How to Avoid Middle Slumps--Maintaining Tension in Your Story

Tonight I'm chatting with one of my online classes.  Our topic is slumped middles--not in our bodies, but our books.  Many books slide down the tension scale in the middle, as the initial action subsides and the finish line is still far in the distance.

Keeping the middle active and interesting is not easy.  On our chat, we're talking about a few proven techniques for brightening up the middle of your story.

Becky, who reads this blog, sent a great question about slumped middles.  She called this the part where "your character rallies and makes some kind of decision after hitting a low point, and things get a little better."  Yes, that's true, I told her.  The character (or narrator in memoir) will usually fall for a while after the story starts.  Things often get worse.  The character hits a low point and there's a kind of leveling out.  Some writers call this the "first turning point" of the story. 

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Balancing the Three Key Elements of Story

I was talking with a songwriter friend this weekend about how his songs are put together.  An idea usually comes--about a person, a place he visited, or an experience he had.  He then begins to brainstorm ideas for the lyrics (some songwriters start with melody, but he goes forward from the lyrics).  They start telling a story, using his initial idea. 

If he begins with a person--say, he's writing a love song or a song about heartbreak--he knows eventually he'll also bring in details about where and when, as well as what happened. 

He says that there's a cool alchemy that happens when all three of these elements are in place.  They create synergy with each other.

If he leaves one out, the song just doesn't feel complete. 

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Essential Tools for the Writer’s Toolbox

This week's post is reprinted from Writer's Block, an online newsletter from the Loft Literary Center, Minneapolis.

As a beginning writer, I pumped friends who were published, trying to find the secrets to writing well. There were plenty, and there were none--depending who you talk to. Some writers say writing can’t be taught, only caught. If you have talent to catch well, you become a good writer.

Talent is a big help. But I’ve coached many writers who were amazingly talented yet never finished their books, stories, or poems; who never believed in their talent enough to send writing into the world. Those who did had more than talent. They had collected a toolbox of craft skills, tangible and intangible. The more complete the toolbox, the more successful the writer.

Intangible skills include stamina, persistence, an ability to release what you know to learn the next skill, and believing in yourself. Intangible skills are gathered through experience, risk, and good mentoring. The longer you write, the more of these you have.

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Plotting and Pantsing--When to Plan and When to Write, and Why Both Are Useful as You Build Your Book

Erin, a blog reader who has taken my online book-writing classes, wrote with a great question:  "I'm struggling a bit of time management in terms of planning vs writing. Case in point, I get about 30-45 minutes of writing a day. I feel like this should be used towards actually writing my book. The planning exercises are helpful but they don't feel like real, actual writing. So on days where I'm planning and world building and working on character profiles, etc., I feel like I'm not writing or progressing in terms of my novel."

Erin wondered about the balance between what she called "actual writing" and all the planning and plotting that goes into building a book's structure.
"Right now I feel guilty planning but stuck writing," she said.  "It's a terrible place to be!"

Welcome to the world of structure versus writing, or plotting versus pantsing, as it's known in many writing circles.  Some writers love to know where they're going ahead of time--the plotters or planners.  Others love the discovery process of just writing and seeing what emerges.

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False Agreements and Your Narrator's Epiphany

A blog reader from New England sent a great question, which ties into a discussion happening in one of my online classes right now, about the growth of a character in memoir and fiction.  How that character always starts their story with a false agreement.  How that agreement changes until the character realizes what's true.

The false agreement also happens in nonfiction.  We pick up a book to get new insights, to move from limited knowledge into wider understanding. 

So, imagine what false agreement your story starts with.  What is the status quo?  What does everybody put up with, to get along? 

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Planting Sensory Details--What to Use, When to Use It--for Emotional Impact in Your Writing

Skilled writers use sensory details to bring emotion to the reader.  Oddly enough, emotion doesn't come from fast-paced action.  Our hearts may race, we may read fast, but all we feel is tension and speed.  Characters' thoughts and feelings don't bring emotion to the reader either.  We may relate, but it doesn't hit that part of the brain where memories reside, where our emotions slide past the logical mind.

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How Long Can My Timeline Be? Story Arc Questions and Answers

Many first-time novelists and memoirists struggle with timelines, asking excellent questions in my classes.  Two favorite ones: 

* How long a span of years or months or days can my book cover?
 
* What should I condense, what should I expand (Do I have to relate everything in real time or can it be summarized)?

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What Memoirists Always Ask: How Much of My Story Can I Tell without Hurting Others?

Anyone who has written creative nonfiction (memoir, particularly) has probably run into the question of story ownership.  How much of your experience do you really have the right to write about?  When your story crosses into other people's lives, is it still yours to tell?

I've long admired Patricia Hampl's approach in I Could Tell You Stories.  She discusses the lines she's crossed and what came of it.  Mostly, she lost people in her life.   I remember how angry one of my family members became when I wrote about my very religious grandmother's mugging and loss of faith in God because of it, her eventual death.  "That's not the way it happened," this dear relative said.  But it was the way it happened, from my experience.  And I wrote about it as honestly as I could, to the best of my memory.

Who is right, in terms of memory?  Brain science tells us that memory changes as soon as we remember something.  Just the act of remembering will shift the details. 

And are my stories always my own?  Do I write them without considering the others who were involved?  Sometimes, I do.  Sometimes, not.

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Three Essential Tools for Getting through Any Post-New-Year's-Resolution Slump

Making New Year's resolutions about my writing is fun.  Energizing.  At New Year's, anything is possible.  I look at what I haven't managed in 2015 and set my sights high for 2016.

I ride the high until around mid-February, usually.  Then I need to have three essential tools in place to help me get through the post-New-Year's-resolution slump.

These three tools are the main reason I've managed to write and publish thirteen books in three genres. 

They are:  (1) accountability, (2) inspiration, and (3) determination.   They usually matter in that order.

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Emotional Peaks: How to Make Sure They're in Your Scenes and Chapters

When you read a great story, you don't even notice how you're engaged.  You just are--right?  But skillful writers plant a rhythm into their writing.  Like breathing, there are peaks and valleys of emotion and tension through all great scenes, chapters, even whole books. 

In a class I taught, I drew a diagram of a river on the board to illustrate this.  "This makes it very easy.  I just put heightened moments of tension at each bend in the river," one student noted.  "Maybe a big decision, a change of heart, a new understanding.  Or an external shift, like a move or a marriage or a big loss."  It made a big difference in her book structure to finally understand these "emotional peaks:" to view her scenes, chapters, and manuscript like a flowing river.

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