How To Write The Middle

writing craft

How do I keep the reader engaged in the middle of the story? How do I write the middle?

First Write the START and the END
Build Up To a BIG EVENT — the Middle of the Middle — Then Ride the Ride to the End
Design 3 GREAT SCENES (and No Bad Scenes)
Load Up on SETTINGS and SET PIECES
Weave In SUBPLOTS (B- and C-Stories)
Make Room for CHARACTER ARCS
Know Your EMOTIONAL ARC(s)

Before we start ...
do you want to write fiction faster,
while practicing your craft
and your writing process
to consistently get better?

Check out this link to
the FREE "Write Fiction Faster ... and better"
guide and workbook,
which comes with a FREE companion course
with 23 bite-sized video lessons and 4 worksheets.

How Much “Middle” Is There To Write?

The amount of middle you’ll have to write in your story depends on the length of your story. Let’s break it down:

Flash fiction usually have up to 1,500 words and may require just a few paragraphs for its middle portion. In fact, a workable strategy for some pieces of flash fiction is to do away with the middle altogether and go right from the start to the end, given the ultra-short format.
Short stories can range from 1,500 to 7,500 words. Let’s say 1/3 is spent on the start and the same amount, 1/3 on the end. That leaves 1/3 in the middle: 500 – 2,500 words or 2 - 10 pages.
Novels can range from 50,000 to 300,000 words (or even longer). A pretty typical length is around 80,000 words with let’s say 20,000 words on the start and the same amount on end, leaving, 40,000 words for the middle. That means 50% of the novel is the dreaded “middle” — around 140 pages of a 280-page novel. Of course if you’re writing those ultra-long epics — like Hilary Mantel’s “Wolf Hall” (170,000 words), George R.R. Martin’s “Game of Thrones” (200,000 words) or Stephen King’s “It” (300,000 words), the middle will be 80–90% of the book.

Clearly, unless we write exclusively flash fiction, we need to learn to love the middle, because we’re going to spend a whole lot of time there.

Why It’s So Hard To Write The Middle

Writing the middle of a story can be one of the most challenging parts of writing fiction. It’s been described as “the muddle,” “the soft middle,” “the sagging middle,” and “the great swampy middle.” Many writers feel stuck in this section because they don’t know what to write and how to connect the beginning and ending together.

You may have good idea, a great start, and you know (more or less) where the story will end. But all those words in the middle seem like such a slog. And worst of all, you fear that the reader will feel it’s a slog too.

Writing the middle of a story is no easy feat. It’s a tricky balance between keeping up the momentum of the story, creating enough conflict and interest to keep readers engaged, focusing on character development while moving the plot forward, making sure all plot threads are addressed, preventing the story from becoming too slow or stagnant, and keeping track of multiple characters, viewpoints, and themes.

Keeping up momentum is key in order to keep your readers hooked. If you’re not careful, you can get bogged down in that long middle.
Creating enough conflict and interest helps to keep your reader turning pages. But working in all that conflict and tension naturally in a longer story can be challenging.
Character development is an essential part of any good narrative arc. If you focus too much on one or two characters in a longer story, the other characters can feel flat, and you’re missing out on opportunities to add interest to the middle.
Make sure all plot threads are addressed when writing this section of your story—this means making sure that any side stories or minor subplots don’t get forgotten about. If threads are left dangling, it will make the fabric of your story seem frayed.
You don’t want your story to become too slow or stagnant — but how do you keep things moving along at a steady pace without getting bogged down in unnecessary details or taking too long introducing new characters or plot points?
Finally, when writing a complex narrative it’s important to keep track of multiple characters, viewpoints, and themes running through it all at once—you want each element to tie back into a larger message without becoming convoluted or overwhelming for readers. Juggling all those balls can be tough.

So, how do we avoid all those traps and write a great the middle that keep the readers engaged from start to finish?

