As effortless as they seem, middles are often the most challenging for writers. And believe me, writers don't like to be challenged like this.
Quick-- think of your favorite book. Mentally dissect it and quickly sequence the events in your mind. You should have some events that occur in the "beginning", some in the "middle", and a few for the "ending". I put these terms in quotation marks (imagine me next to your computer making air-quotes for effect) because, even though these words are perhaps the most well-known in the literary world, are increasingly more difficult to define. Where do we mark the beginning? When does an ending occur-- at the true end of the book or at the climax? And just how long is a middle?
Middles are often the most difficult to define. Beginnings can at least be measured in the sense they have a perceptible initiation point and endings have a completion point; however, middles can never truly be metered. Also, they exist in a sort of grey area where a story has already been set up and the character(s) are moving along their set path towards the ending. It is often challenging for the writer to keep the reader engaged once they have reached this indistinguishable second leg of the journey, as the waters ahead are infested with dangerous subplots and errant plotholes that could potentially drive the reader back onto dry land.
Fear not. However intimidating middles are, they can at least be studied and tweaked so that they keep the reader from putting the book down indefinitely. First, let's discover what a middle actually entails. The middle passage of a story is where the character(s) is encountering the obstacles on their journey to reach their goal (remember the hero's journey--it applies to almost everything). This can make for action-packed scenes, as well as moments of reflection as the character(s) contemplate their journey and goal. Another big player in the middle is the subplot. Subplots are often introduced around this point to keep the reader from growing bored of the central plot or even to expand upon the central plot. Done right, subplots can be gripping and necessary. Done wrong, subplots can poison your story.
Let's look at the obstacles first. Picture a school track lined with plastic hurdles. The runner is the character and has to overcome every hurdle (obstacle) if they want to reach the finish line (goal). As you may know, the runner may stumble over these hurdles or even fall, but they always finish and reach the finish line. In terms of a story, the character has to overcome the obstacles to not only keep their journey realistic, but to comprise the actual story. A story would be nothing without conflict and it is these obstacles that account for these conflicts.
Obstacles should be well-spaced and progressively more challenging as the story progresses. They should also set your character back somewhat in order to create friction for drama and dialogue. These obstacles don't have to be sword duels with Spaniards, fights to the death with giants, or guessing which wine is poisoned with Sicilians: they can be subtle defeats that are just as crushing. Imagine a character is saving up for a trip to Disney World, but then has to pay a massive hospital bill that dramatically sets them back. While this may seem like a minor dent is an otherwise trivial goal, it is a major obstacle in that person's journey. These obstacles are vital to the story. If the character just got up and achieved their goal, it wouldn't be a book: it'd be a commercial.
Subplots are a little trickier because they are sometimes difficult to distinguish from obstacles. An over-extended obstacle can become a subplot if it drags on for too long and demands all of the character's attention. Or they can introduce an entirely different character or setting that somehow ties into the main story. Think about any Stephen King book. If you read my recently posted review for Cujo, I mentioned how King utilizes three different plots throughout the duration of the novel, two of which are subplots to the main event. These subplots can sometimes serve as mirrors to the main plot: just how Donna and Tad were trapped in the car by Cujo, Charity and Brett were trapped in an unhappy life by Joe (oh wow, I just now noticed the similarities in their names). They can also act as smaller, neater stories within a story.
However, not all subplots are created equally. Sometimes, subplots are just thrown into the mix to spice up the story a little or even introduce author-created characters the author just couldn't bear to leave out. These subplots are extraneous and bog down the extremely important middle section instead of keeping it running smoothly. It's like adding sugar to a car's gasoline tank. Eventually, you'll notice the story sputtering and eventually dying.
How can you avoid such a fate? Know what subplots you want to include before you start writing the middle section. Unsure as to how much is too much? Cut and paste subplots you're unsure of into a different document: that way, you can always edit or retrieve them if you feel they help move the plot along. Don't forget about your main plot in the midst of introducing new characters and stories. Would you have been so invested in Harry Potter had JK Rowling introduced meandering subplots about every single breathing character at Hogwarts in the midst of her books? No, because she considered where to include subplots about things like Quidditch and friendship issues and rivalries in order to keep the reader engaged and maintain the realism of the universe.
To practice a little with this, write the outline for a hero's journey. Establish a character, give them a goal, send them on their way. Try to keep it within three or four pages. If another character is introduced, allow them only a sentence's worth of description. Don't include dialogue. (If you have trouble coming up with an idea, use an action movie.) Then, add a subplot. Add another. Then one more. Add as many as you feel comfortable with or as many as you are currently including in a project. Now read the outline again. Does it feel as smooth and uncluttered? Or do some of the subplots seem to get in the way of the main objective? If so, go easier on the extras. We may enjoy some commercials, but that's not what we watch TV for.
In terms of the middle itself, have this part of the story mapped out beforehand. While you should always have some idea of an ending in mind before venturing out, make sure your middle--however meandering or tortuous--eventually reaches that ending without taking any major detours. If necessary, chart the story out on a timeline and place each event on its own little tic to help guide you. You in no way have to religiously abide by this (almost every author is struck with a new plotline in the midst of writing), but it will help you keep extraneous material to a minimum, which will make the editing process easier. Remember: if a scene does not differ from the previous scene, it is probably not necessary. You're looking for your story to evolve over time, not lie stagnant.
Yes, middles can be terrifying. Several things are. But if you equip yourself with the right preparatory tools and know what you're getting into before your character hits that first obstacle, you will be able to write a great middle. After all, that's what we stay for. The triumphant highs and lows, the fights, the romance, the tragedy, the comedy-- it all happens in the middle. Just like any good sandwich, a story's best substance is in its middle.
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