Does this sound familiar? Robert: A big problem is that when you dream up your story, you have this amazing sense of, I just thought this amazing thing is going to happen to this character and then how it’s all going to end. Okay, but there’s 50% of your double, which I just haven’t thought about yet. I think for many of us, it’s being able to slow down, tease apart the problem, and introduce all of the complications that are required to then deliver that delicious climax that is really satisfying to the reader. So it’s such an important task, yet it’s probably the thing we naturally, as writers, I’m making it very everybody. It’s not everybody’s problem, of course, but we do know many of us experience the problem where we don’t know what to put in the middle there, I suppose. 
Kathryn: Yeah, we have this big empty gap, like, just tell me what to put in here, please.
 
Sound familiar? Then sit back and enjoy this week’s Story Works Round Table episode all about “what to put in here, please!”

What is Act 2 and why do writers struggle with it? How should you plot Act 2 and what questions should you ask yourself in each and every scene? How do you use subplots and supporting characters to flesh out Act 2? Remember you are writing from the inciting incident to the beginning of Act 3, not all the way to the climax. And that turning point into your climax should be awesome. Act 2 is not going to look great at the end of your first draft, it’s all about weaving in details, subplots, and revelations. Just make sure it gets the attention that it deserves!

How will your personal history affect how you portray death? What about if you have never experienced anything as tragic as your character is experiencing? How can you use the element of surprise to turn a story on a death? And how should you use death in Act two? We talk about the problem of proximity in death, and whether or not death has genre conventions. In the end, we all agree that this is a great book, if you are ready to really sit and think about death!

What is agency? And how do you keep your protagonist active? Do coincidences and natural disasters take away character agency? What is they try/fail cycle and what does Alida have against it? What is the difference between a reaction and a response? When should you plan your characters agency? And how do you handle reaction scenes? In the end just ask yourself: “did my character lose a hand?”. If he did, then you have a pretty good chance – he’s active!

What exactly is a subplot? When do you need them? Who should they revolve around? And can they really alleviate the soggy middle syndrome? And please don’t forget your characters have lives too! Don’t make them live entirely in the main plot line.

How important is the science in science fiction? What are some conventions of science fiction? And when should you break them? How can you use names to bridge the familiar and unfamiliar? And are there any genres you can’t mash in with science fiction?

How do you keep your middle act functioning for your plot? How do you avoid ending your story too early? How should you effectively use subplots? And what about tools like the “try-fail” cycle or the hero’s journey? Alida walks us through how to give your characters the perfect level of problems, and the skills to solve them!