7 Steps to Write The Middle

Try out these steps on your next story, whether it’s a short story or a novel — or even a multi-volume series.

1. First Write the START and the END

Before crafting your middle section, it will be very helpful if you first decide on your story’s beginning and end point. Knowing what kind of resolution your tale will reach will help guide you through structuring your narrative arc leading up to it. This will also allow for greater flexibility when planning out your character arcs as well as pacing.

I believe that the formula for writing should be:

IDEA —> END —> START —> MIDDLE

Come up with your great IDEA, then write the END.

Yes, that’s right, don’t just think about it or outline it — actually write the end first. That way you know where the story is going.

Then write the START.

Now you have the “bookends” of the story. And, in the process, you know the main characters — and perhaps some of the supporting cast of StoryPEOPLE — needed to tell the story.

This process will put you way ahead in the game of crafting a strong middle.

I believe that half the battle in avoiding the “muddle” of a “soft, sagging middle” (or “great swampy middle”) is to have a clear, down-on-paper start and end.

“But … I like to write my way into the story,” you say.

If that’s what you like, then try freewriting your way through the story first. So, if you prefer, we can modify the formula:

IDEA —> FREEWRITE —> END —> START —> MIDDLE

Feel better now?

OK, if you’re ready to try this approach, you may want to check out these articles first:

IDEA: Need a Great Idea for Your Next Story? Try the Story IDEA Formula
FREEWRITE: StoryDREAMING — How To Freewrite for Fiction
END: How To End a Story
START: How To Start a Story

Got it?

Good!

Let’s move on to Step 2.

2. Build Up to a BIG EVENT — the Middle of the Middle — Then Ride the Ride to the End

One way to add depth and excitement into your storyline is by introducing a big event towards the center of your narrative arc.

The BIG EVENT can be an external action-packed, dramatic, violent, shocking event, or it can be an internal emotional turning point for a main character.

Having something major happen at this point keeps things interesting while also allowing readers to see how various plotlines develop before ultimately resolving themselves at the end of your tale.

If we were to map it out, it might look something like this:

So the first half of The Middle is building up to that BIG EVENT, planting clues, showing the characters making their way towards that event, whether they know it or not.

Then the second half of The Middle are the aftershocks of that BIG EVENT, leading inexorably to the END.

If you are writing a short story, novella, or “normal” length novel (that average 80,000-word novel), that single BIG EVENT at the midpoint will suffice.

But, if you’re writing the epic-length novel (“It”, “Game of Thrones”, “Wolf Hall”) or multi-volume series, you will need multiple BIG EVENTS, spaced out approximately 30,000 words (100 pages) apart. But, much like the Pirate’s Code, this is not a “rule”, just a guideline.

So, how do you come up with the BIG EVENT in The Middle of The Middle?

The next steps will help.

You can dream up a GREAT SCENE (Step 3), a SETTING and/or SET PIECE (Step 4), bring a SUBPLOT to a head (Step 5), introduce a major turn in a CHARACTER ARC (Step 6), or a key step in the story’s EMOTIONAL ARC (Step 7).

Read on!

3. Design 3 GREAT SCENES (and No Bad Scenes)

Your target for scenes should be to have 3 great scenes and no bad scenes in your story (this is Howard Hawks definition of a great movie, or any story of movie-length).

Aim for three main scenes that are meaningful: one at the beginning of the middle section (to set up more challenges or introduce more characters), one at its midpoint (to create a climax moment), and one after the midpoint (to raise the stakes).

What makes a great scene?

It has memorable characters, dialogue, and/or action
If fits clearly within the overall story (i.e. the reader knows how we got here, and see clearly where it connects as we move to future scene)
It moves the story forward and/or reveal character
The scene is itself a mini-story with a beginning, middle, and end

Consider designing your scenes, using the SceneSPECS method and then write the scene like a mini-story: beginning, middle, and end. More about writing great scenes in this article:

What Makes a Good Story? — Great Scenes! Here's How to Write Them

In the free course “Write Fiction Faster … and better” there is a series of lessons where we’ll walk through examples and give you helpful forms and worksheets to design and write your great scenes.

