{"id":85,"date":"2013-01-09T14:59:00","date_gmt":"2013-01-09T14:59:00","guid":{"rendered":"http:\/\/gailcarsonlevine.com\/blog\/2013\/01\/09\/mid-book-crisis\/"},"modified":"2015-05-23T23:17:09","modified_gmt":"2015-05-23T23:17:09","slug":"mid-book-crisis","status":"publish","type":"post","link":"https:\/\/gailcarsonlevine.com\/blog\/2013\/01\/09\/mid-book-crisis\/","title":{"rendered":"Mid-book crisis"},"content":{"rendered":"

\nBefore I start, I want to let you know that a poem of mine, \u201cSnow Fight,\u201d was just published in the fall\/winter 2012 edition of the poetry journal Sugar House Review<\/i>. The poem won\u2019t hurt you if you\u2019re below high school age, but it was written for adults. I haven\u2019t read the whole issue yet, so I can\u2019t speak for the rest. I\u2019d say high school and above is safest. If you\u2019re interested in getting a copy, here\u2019s the link: http:\/\/www.sugarhousereview.com\/subscribe.html<\/a>.<\/p>\n

On October 3, 2012, unsocialized homeschooler wrote, I wonder about middles. I always have some sort of ending in mind when I start writing and beginnings are usually easy for me, but it’s the middle that’s the hardest. Getting from point A to point C is always rough for me, and I can’t just skip point B. Some people have told me to take a while and outline everything, but I’m not a fan of outlines, and they don’t seem to work for me. Does anyone have any tips for getting through sagging middles?<\/i><\/p>\n

In my opinion, there are two secrets to middle for writers who don’t outline. One lies in our characters, our main character and our secondaries. We\u2019ll start there, and I\u2019ll get to the second later.<\/p>\n

Let\u2019s look at it in terms of fairy tales, stories with the simplest of structures. Here are the beginnings and the ends of a few.<\/p>\n

Beginning: Evil queen discovers that Snow White has surpassed her in beauty and is overcome with jealous rage.<\/p>\n

End: Evil queen dances to death in red hot shoes at the wedding of Snow White and the prince.<\/p>\n

Beginning: Cinderella\u2019s father marries a horrible woman with two equally horrible daughters, and she\u2019s made the servant of this terrible troika.<\/p>\n

End: Cinderella marries the prince and forgives her stepfamily.<\/p>\n

Beginning: Sleeping Beauty\u2019s parents fail to invite an unforgiving fairy to the christening of their daughter.<\/p>\n

End: Sleeping Beauty wakes up to a kiss by her prince.<\/p>\n

In each of these we could drive a herd of cattle, a circus, and a marching band between the beginning and the end, meaning that anything could happen. Neither the middle nor the end is made necessary by the beginning. Let\u2019s take the most complex of the three, \u201cSnow White.\u201d To get to the end and to fill up the middle, the inventor of the tale in the mists of history hauled in a magic mirror, a kind-hearted hunter, seven dwarves, and a prince – and gave the queen a few witchy powers.<\/p>\n

Seeds for the middle and the end lurk within the character of the queen. She\u2019s furious, but she doesn\u2019t slip into Snow White\u2019s bedroom at midnight and bludgeon her to death. Maybe she\u2019s afraid of being caught, or maybe even she shies away from that degree of violence. She wants the awful deed done, but she doesn\u2019t want to do it herself – at first. Her unwillingness moves the story along.<\/p>\n

The next seed is that she\u2019s a bad judge of character. She doesn\u2019t notice the hunter\u2019s kindness or the admiring glances he bestows on Snow White.<\/p>\n

Snow White herself isn\u2019t much help. She\u2019s more of a pretty chess piece who moves from place to place merely because she\u2019s pushed. When she\u2019s abandoned in the forest she walks, I\u2019ll give her that. And she stumbles on the dwarves\u2019 cottage. You know the rest. The dwarves warn Snow White of her danger, but she\u2019s too stupid or foolish to listen. The queen overcomes her squeamishness about violence, decides to do the job herself, and finally seems to succeed. Then the dwarves\u2019 love for Snow White causes the next plot turn when they, weirdly, put her in a glass coffin. Finally we have a prince who, weirdly again, falls for a seemingly dead maiden.<\/p>\n

The point is, the story moves forward through the middle because of the characters.<\/p>\n

Let\u2019s look at my version, Fairest<\/i>, which also progresses because of the characters. Behind the scenes are the parents who abandon Aza and set her story in motion. And there are the innkeepers who take her in and mold her into a character who, although insecure,  knows she\u2019s loved and has solid values. We also have: the duchess, who can\u2019t go to a wedding without a servant; a prince who has an eye for the exotic (Aza); a king who loves his wife; a queen who is phenomenally insecure and jealous; an evil magic mirror; and, way behind the scenes, a crazy fairy. They all, directly or indirectly, rub against Aza and, because of their complexity, create the scenes that make the plot seem to rattle along but actually slow the story\u2019s progression with interesting moments and surprises – a satisfying middle.<\/p>\n

