Midpoint Mirror

Okay, here are just a few tidbits on what to do at the midpoint of your story. The midpoint is sometimes referred to as a reversal, or a big reveal, but whatever you call it, it should have two things.

First, an action or incident from which there is no going back. This is not one of those moments in the story where you can be wishy washy. As the author, you have to make a decision and make it stick.

Second, your protagonist should do some serious self evaluation. He (or she) has to ask some hard questions. What do I really want? What is at stake? Who am I? Can I win?

To help you out let's look at a few simple midpoint examples.
In our pretend story your protagonist works hard throughout the first half of the book to get the man of her dreams. In the middle of our story, when she finally nabs the dude:

A.  She spends the night with him (we're talking sex here, not just a sleepover), but when she wakes up in the morning she has second thoughts. He calls out to her from the bedroom, he wants her to make him breakfast. It reminds her of her parent's relationship, a relationship that was all wrong for both her mother and her father.  She asks herself; Am I like my mother? Do I really want this man?

B.  She spends the night with him (S-E-X). He asks her to make him breakfast and it reminds her of how her mother used to cook breakfast for her father.

C.  She takes him to her place and cooks for him. He seems demanding. He reminds her of her father, the way he used to boss around her mother. She asks herself; Am I like my mother? Do I really want this man?

Now, obviously, example A is your midpoint and it's not just because there is more writing up there.
It's because an action has occurred that she cannot undo (I'm pretty sure you can't UNsleep with people. You can say "nothing happened", but we all know it did:), and then she asks herself some questions. In essence, she holds a mirror (hello midpoint mirror) up to herself to ask what she really wants.

In example B, she spends the night with him, and is reminded of her mother and father's relationship, but she doesn't ask herself any hard questions. It's the questions, or more precisely, the answers to those questions that gives us the reversal we need at the midpoint.

In example C, you have the protagonist's realization that he is demanding like her father, and she asks herself the important questions, but there is no event that can't be undone. She is just dating him at this point and she can easily say, "Oops, my bad.".

Do you see how examples B and C could really make your midpoint drag? A reader might be saying to themselves, "Nothing's happening in this story." You don't want that anywhere in your novel, but especially not at the midpoint (or at your two major plot points).
Use your midpoint for your big scenes. Kill off characters, reveal secrets, blow shit up, but make sure that whatever happens it cannot be undone (You can't almost reveal the secret! Or reveal it and then take it back!), and it has to give the protagonist a reason to stop and re-evaluate what's been happening since page one.

Event that cannot be undone - Protagonist self evaluation - A change in the action of the story. That is your midpoint!!

Yes, there are a million different ways to do this. You don't need to have your protagonist sitting with her head in her hands thinking about feelings for two pages. You can set it up from the beginning of the story so that the reader knows that if our main character's mother dies she will be...homeless, helpless, charged with murder...whatever. When, at the midpoint, the mother does die we already know how our main character is going to feel about this. We already know it will change the direction of the story.

If you're muddling through the middle and you're stuck, try writing out a scene with the midpoint mirror in mind. If nothing else it will give you a better handle on who your main character is and what she wants.

If you wanna know about more than just midpoint, check out my post on  Three Act Structure.
Also, for a look at my writing resources check out Books on Writing.

Rubbernecking In Fiction

So you've never heard of rubbernecking in fiction? Ha, that's no surprise to me because I completely made it up. Now hold on a minute or two because I think this is information you're going to want to hear.
 Usually when a person hears the term rubbernecking they do not think about fiction. What comes to mind is a car accident. Maybe you're thinking police on the side of the road, cars smashed up, and an  ambulance at the scene? There is that definition, but there is another way to use the term.
Wikipedia says, "The word rubbernecking has also come to be used more generally to describe voyeuristic interest in someone else's business or difficulties."
 So how can you use this in your novel to set you apart? Simple. Just make sure you add in those things that people can't seem to turn away from. It's like adding a bit of gossip to spice up your novel.
Have you ever started a story with, "Oh, man I just heard the most disturbing thing on the news."?
 Or, "The strangest thing happened the other day." People love the interesting, sometimes sick, things that they hear that are not your everyday gossip.
And it's not just gross things either. It's amazing love stories, stories about psychic moments, or miraculous rescues. People love to hear things that are different from the norm.
I know what you're thinking. You're thinking that your story is out of the norm, but that's not what rubbernecking is. Rubbernecking is all the strange stuff you see or hear on your way through your story. Your story should be fantastic and interesting in it's own right, but give the readers a little something extra.
Make the reader slow down in places because you've just given them something to gawk at. There are all sorts of opportunities for minor characters to have a big impact. Maybe your main character see's the neighbor taking out the trash and she wonders how she's doing now that she's out of jail for killing her newborn. Or maybe it's a supporting character that has half of his body scarred from burns.
On a lighter note it could just be a few racy sex scene's (depending on what you're writing of course).
These things shouldn't take away from the story, they should add to it. If you're main character has hidden pain from the past (and most of them do) maybe the short description of the man with scars all over his body is a metaphor for your main character's inner pain.
It should be subtle of course, and short. Rubbernecking is not a subplot or worse, an entirely different story. It's just a little extra kick to the details of your book.
The reason for doing this is, of course, to make your novel more interesting. Why not just say use every opportunity to make your novel more interesting to your reader? Well, you could say that, but I like "give your readers an opportunity for rubbernecking" better!

Trick Thyself

I've been having a little trouble getting motivated to write these days. In fact, just the other day I was staring at my computer for almost a full ten minutes with nothing but white space looking back at me.