And what about the “no bad scenes” rule? No scene should feel pointless or like filler material; instead, each scene needs to propel your narrative forward without taking away from its overall quality or pacing.

4. Load Up on SETTINGS and SET PIECES

Visualize your story as a movie? What are the settings, and what set pieces can you add at key points to engage the reader?

As the diagram above illustrates, you should punctuate “The Middle” of your story with settings (compelling locations) and set pieces (memorable sequences). Some of these could align with your “3 great scenes.”

The difference between a setting and a set piece in fiction relates to their function within the narrative.

Settings

A setting refers to the environment of a story—it’s where the action is taking place, as well as being the backdrop for characters’ actions and emotions. It can be described in terms of place (a city, a magical kingdom), time (the past, the future), or even atmosphere (lighthearted, gloomy). A setting creates an immersive experience for readers and is integral to establishing character relationships and plot points.

Worldbuilding is an essential part of creating believable settings in fiction. It involves constructing a detailed and vivid environment that readers can become immersed in. Through worldbuilding, you can create a vivid landscape full of unique cultures, people, places, and events that might not exist in reality.

When it comes to worldbuilding, you’ll want to pay close attention to details like the geography of your setting- mountains, forests, deserts, oceans etc - as well as the climate and weather that can affect characters' decisions and actions in the narrative.

You’ll also want to think about the culture of your setting- political structures, social customs, and religious practices – all things that will give life to your story. Additionally, consider the technology level; what type of weapons or transportation do they use? What type of communication systems are available?

If you’re writing Science Fiction or Fantasy (or magical realism), you may also need to decide on any magical and/or future technology elements within your world - this could include spells or rituals used by characters or beings with supernatural abilities. These elements are a great way to make your setting more unique and interesting for readers. Every detail matters when it comes to crafting an engaging and immersive environment for readers – everything should be considered carefully before making it part of your story.

If instead you’re writing a novel set in the current world or historical world — a thriller let’s say, set in multiple locations around the current world, or a romance set in past history — you will have many opportunities to engage the reader with memorable settings. When it comes to selecting real-world settings, there are many factors that should be taken into consideration.

The setting should be both compelling and visually stimulating for the reader. This could involve selecting a location with dramatic landscapes or a well-known city that has some symbolic significance to your story.
Think about how the setting can give your character a stage to play on - this could mean choosing a place which will allow them to explore their emotions and motivations in an interesting way.
Consider whether the setting is memorable; can readers recall its key features? Having identifiable landmarks within the setting such as churches or landmarks associated with local legends is a great way to ensure this stays true even after the story ends.
Having exciting elements within your chosen setting can help draw in readers - whether it’s secret passageways or hidden gems like abandoned buildings or forgotten monuments, any details that make the setting stand out will keep readers engaged and wanting more!

Set Pieces

In contrast to settings, set pieces are memorable sequences — sometimes set within compelling setting, but not necessearly. They are focused on specific objects and/or sequences or event that are designed to move the story forward. They provide readers with detailed moments that stand out from their surroundings and add texture to the narrative.

In film and television, a ‘set piece’ is a specific scene that has been designed to stand out from its surroundings and capture the attention of viewers. Set pieces often involve iconic props, beautiful scenery, dramatic action, or crucial conversations between characters that take place in memorable locations. These set pieces can range from action-filled battle sequences to emotionally powerful character scenes.

The concept of set pieces is not limited to movies but can be applied to other forms of media such as prose fiction. In novels and short stories, set pieces are usually used as plot devices to move the story forward and provide readers with detailed moments that stand out from their surroundings.

