By: S. Jae-Jones
A couple of months ago, I wrote a post about Inciting Incidents that seemed to be helpful for a lot of our readers at PubCrawl, and I’ve had a few requests to continue dissecting story beats. So I’ve decided to tackle the next one on my list: The Midpoint.
I am sort of making up my own story beats here, loosely cobbled together from Blake Snyder’s Save the Cat, K.M. Weiland’s website Helping Writers Become Authors, and our own PubCrawl alumna Janice Hardy’s Fiction University. I myself don’t actually adhere to story beats all that strictly when I’m drafting; I figure the beats out when I revise.
I know a lot of writers struggle with middles, but I’m actually not one of them. For me, the middle of the novel is simply an extension of the beginning, and in fact, I tend to think of my books more or less in halves: the beginning, and then the end. The point that delineates the beginning from the end is the midpoint.
First of all, let me say: there is no wrong way to write a novel. Write however works best for you. For me, my stories tend to naturally structure themselves into four acts, with three inflection points: Revelation (end of Act I), Realization (end of Act II), and Resolution (end of Act III). The Realization (end of Act II) generally tends to be my Midpoint.
So what is the Midpoint, exactly? Why is it given such emphasis in all these story structure/plot books? I mean, a middle is just the boring bridge between the opening and the ending, right?
. . .
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