I was working on a wonderful client manuscript last month and hit a patch of “Muddy Middle.” It happens. Quite a lot, actually. Now, this particular manuscript was a fantasy adventure where the kids went to another world. I decided to write about it because this is a popular premise that many people pick. (For advice on how to innovate a popular premise, check out a recent post here.)
What really slowed this particular manuscript down, and what I’ve seen many times before, is a lack of information about the world. This is completely understandable. Writers have been put off of “info-dumping,” perhaps even by yours truly. They don’t want to simply unload all of the necessary information all at once when the protagonist lands in the new world. The downside of this approach, however, is that it leaves the protagonist in limbo.
Where are they? What’s going on? What is the context of the world? What’s everyone up to? Why? These basic world-building questions go unanswered. And the entire plot of the story stalls because it has now become a quest for information. Plus, all of the characters are now withholding information from your protagonist.
If you find yourself using phrases like, “There’s much for you to learn but not now,” or something similar, your manuscript might have this issue. The characters in the other realm know about the world, but if they don’t tell your protagonist, or they stall, then the reader starts to wonder why. They feel jerked around. The characters desperately need to know certain things, and people’s refusal to tell them starts to feel arbitrary.
Imagine the following stalling:
“Who is Oz, the Great and Powerful?”
“You’ll find out all in due course.”
“What’s with all these monkeys? Did I hear something about a witch?”
“That’s a very long story. Just follow the yellow brick road and you’ll find out eventually.”
That’s not very satisfying, is it? So the protagonist wanders around, totally clueless about the world and the various elements operating within it. And the instinct is good. You don’t want to info-dump and you get to withhold information that will arrive with a big splash later. The reveal gets to become a plot point. But what about the actual plot? What about the things the protagonist wants and how they clash with what the antagonist wants? That is really where your action is going to be.
How do you remedy this problem? Leak information strategically. Believe it or not, the more information your protagonist has, the better. Many writers assume that leaving your reader with too little information will create a snazzy sense of mystery. It won’t. You should be volunteering key world-building information throughout, as the protagonist gets deeper and deeper into the story.
“You see, things aren’t always what they seem here.”
“There is a witch, and her deal is ABC…”
“The Wizard wants XYZ and you might be just the ticket…”
Once your protagonist knows certain things about the world or the story, they can operate with that information and further their agenda, which is likely in conflict with something going on in the world. That is really where you’re going to generate most of your tension. Information has some power to create stakes and surprise, but I’m of the opinion that what your protagonist does with information is much more powerful.
If you feel like you’re wading around in the Muddy Middle, ask yourself if the protagonist is chasing information. Then think about giving it to them, and using the reveal as a springboard instead of the end all, be all.