Set pieces can involve anything from a unique piece of furniture in a room setting, to an emotional conversation between characters that takes place in a grand hall or public park, to an action-packed scene. They help create an immersive experience by allowing readers to visualize the world around them in greater detail while also adding texture and atmosphere to the narrative.

5. Weave In SUBPLOTS (B- and C-Stories)

So, you have your main plot (also known as the “Central Plot” or the “A-Story”), and you even have the start and end of that story written (see Step 1). By adding subplots you can enrich “The Middle” and add resonance to your “A-Story”.

The diagram above shows how a B-Story and C-Story can enrich the narrative and keep the reader engaged in the The Middle.

A-Story

The A-Story is the primary plotline of a piece of fiction and often follows the protagonist(s) as they go through various stages of development. This type of story usually contains the most dramatic tension and is what drives readers through to the resolution at the novel’s end. For example, in J. R. R Tolkien’s The Lord of the Rings, Frodo Baggins' journey to Mordor is an example of an A-Story.

B-Story

The B-Story, or side-story, typically takes place in parallel with the main plot but is not necessarily core to its overall resolution. This type of narrative focuses more on depicting character growth and often serves as a way for readers to better understand characters’ motivations and how they change over time. For instance, in George R. R Martin’s Game Of Thrones series, Jon Snow’s journey beyond The Wall ties back into the main story but does not necessarily resolve it — this being an example of a B-Story type narrative.

C-Story

The C-Story is typically used to provide comedic relief or offer up moments of levity that contrast against more serious tones elsewhere within a piece of fiction. This style of storytelling can also be utilized to bring out subtle nuances about certain characters — it often acts as a way for readers to get another perspective without disrupting larger plotlines or forcing them onto characters who may otherwise not possess those traits under normal circumstances. An example of C-Story can be seen in Jules Verne’s Around The World In Eighty Days; Mr Fogg’s encounter with Fix (the detective) provides comic relief while still helping readers gain insight into Mr Fogg’s strong sense of honor and justice despite his aloof nature at first glance.

Another use of the “C-Story” is what’s referred to as a “runner” in television screenwriting. This is appropriate for a series of novels (or interlinked short stories set in the same story-world). The “runners” are longer-running storylines that may build up to become B-Stories or even A-Stories in future installments of the series. In an epic-length novel, a “C-Story” can evolve into a “B-Story” over the duration of the longer arc of the epic narrative.

6. Make Room for CHARACTER ARCS

The story arc and character arc are two key components of a successful fiction narrative.

The story arc is mainly concerned with providing the structure for the plot.
The character arcs gives readers insight into the motivations and struggles of individual characters.

Character arcs are essential in creating psychological depth and realism in stories. They can be used to develop characters, build tension, create suspense, and add emotional resonance to a story line. Character arcs show us how characters respond to different situations and how their lives are changed by them. They also help to make characters relatable by showing us their inner struggles and thoughts as well as external circumstances that shape their decisions.

Think of this as three snapshot images of one or more key character in your story, and ask your characters:

Before - who were you before? (a frog)
After - who did you become? (a prince)
Turning Point - what happened to make you change? (a princess kissed me)

Picture each of those key points as a scene, an image of the character, before, after, and at the turning point. See it as three snapshots, freeze-frames from a movie, and describe your character (and perhaps other characters that appear) in each of those three snapshots.

Now, imagine, where does this take place in the narrative of your story. For some of the characters it could be that all of their character arc is in the backstory, for others, their key transformation occurs within the story. Others may have only a hint of the future direction, and they remain a “work in progress” during the story.

Let’s take a look at the three character arcs depicted in the diagram:

Main Character Arc - this is the character transformation and personal growth the main character goes through during the story.
Love Interest Character Arc - in this example we used the frog-into-prince transformation again, showing how this character arc can be played out during the middle part of the story, so that the love interest who appears to be a "frog" at the onset has fully transformed into the “prince” just as we arrive at the conclusion.
Helper Character Arc - in this example, there’s a “Helper” character who in the backstory has received a wound (mental, physical, or both), but during the story they are able to find their powers and overcome/heal their wound, in time to step up a the “Big Event” (“Crisis”) midpoint in the story.

