Hi Reader,
I did something in my business last week that I’ve never done before: I closed to sample requests.
Existing clients can still contact me and get on my schedule, but I’m not accepting new editing clients right now.
Part of that decision was logistical. But it also represents a bigger shift in my business that I haven’t yet talked about publicly.
While I still believe wholeheartedly in the power of developmental editing to completely transform a writer’s experience, I’m also increasingly convinced that it isn’t the right service for all writers at all points in their journey.
Specifically, many of the first-time novelists I work with aren’t yet ready to take an editorial letter or even the in-line manuscript comments I provide and turn them into actionable decisions that make their stories better.
What do those writers need instead?
Coaching.
That’s why I’m so excited about my new course/group coaching program, Reader Ready Revisions, and my one-time revision strategy sessions.
These coaching services are powerful because they aren’t just about getting feedback; they’re about learning how to use it effectively.
To hear more about this transition in my business and the reasoning behind my pivot toward a more coaching concentric model, listen to the latest episode of the Better Writer Podcast where I go in-depth, breaking down why I made this decision and why coaching is the better option for newer writers.
Have a question about this shift? Hit reply! I’m happy to talk more about what I think is best for writers at every stage in their journey.
Better Writing
Messy middle. Mushy middle. Muddy middle. The list goes on and on.
Writers throughout history have struggled with the middle of their stories. It’s where things tend to go off the rails and lose readers. It’s where writers tend to give up. It’s where I, as an editor, tend to see the biggest problems in structure and story development.
Why is that?
I think part of the problem comes from structure systems which tend to prioritize the big plot moments that happen at the beginning and the end of a story.
For example, Save the Cat!, despite having a 15-beat structure, tries to cram 50% of the book into just three of them.
One is the midpoint, and the other two are multi-scene beats that are supposed to cover the entire middle of your story. While Jessica Brody’s Save the Cat! Writes a Novel* attempts to clarify all that should go into those beats, it’s still vague, and writers are still left to figure out most of what’s happening in the middle on their own.
It’s no surprise that writers struggle. To help, I like to think of structure in terms of the jobs each part of your story has to accomplish.
Your middle has two primary jobs:
First, it has to escalate the conflicts that you develop at the beginning of your story.
Second, it has to develop your main character arcs thoroughly, showing how your character changes from who they are at the beginning of the story to who they become at the end (if they have a change arc at all).
Those two jobs are intimately related. Your main characters’ arcs are developed by the conflict, and the character arc makes that conflict more meaningful to readers.
The middle is also where we deepen the world and pay off the premise that we promised in our blurb.
Getting the middle right isn’t easy, but if you approach it in a strategic way, we can make it easier.
Struggling to figure out what should happen in your middle? First, look at your beginning and your end.
Where are you starting, and where are you going? What has to happen in between to logically connect those two dots?
Then, think about how you can make things harder for your characters. How can you complicate the journey or make it more stressful or more impactful along the way?
At the same time, think about how your character is changing. How can you provoke the kind of reflection, perspective shift, or internal reckoning that actually produces change in a person? Keep in mind that people hate change and it is incredibly difficult for us to let go of old habits, beliefs, or perspectives, so don’t be afraid to make your characters suffer before they are willing to change.
Finally, what will make your book fun for readers? The middle is a great place for memorable moments that inspire readers to recommend your story to other people.
Want to have a big party scene? Put it in the middle.
Want to include over-the-top spicy scenes? Pack them in the middle.
Do you want readers to fall in love with your extended cast of found-family friends? Show all the ways that they push each other’s buttons and relentlessly support each other in the middle.
Instead of thinking of your middle as a problem to be solved, look at it as an opportunity to bring all of your wonderful ideas to life.
Yes, every element needs to serve the story. Yes, the middle has a job to do. But the middle is also the bulk of your story. It’s where your reader gets to fall in love with your characters, the world you created, and get lost in the adventure that you’re putting on the page.
Regardless of your genre, think about how you can pull readers in and keep them guessing along the way.
If you’re struggling to figure out your novel’s middle and want help, the next cohort of Reader Ready Revisions is coming soon. You can join the waitlist by simply clicking here.
Need help sooner? Book a Revision Strategy Session, and I’ll look at a detailed outline of your current draft and help you figure out exactly what we can add to the middle to bring that story to life.
Not sure which is best for your situation? Hit reply and let me know; I’m happy to help!
Better Living
The last couple of months have been busy with work. At times, I’ve dropped the ball on cleaning, eating healthy, and taking my puppy on the number of walks she needs each day - but never cuddles; there’s always time for cuddles!
At the end of the day, balance is a myth. Sometimes there are trade-offs. As long as you know what you’re building toward, what you’re prioritizing in the long-term, don’t beat yourself up for having to make sacrifices in the short-term to get there.
That applies to all goals, personal and professional, including your writing. Your book is worth it, even if you sometimes feel guilty for putting your creative future first.
Better Reading
I flew through The Bridge Kingdom by Danielle L. Jensen.* I can see why this book has its haters, but it was fun, and sometimes that’s enough.
I’m still deciding on my next fiction read, so I thought I’d share something I don’t talk about all the time - the nonfiction I read as inspiration for my fiction writing.
Right now, I’m experimenting with a medieval al-Andalus inspired setting, and I’m starting my research process with The Ornament of the World by Maria Rosa Menocal.* It’s been a while since I started a completely new project, and I’m having fun dreaming up my new world!
Thank you so much for reading another issue of the Better Writer Weekly!
Have a wonderful week and happy writing!
Olivia
P.S. If you listen to this week's podcast episode, you'll hear just how excited I am about Reader Ready Revisions. Why am I so excited? Because it's an awesome program that will help you write a better book. Join the waitlist by clicking here.
Your story matters. Let's make it great.
Curious to know how I can help? Check out my services here. I can't wait to work with you, so you can write the book your future readers are waiting for!
600 1st Ave, Ste 330 PMB 92768, Seattle, WA 98104-2246
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