Here\u2019s the second secret, which has to do with endings. What we need to do when we enter our middle is to forget about the end with ninety percent of our brains. Only ten percent of our mind can have its eye on the finish line. And the finish line shouldn\u2019t be worked out in detail if we haven\u2019t outlined. If the ending is too distinct, we may force our characters to behave a certain way and they may never come to life.<\/p>\n

Let\u2019s try it. In our beginning, Beryl\u2019s village has been destroyed by war. Her parents were killed, and her brother and sister were taken by the army. Let\u2019s say she\u2019s fifteen, old enough to have been taken too, but she was missed because she was visiting someone on the village outskirts. She\u2019s left behind with the elderly, the sick, and the very young. Rebels prey on skeletal villages like hers. The survivors have to get to safety. We know that in the end Beryl and some of the others will make it to some haven or other, although we don\u2019t know exactly what that will be.<\/p>\n

We\u2019ve written the beginning in which Beryl returns to the center of the village and discovers how bad matters are. We look around with her and consider what characters we might have. Well, we\u2019ll probably want one or two who can help her and a few who will make her task much tougher. For the ones who can help her, there could be a child who has a hidden strength and there could be an elder who has past experience with the methods of the rebels. For the ones who get in the way, one could be too sick to move. Another could disagree with all Beryl\u2019s ideas and could divide the villagers. We might want to figure out a way to include a rebel or two in our cast. Maybe Beryl goes spying or a lone rebel is caught by a sentry.<\/p>\n

We\u2019ve got quite a bit of middle going already. The very ill character gets a scene or two, likewise the one who pits characters against one another. Beryl may be slow to realize that the child with the special strength (whatever it is) has it. The one with experience may be reluctant for some reason to share. Beryl\u2019s spy mission could run a dozen pages. The rebel who\u2019s caught becomes part of the action.<\/p>\n

There can be natural crises, too – a hurricane, a blizzard, earth tremors, whatever. Food can run short. More food can be discovered. In each of these, the characters will respond characteristically. There won\u2019t merely be a hurricane, there will also be characters behaving foolishly or bravely or brilliantly in the face of it.<\/p>\n

And it isn\u2019t enough to grasp what the characters\u2019 roles will be in our plot, we also have to develop the characters themselves. For example, the character who has had dealings before with the rebels may be long-winded. Beryl will need qualities that help her and others that get in her way. Maybe in the past she\u2019s always given up too easily and she\u2019s distracted by grief for her family but she\u2019s a good listener and she has hunches that usually pan out.<\/p>\n

As we\u2019re fooling around with all this middle stuff, we have an eye out for the passage that will lead us to safety, but we also have in mind that some element of the safety should be surprising. Safety, yes, but not exactly in the form the reader expects.<\/p>\n

Here are three prompts:<\/p>\n

\u2022 Tell Beryl\u2019s story, changing any elements or characters you like. Go for at least five scenes in the middle.<\/p>\n

\u2022 Expand \u201cSleeping Beauty\u201d and keep the fairies who come to the christening on the scene. Have them and other castle characters get involved in creating a middle. Remember, in the fairy tale there\u2019s an ongoing effort to keep Sleeping Beauty from pricking herself. Decide in a vague way how you\u2019d like the tale to end. You aren\u2019t locked into the long sleep and the big hedge and the prince.<\/p>\n

\u2022 Retell one of my fairy tale examples or any other fairy tale you like, but make it modern and have it take place in an acting troupe or a circus or a dance school or any other situation that will bring in a bunch of characters. Again, keep your plans for the ending indistinct.<\/p>\n

Have fun and save what you write!<\/p>\n","protected":false},"excerpt":{"rendered":"

Before I start, I want to let you know that a poem of mine, \u201cSnow Fight,\u201d was just published in the fall\/winter 2012 edition of the poetry journal Sugar House Review. The poem won\u2019t hurt you if you\u2019re below high school age, but it was written for adults. I haven\u2019t read the whole issue yet, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[98,99],"tags":[],"_links":{"self":[{"href":"https:\/\/gailcarsonlevine.com\/blog\/wp-json\/wp\/v2\/posts\/85"}],"collection":[{"href":"https:\/\/gailcarsonlevine.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gailcarsonlevine.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gailcarsonlevine.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/gailcarsonlevine.com\/blog\/wp-json\/wp\/v2\/comments?post=85"}],"version-history":[{"count":1,"href":"https:\/\/gailcarsonlevine.com\/blog\/wp-json\/wp\/v2\/posts\/85\/revisions"}],"predecessor-version":[{"id":363,"href":"https:\/\/gailcarsonlevine.com\/blog\/wp-json\/wp\/v2\/posts\/85\/revisions\/363"}],"wp:attachment":[{"href":"https:\/\/gailcarsonlevine.com\/blog\/wp-json\/wp\/v2\/media?parent=85"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gailcarsonlevine.com\/blog\/wp-json\/wp\/v2\/categories?post=85"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gailcarsonlevine.com\/blog\/wp-json\/wp\/v2\/tags?post=85"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}