What Part Are You Good At?

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I have an important question to ask you writers on this rainy (if you’re in the tri-state area) Monday…

What part are you good at?

Here is my great curse as a writer:

I’m really good at climaxes.

And that’s not just my own personal opinion. My readers tend to agree: “Once I got to the climax, I could not put it down!”

And the weird thing is, I tend to not have to draft the climaxes millions of times, like I feel like I do with the rest of the novel. They come together pretty quickly for me.

But that means there are other parts I’m less good at. Such as: middles.

I’m terrible at middles.

Especially the beginning of the middle. I’m in the middle of yet another first draft and I’m past the inciting incident, which means I’m just now starting the dreaded middle. I’m trying to build the characters, up the stakes, seed in all the important elements for the climax, all while maintaining the voice of the novel, and of course, continuing to up the tension.

It’s hard. And it’s getting … saggy. There’s so much to put in while also so much balance to maintain. Between action and characterization, voice and tension, foreshadowing, but not too blatant foreshadowing … like I said: hard.

I get through it by telling myself it’s the first draft and I’ll fix it later. But it bugs me that drafting the majority of my story is this hard. I wish I could just skip ahead to the climax–and sometimes I do, jotting down these scene and that one in a fit of excitement–but in general I’ve found that if I don’t write in a somewhat linear fashion, that means way more editing later, because things change so much throughout the drafting process.

It could be worse. I could be terrible at beginnings. Beginnings I’m generally considered pretty good at–not amazing at the way I am climaxes, but good. (After several drafts, of course.)

It’s important to be good at beginnings, because no one is going to read on if they don’t like your beginning. But it’s also important to have a good middle. You can lose a reader with a saggy middle. And then it doesn’t matter how amazing your climax is; the reader’s not going to get there if the other parts aren’t up to par.

Some of my favorite writers and books of all time (ahem) have fantastic beginnings, middling middles, and meh-ish endings. Of course, the best books ever are amazing the whole way through. And that’s what I’m striving for: amazing the whole way through.

So how about you? Are there parts you’re particularly good at? Bad at? Do you have tips for me on getting through the middle? I’d love to hear…

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Learning From the Masters: The Meet-Cute Part IV

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No series on writing meet-cutes would be complete without quoting the master of the contemporary YA romance: Stephanie Perkins.

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MK’s Book Reviews: The Book Thief

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It has recently come to my attention that not everyone has read this amazing important book. If you are among this unfortunate group of people, please read on…

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Learning from the Masters: The Meet-Cute Part III

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Time for another Meet-Cute! (In case you missed them, Parts One and Two).

Behold, one of my favorite meet-cutes of all time:

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The Best Series of All Time (according to me)

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Since getting embroiled in yet another series I love, I’ve been thinking about my favorite series (plural) of all time…

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MK’s Book Reviews: My Life Next Door

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So after this book, I was in need of an antidote, in the way of some lighter fare. I chose Huntley Fitzpatrick’s My Life Next Door.

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On Writing YA Contemporary

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For my first novel, the only people I had reading and critiquing it were friends and family. Which was awesome for my ego–not so awesome for my work.

For my second novel, I actually did what the internets have been advising me to do–I searched for critique partners. And I actually found two!

More on that process later, though–what I really want to talk about is something one of these wonderful critique partners pointed out to me: that my YA contemporary novel was not, in fact, YA contemporary.

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