Welcome to week 6 of Anthony Ehlers's series that aims to help you write a novel in a year. Read last week's post here
- Expand the middle of your synopsis
- Identify and develop your subplots
- 'Design’ the interiors of your
When the curtain comes down
Last week, we spoke about the set-up or
beginning of your novel. This week we’re going to expand the middle section of the
working synopsis. We’re going to focus on opening up the story until
we reach middle or midpoint.
As we move into middle section, things
have changed for your characters. Especially your main character. Sometimes
this part of the story is called the ‘new world’ or the ‘extraordinary world’.
Often there is a change in setting but it doesn’t have to be so dramatic. The ‘world’ can be the same, but the
character feels different about, well, everything. Probably very different.
In my novel, Jenna, my heroine, drives
out to her family’s isolated beach house for some soul-searching: to unravel
her emotions and deal with the complications and confusion in her relationship.
It’s a good place to slow down the story …
Because from here on out, the decisions she makes, the actions the antagonist
takes, the influences of other characters — all of these escalate the action
and will take me to the middle of the novel.
I’ll be honest. The middle is easiest
place for me to get lost in a story. It seems a vast ocean to cross until you
get to the end. It’s daunting. The best way to see the stretch from the end of
the beginning to the midpoint is to view it as a story on its own. This makes
it more manageable.
The midpoint of your novel is a
‘mini-climax’. It must reach a culmination. After the climax, it’s the biggest
moment in your story. If you’re ever been to a play, you know that the scene
just before the curtain comes down on intermission is always a memorable one.
It doesn’t have to be a cliff-hanger. Just dramatic, lively, and satisfying enough
to reward the audience’s investment in the story so far. Do you want people
dashing off to a late supper? No, you want them to come back and see how it all
ends. And the same concept applies your book.
Subplot to the rescue
There’s one thing that takes a lot of
the fear out of planning the middle of your book … the subplot.
After the beginning of your novel, this
is precisely the point where you start bringing in secondary storylines and
characters. These can be hinted at in the set-up but here is where you can
start exploring them more fully. Why? Well, in the beginning readers want to
know one thing: What is this story going
to be about? Once they know that, they’ll be more comfortable with other
In his historical crime novel, Budapest Noir, Vilmos Kondor immediately
engages us in the main storyline. A newspaper reporter wants to find found out
why a prostitute has been killed in pre-World War 2 Hungary. Once this has been
established as his goal, Kondor brings in other aspects of the reporter’s life
— his tenuous relationship with his girlfriend and his deep affection for his
grandfather. These subplots balance out the ‘noirish’ elements of the novel.
In my novel, I was excited to find I
could tease out Jenna’s career as a photographer. Not only was I going to throw
conflict into her relationship, I was going to do the same in her career. A
major subplot is her commission to shoot the portrait of a jazz icon — an
assignment that can make or break her career. What would be a subplot in your
Interior and inner worlds
If you have time this week, you could
also play the role of interior designer. Create some notes on your character’s
home — the social living spaces, the intimate spaces of their bedroom and
bathroom, or even their workspaces. What is their most prized object? Are they
neat freaks or messy? What is their favourite colour? If you’re a halfway
decent artist, you could even sketch these.
Sight, Danielle Steel wrote some lovely descriptions of her heroine Timmie
O’Neill’s beach house. I remembered these and thought I’d like to also create
vivid, memorable pictures for Jenna and Matt’s apartment and beach house. For example, I know Jenna has a drawer in her
studio where this yoga-loving wheat-grass-drinking vegan keeps a secret pack of
Often our homes reflect our
personalities and give little glimpses into our lives. It is more so for
fictional characters. Even if their houses are meant to be perfect façades they
show the world, there will always be something that betrays their inner
— four to six hours
2-3 hours on your synopsis the
first-half of the middle of your novel
1-2 hours to develop subplot/s for your
1 hour for creating the interiors of
5 Quick Hacks
Try to isolate the midpoints in the last
three novels you’ve read.
Throw a party right in the middle of
your book – or a wedding, a funeral, or a gallery opening. These ‘set pieces’
can give you something to write towards.
Think about all the things that
interrupt your daily life – paying
bills, writing blogs, taking the dog for a walk. Can you use these for your
Draw the floor plan of your main
character’s house or clip pictures from a lifestyle or décor magazine.
Describe the childhood room of your antagonist.
it, quote it, believe it:
‘Subplots bring realism to your main
plot simply by existing – by interrupting the flow. Readers don’t expect
continuous narratives.’ -Elizabeth Sims
Don't miss the seventh instalment of Write Your Novel In A Year next week.
by Anthony Ehlers
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