These are just some examples. The character arcs will depend on the nature of the story. But in every case, they must have some bearing on the story, not just be character transformations to fill space or create interest independent of the story.

The main plot should have an impact on each of the individual characters — their goals, fears, relationships, attitudes — and these changes should drive them forward until they reach their final destination. The combination of conflicts both within individual characters’ minds and between characters will give readers something to root for along with a meaningful emotional journey for each character involved.

Individual character arcs should also intersect at important points throughout the main plot which will increase reader engagement with both plot and characterization.

Read more about character arcs in this article:

Ch-ch-ch-ch-changes — How To Write Character Arcs

7. Know Your EMOTIONAL ARC(s)

These are the 6 emotional arcs (proposed by Kurt Vonnegut and even scientifically investigated in a 2016 study by the Computational Story Lab at the University of Vermont, where the researchers analyzed the emotional impact of more than 1,000 stories).

Rise - like “Rocky” - a “rags to riches” story where the emotion (and the character) starts at a low point (things are not good) and rises to a triumphant finish.
Fall - like “Romeo & Juliet” - where the story and the character starts at an emotional high and ends at the low point where all is lost.
Fall-Rise - like “Die Hard” - someone gets in trouble and digs their way out.
Rise-Fall - like “Icarus” - an initial positive sweep of emotion, but with an undercurrent that this may be too good to be true, and/or that the character is too cocky, too proud, too reckless, so that something will go wrong — until the bad turn happens, and the bottom drops out.
Rise-Fall-Rise - like “Cinderella” - a roller coaster of emotions, going from a low point to triumph, then a bad turn and what seems like it may turn into a tragedy, with another major turn that leads to eventual triumph.
Fall-Rise-Fall - like “Oedipus” - starts like the Fall-Rise (“Die Hard”) pattern, however, there is a seed of the eventual fall present either from the beginning.

Read more about emotional arcs in this article:

How to Write Fiction With Emotional Impact — The 6 Emotional Arcs

Consider how to work the emotional arc(s) for one or more characters into the story, as illustrated in the diagram below.

Map The Middle

So, how do you put it all together: Emotional Arcs, Character Arcs, Subplots, Set Pieces, Settings, your 3 Great Scenes, and the Big Event in the middle of the middle that everything leads up to and which leads to the end of the story?

I suggest you map the middle. Actually, you should map the middle as it relates to not ony the beginning and the end, but also to the backstory (before the story started) and the expanded story (after the story ends.)

You can use many narrative structures. I will suggest the FictionMAP narrative structure, which is a simplified synthesis of several other story structures.

We’ll summarize it here. There is also an article with more details on the structure here:

From Idea to Story: 3 Methods to Develop Your Story Idea

I call the outline in the diagram below the StoryBuzz 3x3 FictionMap structure. Each of the 3 acts has 3 key story elements (i.e., 3x3 = 9 plot elements), and each act and each element starts with the letter ‘C,’ just because alliteration is fun.

Here’s a summary of what goes in each the 9 plot elements:

CHALLENGE (ACT I)

CONTEXT Strong opening image, setup, ordinary world
CATALYST Inciting incident, call to action, disturbance
CONVERSION Debate, decision, crossing the threshold

COMPLICATIONS (ACT II)

CONTRASTS Upside-down world, tests, set pieces
CRISIS Big change, false victory/defeat
CONFLICTS More set pieces, attacks, apparent defeat

CONCLUSION (ACT III)

CHANGE Reversal, decision, gauntlet, road back
CLIMAX Mounting forces, final battle, revelation
CLOSURE Denoument, final image

CLIFFHANGER (OPTIONAL)

So, how do we map the middle using this structure.

The diagram above shows how the 9 plot elements map to the rising action of the story.

