As people grow and change, sometimes they wish they could be more like their younger self–be that because they miss the wonder they had in the world, or because they’ve lost their faith in people. Other times we wish we could get word from the future that things turn out all right. A popular way of expressing those wishes is in writing a letter to yourself–either past or future.
As an exercise: do just that. Write a letter to your character. Either to tell them about the things coming up in the future, or to remind them of the good stuff they came from. Perhaps you want to apologize to them for all the things they go through in the course of the story, or explain how you really feel about them.
Alternately, you can have your character complete the exercise. Think about things like if they’d want to write to their younger self, or to their future one. When writing to their younger self, consider the things they struggled to get through. When writing to the future version, what qualities do they admire in themselves currently?
When it comes to a story, there’s three main parts to the plot: The beginning, the middle and the end. If you want to get technical, there’s an exposition, rising action, climax and resolution. Regardless of what you call them, there’s one part that causes numerous headaches.
The middle. Writers everywhere struggle with getting from the opening to the ending.
The Saggy Middle is a common complaint among writers. We’ve all been there. The opening is great! The climax is dramatic. The resolution is perfect.
It’s that bit between the opening and the climax that’s not holding a lot of tension, causing it to feel lackluster and flabby. There’s a couple of reasons that might be, most of them structural in nature.
If you’re a pantser like me, beware of having too many detours in your middle. While it’s easy to wander through a lot of different scenes, make sure you’re taking a look at what each scene is doing for your plot. Do you really need it? If the answer is no, remove it. If it does add something, ask yourself if it’s in the right place: does it make sense in context with only the two nearest scenes? If not, move it to a more appropriate place.
If you’re more of a plotter and you’ve done an outline, then take at the tension in your scenes. If your characters aren’t facing obstacles, then it can seem like you’ve driven them into the climax with no real motivation to change. Take a look at whether or not you’ve got enough obstacles in the way of your characters. If you don’t, look at where obstacles would make sense and consider reworking the specific scenes.
No Idea What Happens Next is another problem with the middle, but it occurs most often in the actual writing process of an early or rough draft. You might know how to start the story, and you might know where it ends. What happens in between can be a bit fuzzier.
In this case, try making a list of things that could happen. They don’t need to be an outline, or even logical–just start listing things your characters could do. Let your inspiration wander freely down this list. Remember you can come back later and take out anything that doesn’t fit.
Once you have a list of at least five things, set a timer for fifteen minutes and write a scene as if each of those things is what happens next. Which ones are you more inclined to keep writing on?