Chapter 1: Understanding Your Story's Midpoint

Selecting the perfect midpoint for your narrative can be challenging, especially when you have two equally significant plotlines.

This journey is part of the Reading for Writers Challenge, a 100-day initiative where I dive into Middle Grade and Young Adult literature with a writer’s perspective, sharing insights along the way. Today’s focus is on chapters 25-28 of Diving Rivals.

A Tale of Two Plotlines

I’m a fan of compelling romance. Whether it's a dedicated love story or a budding relationship within a sci-fi adventure, a well-crafted romance captivates me and keeps the pages turning. However, a strong non-romantic plot can also propel the story forward. In fact, when writing, a plot-centric narrative tends to be easier to outline. Even when character development, including romance, is crucial, a solid plot is necessary for maintaining momentum.

But which narrative thread should serve as the backbone for the story? Most plotting methodologies suggest prioritizing the plot-driven storyline for key moments, allowing romance to weave in around it. Overlaps can be beneficial, but in practice, this approach often proves difficult.

When I aim to emphasize major structural moments through a plot lens, I sometimes overlook the emotional weight of my best romantic scenes—the very scenes I am most eager to create. Conversely, when I prioritize romance, the story's structure can become loose and unfocused. Adventure and sci-fi narratives often require more than just a romantic interest to drive the protagonist forward—there needs to be a compelling reason beyond attraction.

Numerous novels and films seamlessly blend plot with character-driven arcs, so why is this challenge often overlooked in discussions about narrative structure?

Exploring the Emotional Core

I believe the answer lies in emotions and artistry. Traditional story structure frameworks like Save the Cat or Story Grid are heavily rooted in narrative mechanics. While I enjoy delving into these technical aspects, they don't encompass the full picture. At its essence, storytelling is more of an art than a science.

Many decisions we make as writers hinge on what is beautiful, engaging, and genuine. While mechanics can guide us, art is inherently subjective and often challenges established norms.

Reading fiction taps into our emotions. With countless books available, readers will abandon a narrative if it doesn't fulfill their emotional needs—be it curiosity, excitement, love, or suspense.

When deciding which plotline to highlight at a given moment, ask yourself: which choice will evoke the strongest emotional response?

In chapter 25 of Divine Rivals, we approach the pivotal midpoint. Iris is stationed near the warfront in Avalon Bluff, interviewing injured soldiers and penning letters in search of her brother. Meanwhile, Roman has secured a position at the Gazette but feels incomplete without Iris, burdened by a fiancé he doesn’t love and a father who exploits him for power.

Rebecca Ross could have centered the midpoint around the Dramatic Question (Will Iris locate her brother?), but she chooses differently.

At the book's center, sirens signal the arrival of flying monsters in Avalon Bluff. Iris cannot take shelter yet, as a reckless individual is walking toward town, endangering everyone by drawing the attention of the eithrals—malevolent, bomb-laden pterodactyls.

The individual in question is none other than Roman C. Kitt. Iris tackles him, and they lie together in a field, suspended in a moment of danger until the threat passes. This scene is the most emotionally resonant moment near the book's midpoint and is unrelated to her brother’s quest.

While Iris's search for Forest serves as a believable motivation, it ultimately acts as a pretext for her journey to the warfront. Once she's on her way, my interest shifts entirely to when and how she and Roman will unite.

The romance-focused midpoint diverges from the plot-driven setup but feels like the right decision.

Lesson Learned

Here’s my perspective: story beats can oscillate between plot-driven and character-driven arcs. Choose the one that will yield the greatest emotional impact at that moment and embrace it.

This idea may not be groundbreaking, yet I rarely see it discussed. It’s possible a clandestine forum exists where writers trade ideas about alternating story beats, and I'm simply unaware.

Of course, each plotline must have a clear beginning, middle, and end. However, the standout moments that uphold the structure don’t have to follow a linear path dictated by your plot outline. The plot can interchange with character arcs.

Next Steps: The Many Faces of Act Three

To explore more posts from the Reading for Writers Challenge, follow the link here:

The first video, "How to Write the Midpoint | Avoid the Mushy Middle and Write a Strong 2nd Act!" provides insights into structuring your narrative’s midpoint effectively.

In the second video, "How to Write the MIDPOINT | Use this plot point to avoid a boring middle & keep readers engaged!" you’ll find valuable strategies for maintaining reader interest throughout your story’s development.