I work on Scrivener (If you haven't tried it, you should!) and I usually section out my work into individual scenes. I'll title them so that I can make sense of it all in the editing process. I'll use things like, "meet antagonist" or "Bobby finds the knife". Not overly creative, but it gets the job done.
But the other day I couldn't even come up with a scene idea, let alone a title.
I finally just typed in the first thing that came into my head. Nelson Mandela. It happened to be the day he died, and to be honest I didn't even realize it was on my mind. I hit return and started typing out a scene.

Now I don't know very much about Nelson Mandela. I hope you don't think I'm hopelessly ignorant, but the words I think of when I hear that name are; committed, prisoner, rebel, speaker, apartheid.
Now the section of my book I was working on had absolutely nothing to do with apartheid or Nelson Mandela, but the feelings that name evoked in me showed up in my writing.

I found my main character seemed a little more in control. Her motivations seemed just a little bit clearer and only because I had Nelson Mandela in mind when I was writing.
I've started to use this trick with every scene. I use titles like Charles Manson. Harrison Ford. Bill Clinton. Jennifer Lopez.  Actually, I haven't used J Lo yet, but I am curious what feelings that would bring out in my writing.

I do this indiscriminately. I don't think about what I'm writing and pick a character with similar values. No, just the opposite, I pick a random person, for example Paul Newman, and see what characteristics of his I can add to the character I'm writing about. How can I make my protagonist (or any other character) deeper by adding attributes of Paul Newman? It's a way of surprising yourself in your own writing. Also, whatever feelings you have about Paul Newman will show up in your work.

Let's face it, books are about feelings. We read because a book makes us feel a certain way; happy, sad, scared, frustrated, ect. So if you're having trouble getting enough feeling into your books, maybe try my little trick. It certainly can't hurt!

Editing Your First Draft

I used to hate editing. I'd write out the novel and it would be so bad that I was sure there was no saving it. The changes that needed to be made were so great, and sometimes I wasn't even sure exactly what those changes needed to be.
But now I've worked it all into a five step process that can save almost any first draft.
Before you start I want to warn you that this isn't for the faint of heart. It's probably going to be more work than you want to do...don't say I didn't warn you!

Step One
I've heard that writing a first draft is like building a house of cards, but my first draft always looks more like a game of 52 card pick up. It's a complete mess. So the first step in this process is a very long one.
Clean up the mess. Make the plot coherent, make the timeline precise, keep those character's names and physical descriptions the same throughout the novel, tell the story, tell all of it. Work on it until everything is perfect. It should be the best that mere mortals can do.
Yes, that's just step one. Now proceed to step two.

Step Two
Buy or rent Writing the Breakout Novel Workbook by Donald Maass. But here's the hard part, you actually have to do the exercises and use them to make your book better.
I'll fess up here and tell you that I have not done ALL of the exercises in this book. I know, I'm so ashamed. When he wants me to "find six more inner turning points" I usually do about half that. So I'll forgive you if you don't do it all, but the more work you put into the exercises the better your book's going to be.
Once this is done you may proceed to step three.


Step Three
If you've read my blog before you've heard me mention Margie Lawson's EDIT's system. Check out her website and buy the notes (or take the class). www.margielawson.com
She's going to ask you to highlight your entire novel in a plethora of fun colors. Yes, your entire novel. This class really helps you take the pulse of your writing, so to speak. It can illuminate the weak points in your book, things that you can't see anymore because you've looked at it about a million times. Highlight that book of yours and then fix the problems that you've uncovered.
Once this is done you may proceed to step four.

Step Four
This is probably the step you're most familiar with (besides step one of course). You're going to give your book out to a few readers who will help you edit. Now don't give your YA book to your great Aunt Ida who doesn't know what Facebook is. Give it to readers who are actually reading your genre. And give it to them with specific instructions. Sure, let them help you out with grammar and description, but ask them specific questions too.  Are they bored at any time during the book? And if they are, where? Why? Do they actually WANT to read your book after reading the first chapter? Do they care what happens to your protagonist? Ask them what they like about the book and what they want to see more of.
Don't you dare just let them tell you it was great and move on! I mean it! There is always room for improvement!
Once this is done you may proceed to step five...almost done.

Step Five
I'm going to have to admit to you here that I'm not a very good writer. (This may already be obvious from my blog posts.) I slam my fingers onto the keys just to get the ideas on paper, just to write out the story. There's no time in my mind for pretty words. You may be different. If your words are already beautiful you might be able to skip this step, but I recommend that you don't.
If you haven't already read Writing Tools 50 Essential Strategies for Every Writer by Roy Peter Clark then do that now and use what you learn. Otherwise, just go through your book with an eye out for making the words better.  Make sure you have chosen every word in that book for a specific reason.
Next, make sure that your book has at least five beautiful, magical, wonderful sentences. I mean the kind that you've read in a book before that you had to stop and reread. The ones that you savor, the ones that make you feel something that lasts. Now this step is not as easy as it sounds. These Shakespearesque sentences don't just fall from the sky. You'll need to ruminate on them for a while, but once you've added them... You're done!

Now that wasn't so hard, was it? Don't worry, you won't always have to do this much work, but try it on your current manuscript.  Your novel will be better for it.
I'll keep you posted as I go through these steps myself. Yes. I really do all this work! I'm only 50,162 words into my disaster of a first draft, but when I get to the editing you're going to hear about it.
Good luck and happy writing.
EL