And below is the map with the 3 Great Scenes, B-Story, C-Story, two characters arcs , two emotional arcs, and several settings and set pieces plotted.

You can draw something like the diagram above (freehand or in some graphics program like PowerPoint) if you find it helpful.

If you prefer a more sophisticated tool to organize and keep track of all of this, consider Plottr.

Or you may just want to freewrite, capturing your thoughts in a loose, freeform way.

Regardless of which way you choose to “Map the Middle”, you will find that you have a much greater chance of making it through the “great swamp”. It won’t be a “muddle” anymore, and you will keep your readers engaged from the start of the story to the end.

Resources

MY FAVORITE ALL-PURPOSE RESOURCE

The Writer's Treasure Chest - everything in one place, curated, organized, this is a great reference for all things writing craft, with tons of prompts, plot/character generators and other tools to inspire you to write a great story with a great middle.

As you write your story, here are some articles that will be helpful as you work on all the aspects of the writing craft and your writing process:

FREE COURSE, GUIDE AND WORKBOOK

Do you want to write fiction faster, while practicing your craft and your writing process to consistently get better? Check out this link to the "Write Fiction Faster ... and better" guide and workbook, which comes with a companion course with 23 bite-sized video lessons and 4 worksheets.

Frequently Asked Questions

1. How do I ensure my characters’ arcs are progressed adequately in the middle of a story?

To ensure your characters' arcs are progressed adequately in the middle of a story, focus on providing character growth throughout. Make sure each character experiences something valuable and goes through moments of intense change and transformation that leads up to the novel’s close. Additionally, pay attention to their individual journeys while making sure to give them meaningful interactions with other characters as well as exploring themes which pushed them out of their comfort zone and cause further growth. Finally, incorporate tension into scenes so readers feel invested in where these arcs are heading and can look forward to exciting outcomes nearer the end.

2. What type of elements should be included to keep readers engaged in the middle of a story?

To keep readers engaged in the middle of a story, it is important to provide interesting plot twists and turns that keep the audience guessing. Incorporate tension into scenes to build suspense, introduce new characters with complex motivations and struggles, develop backstories for each character to make them more relatable, bring out subtle nuances about certain characters without disrupting plotlines, and finally be sure that all characters are given adequate development throughout their arcs so they can have tangible growth by the story’s close. It is also helpful to explore themes which push characters out of their comfort zone and cause further growth. Additionally, strive for an emotional response from reader that will result in a satisfying conclusion when reading.

3. How does emotional development differ from character arcs?

The main difference between emotional development and character arcs is that while character arcs involve the physical or mental growth of a character, emotional development involves the psychological changes and growth of a character. Character arcs are typically focused on aspects such as how characters learn lessons, gain skills or knowledge, become more confident, etc., while emotional development often refers to how characters grow emotionally in terms of their emotions and feelings towards others as well as themselves. Whereas one can determine whether a character arc was accomplished by studying their actions throughout the story, it is often harder to recognise when characters have grown emotionally unless dialogue or internal thoughts offered by them gives readers insight into this personal transformation. Thus when writing the middle of your story make sure you strive for both tangible physical/mental growth alongside psychological transformations so readers can experience an engaging narrative from beginning to end.

4. How can I make sure each character gets their own journey within the main plotline?

To make sure each character gets their own journey within the main plotline, be sure to give adequate development throughout each characters arc. Make sure that every character experiences something valuable that helps shape who they are and what decisions they make in the story, as well as including meaningful interaction with other characters. Additionally, explore themes which push them out of their comfort zone and cause further growth while incorporating tension into scenes so readers feel invested in where these arcs are heading and can look forward to exciting outcomes nearer the end. Throughout the process focus on making your characters relatable through backstories and subtle nuances about them without disrupting plotlines or sacrificing emotional development for tangible physical/mental growth. Finally strive for an emotional response from readers when writing so that all involved have a satisfying conclusion when reading.

