When you write long fiction, does it sag in the middle? Does it slow down, drag, stall, or hit a dead end? Do you feel lost, unable to figure out what to do next? Are you doubting your story idea, hating your characters, feeling tired, or are you simply bored and frustrated with a story that begin with such promise but has now become as heavy as cement boots pulling you to the bottom of the lake?
Been there, folks. And without trying to sound like a TV commercial for indigestion, there is a solution to the bleak, daunting, soggy, sagging middle. Give your story oomph!
Generally story oomph comes from a strong, focused plot, characters in direct opposition, high stakes, and fast pacing.
But specifically, you can add oomph by utilizing hooks, tossing in unpredictability, and boosting motivations.
Let’s examine these three methods separately:
- Hooks: When scenes are written effectively, each scene conclusion should end with some kind of setback or additional trouble for the protagonist. That means an automatic hook is created to draw readers forward. However, hooks can be set anywhere in your story. In chapter openings, in character introductions, in narrative, in scenes, in viewpoint changes … all sorts of places. If the zombies hadn’t been trying to kill me, I would have enjoyed seeing the Grand Canyon. Or, “Lucy Cuthbert, if you don’t find someone to marry by the end of this afternoon, I will cut you out of my will.” Or, When Bob opened the desk drawer in search of a paperclip, he didn’t expect to find a clear acrylic box filled with writhing, agitated scorpions. Or, Jane had expected her new stepmother to be small, fragile, blonde, and vicious. Instead, she walked outside to see a statuesque, bikini-clad Amazon poised on the pool’s diving board, holding a martini glass aloft and singing an aria from Carmen at the top of her lungs.
- Unpredictability: Plot twists and turns add zest to stories. If your protagonist carefully plans what he intends to do next and then executes that intention, your story is focused and easy to follow but predictable. Without the element of the unexpected, stories become dull, and dull stories bore their creator while guaranteeing a rapid loss of reader interest. So if you’re bored by a passage, scene, or chapter, imagine what your readers will feel! Shake your copy out of the doldrums. Add some zing. Set up a scene to go in a certain direction and then knock it sideways by a wily, ruthless villain. Think about a scene you’re about to write. Within the context of the story and the parameters of your protagonist’s objectives, what can you toss in that will be completely unexpected–yet not wholly illogical? When I was writing the manuscript that would become my first published book, I hit a dull spot in the story where my heroine was going on a picnic with the hero. Romantic? Yes. Lively? No. So I thought about it and let the imp of unpredictability loose. As a result, when my heroine opened the wicker food hamper, she discovered a dead rat inside. Needless to say, that livened up the scene considerably as she screamed and tossed the basket away. (The villain had bribed his lordship’s kitchen servants to put the nasty rodent in the basket.) It wasn’t great plotting, but it served its purpose. Of course, you don’t want to throw a carcass (or its equivalent) into every scene. That, in turn, would become predictable. But eschew timidity when you write. Be daring with characters and their actions. And don’t always follow the expected path.
- Boosting motivation: Often books lose steam because the characters involved don’t care enough about what they’re doing. Maybe the characters did care in the book’s opening chapters, but Amy Author has forgotten that she must strongly motivate her protagonist from start to finish. I’m not saying a protagonist who’s battered by a string of setbacks should never feel doubt, but the character must keep finding new, tougher determination to continue forward despite everything. In C.S. Forester’s The African Queen, Rose is motivated to destroy a German warship patrolling an African lake because of the brutal destruction of her brother and his life’s work by the German army. Her brother is an insignificant missionary, trying to bring Christianity to the native population. He is a harmless civilian, but he is so shocked and broken by the soldiers’ cruelty that he dies, and Rose wants revenge. To get it, she is willing to attempt the impossible. Vast distance, dangerous jungle, impassable rivers, rapids, clouds of vicious insects, and grueling physical hardship do not matter to her. She never gives up because her motivation is like a spear in her back, driving her forward. But not only the protagonist should have powerful motivations. Remember to give your villain motivations as well. Consider the complex villain Imhotep in the 1999 film The Mummy. Imhotep is a ruthless killer, but he is also sympathetic. He is driven by his desire to be reunited with the woman he loves. We can understand him, perhaps even feel sorry for him, while we disapprove of his extreme actions. Still, it is clear that he will stop at nothing to achieve his goal, and that powerful drive to succeed forces the good guys to become tougher and more determined to thwart him.