish it with a real disaster and revelation.

By doing that, you'll help to build the middle, and keep the reader going. Around this, you'll have small scenes, but the big scenes are the backbone of your story. The main reason for sagging middles is just skipping some of these steps. Fill in the parts that are missing and see if your story doesn't get stronger.

Write!