5. Are there certain techniques for balancing light and dark tones while writing fiction?

Yes, when writing a story in the middle there are certain techniques that can be employed to balance light and dark tones. One technique is to focus on creating contrast between scenes, which helps to create emotional drama and suspense. This can involve alternating between lighthearted scenes of fun and laughter with darker plots or conflicts where more serious themes are explored. Additionally, you can build suspense gradually within a scene by introducing characters or plot elements slowly until things become more intense as the action progresses. Finally, incorporating metaphors into the narrative also helps to demonstrate difficult emotions through visual imagery that stimulates readers' imaginations while also providing insight into underlying themes of the story.

6. Should I introduce new characters or elements during this portion of the writing process?

Yes, introducing new characters or elements into the story during the middle portion of your writing process is a great way to keep readers invested and engaged. Doing so can add new layers of complexity to the plot and enhance character arcs. It can also be a great opportunity for further character development, as well as providing readers with unexpected surprises that will make them turn the page even faster. When introducing new characters or elements, make sure that it feels organic and makes sense in terms of the already existing story structure. This will maintain consistency within your writing while keeping readers intrigued about what will come next.

7. What types of revelations should come out during this section of the novel?

During this portion of the story, it’s important to reveal any secrets or backstories that will help the reader understand the characters better. This is a great opportunity for authors to really show their readers who each character is and why they make certain decisions throughout the story. Additionally, revelations about main plot points should be made during this section as well, as these can provide insight into larger events that have yet to unfold while maintaining an element of suspense. Finally, important revelations about relationships between characters and their surroundings should also be included in order to give readers a better understanding of how certain scenes will play out later on in the narrative.

8. Is it better to focus on smaller details rather than larger events when writing the middle of the story?

Yes, when writing the middle of a story it can be beneficial to focus on smaller details rather than larger events. This is because characters and their stories need time to develop properly without being rushed. Focusing on smaller moments and nuances between scenes allows for greater exploration of character motivations as well as the subtleties that pull readers into each scene. Additionally, these small moments can allow authors to effectively weave themes into the plot whilst maintaining suspense so that readers are left wanting more at every turn. Ultimately, by exploring these small details authors can create a depth within their work which will draw in readers right until the very end.

9. How do I draw readers’ attention back onto primary plot points after going off-tangent with side-stories/elements throughout my story’s middle section?

To draw readers’ attention back onto primary plot points after going off-tangent with side-stories or elements throughout your piece’s middle section(s), you should make sure to reference the narrative arc and main characters in between scenes. This can be done through subtle reminders, such as relevant dialogue or references, which will remind readers of what the story is about without boring them with a repetition of information. Additionally, it is important for authors to introduce elements that connect each subplot back into the main storyline while maintaining consistency within each scene. Doing so will provide an easier transition from one part of particular scenes to another while making sure that all essential plot points are clearly addressed in order for readers to have a better understanding of how it fits into the overall narrative. By following these tips, you can ensure that readers remain engaged with your work and are able to trace their journey through your stories’ many twists and turns right until its conclusion.

10. What are some common pitfalls writers often fall into while crafting effective middle sections for stories (and how to avoid them)?

Some common pitfalls writers often fall into while crafting effective middle sections for stories include overwriting, introducing too many subplots or side characters at once, not having a clear goal/purpose in the scene, and losing sight of the original theme. To avoid these issues it is important to maintain focus on the main story arc and make sure each element introduced serves an explicit purpose. Additionally, be mindful of pacing by avoiding overly verbose writing that can drag out scenes without adding anything actionable to them. Finally, it is essential to ensure that all elements within your middle section work together organically without feeling forced- this will help readers stay engaged with your piece as they transition through its different parts seamlessly. By following these tips you should be able to craft engaging middle sections that further drive your narrative forward towards its conclusion while keeping readers enraptured throughout.

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