| Early | | | | This is a good place for internal conflict. Just like |
| In the early middle, the protagonist is confronted | | | | real life, the protagonist begins with a number of |
| with the event in the first plot point and begins to | | | | choices she can make. However by the end of |
| get involved in the plot problem. The beginning of | | | | the novel, the ideal situation is to have the |
| the middle will have exciting events as the hero | | | | protagonist faced with only two options. Her |
| or heroine deals with obstacle created by the plot | | | | choice of one of those will lead to the climax. But |
| point. His or her reactions to this obstacle will | | | | in the middle of the middle, the heroine may have |
| show how he or she grows or changes, or if he | | | | a number of choices. Start taking away her |
| or she will grow or change. | | | | options, either by her own choice or because of |
| Do not use this section to bore the reader with | | | | actions of the other characters. |
| interesting diatribes based on your research. At | | | | End |
| this stage, the reader should have begun to really | | | | At the end of the middle, the heroine or hero |
| care about the protagonist and the focus should | | | | should be under some time pressure. Make the |
| be on the main characters. Begin contrasting and | | | | need to choose one option urgent. |
| comparing the lead characters and show hints of | | | | She (I use 'she' because saying he or she gets |
| how they will deal with the major conflict of the | | | | cumbersome) will have to consider her situation |
| novel. | | | | and the conflicts she has to deal with. She is |
| At the early middle stage, your secondary | | | | forced to re-evaluate what she is doing. This calls |
| characters should be introduced and their | | | | for internal conflict to meet external conflict. The |
| relationships with the protagonist developed. Are | | | | protagonist has to overcome the internal to |
| they friend or enemy? | | | | address the external, or perhaps she overcomes |
| The subplots should be underway by this time. | | | | the external, which gives her the strength to |
| Begin to show how the subplots relate to the | | | | address the internal. |
| main plot and the development of the problem. | | | | Resolve a sub-plot or two, so that the resolution |
| Middle | | | | contributes to the final climactic events. By the |
| By the middle of the middle, you have all the | | | | end of the middle, the heroine will have to face |
| characters introduced and a problem for the hero | | | | another plot point. Whatever it is, it must force |
| to overcome. Give the reader a break from the | | | | the protagonist to make a choice between two |
| fast pace. Have a quiet scene or two, allowing the | | | | options. Make it intense and dramatic here. This |
| characters to get to know each other more | | | | moves you into the ending of the novel. |
| intimately. | | | | |