Join date: Mar 25, 2022

Writing a book: working with the middle of a novel

1. "Let's cram in the nonfiction..."

Yes, yes, that's right. And that's the point I talked about when I talked about mutations. If the story has changed, what doesn't fit into the plot doesn't need to be crammed in. And even if it hasn't changed - if it's just that some episodes have lost relevance, if you can see that they're not plot, but for beauty - you don't have to cram them in, just to "bloat" the middle, either. Even if you really like someone write my essay them.

At the end of my work, I have two-thirds of the unused material. Two-thirds are sketches, scene plans, finished episodes, and even one chapter left as a rough draft, 25 pages, written with blood and sweat. And how I do it: if I really, really like a scene, I find a place for it - but greatly rework it (cut, rewrite, come up with a plot "weight" and add to it). If I just like it, I leave essay editing service it in my Vordovian drafts: one day it, rewritten and tweaked, can be used in another novel. (But I also have scenes that I really, really like, but there's no place for them anywhere, and they've been lying in drafts for three novels in a row...)

Every scene, every episode, every chapter must have a purpose in the text: to drive the plot forward, to reveal the characters, to create the atmosphere of the story and its setting. Episodes that answer the question "why" with "to be" are the very thing that should not be crammed in.

And, based on that point, one last thing.

2. Pity for the text.

Yes, the middle is terribly hard to give, and in it, even "watery," confusing and drafty (but overcome!), everything is love. And everything is pathetic, every word. And it needs to be corrected. And you have to cut. And if it is easier to rewrite the unsuccessful beginning and ending, then to do so with the middle is a crazy feat, which few would dare. But you have to "clean" it - delete "water", cut (sometimes) entire chapters if they have no plot events (or cut two chapters, "sewing" into one). And no regrets. Extra episodes are easy to find - they ask the question "what are they for?", "what's important in them?"

Just in case, I remind you. Important (and plot-wise) is when the hero arrives in a new town, for example, looking for a missing friend, gets hit in the back of the head, and wakes up in a dungeon. Irrelevant (and not plot-wise) is when the hero arrives in a new town for some reason, pursuing goals like "take a walk and see the world", and hangs around the streets for the whole chapter, observing the situation and having no other activities or tasks to do.

And so, colleagues, I'll call it a day. And I wish you a successful struggle with the Great and Terrible Middle, and a bright victory, both over it, and, if necessary, over yourself. For the main thing in working with the middle is patience and long, laborious reflection.

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