Marie Brennan joins us again, this time to help us field your questions about middles. Here are the questions we collected from the various social media feeds:
- How do you maintain interest without having something explode every other chapter?
- In short fiction, how do you prevent try-fail cycles from bloating the story?
- How do you prevent the introduction of POVs during the middle of the story from being jarring?
- How do you keep subplots from turning into side quests?
- In longer stories, how important are “breather” chapters that ease the tension?
- Do you have methods for weaving plot and subplot threads together? Do you outline this, or keep it in your head?
Fifty-Cent Word: Proprioception, which serves as an excellent metaphor for what expertise with a set of tools feels like. Thank you, Marie, for simplifying the whole “the tool should be an extension of your hand” thing.
Murder the Middle Darling: Remove an element (subplot, side character, location) from the middle of your story, and see how that changes the pacing of your story.
The Summer Prince, by Alaya Dawn Johnson, narrated by Rebecca Mozo and Lincoln Hoppe