Write Your Novel from the Middle
A New Approach for Plotters, Pantsers and Everyone in Between
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Write Your Novel from the Middle
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Gesprochen von:
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James Scott Bell
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Von:
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James Scott Bell
Über diesen Titel
A powerful secret and a fresh approach to writing bestselling fiction!
What's the best way to write a "next level" novel? Some writers start at the beginning and let the story unfold without a plan. They are called "pantsers", because they write by the "seat of the pants".
Other writers plan and outline and know the ending before they start. These are the "plotters".
The two sides never seem to agree with each other on the best approach.
But what if it's not the beginning or the end that is the key to a successful book? What if, amazing as it may seem, the place to begin writing your novel is in the very middle of the story?
According to #1 bestselling writing teacher James Scott Bell, that's exactly where you'll find your story's heart and heat. Bell's "Mirror Moment" is the secret, and its power is available to any writer, at any stage of the writing process.
Bringing together years of craft study and personal discovery, Bell presents a truly unique approach to writing a novel, one that will stand the test of time and serve you all your writing life.
©2014 James Scott Bell (P)2019 James Scott Bell
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Kritikerstimmen
"I need three things before I tackle a new novel: Diet Coke, a laptop, and my dog-eared copies of James Scott Bell's books on writing craft!" (Kami Garcia, #1 New York Times and International Bestselling author)
Ich schreibe schon ewig. Keine Sorge noch nicht.. Und trotzdem fällt mein Blick noch unbarmherziger natürlich auf mich.. man spürt seine Motivation auch andere zu Begeistern
Dies Buch fast auch eine gemütliche Umarmung mit guten alten Bekannten..und ich schwelgte darin
Von JSB angenehm vorgetragen und zu hören.
Das Buch weckte eine Vorfreude darauf schlicht schon weiter in seinem Blog zu wüten und nach Schätzchen zu graben. Erinnerung. Einordnen was ich nur ahnte, wird lebendig..
Es ist unterhaltsam erzählt und völlig ohne die ermüdende Dauer-Selbst-beweihräucherung von Schreiberlingen des schnellen Cents. Wie können von leben? Sollen 'se.
Ich marschier brav ;) weiter durch James S. Bells Bücher.. Ratschläge und Erinnerung..
Es war, wird weiter Genuss und (wieder?)Lernende erneut(e) Motivation sein.
Perfekt
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The book regurgitates the well-worn idea that a story has a beginning, middle, and end—a notion so self-evident that it provides no real guidance. A sausage also has a beginning, middle, and end, but knowing this tells us nothing about how to make one. Bell positions the midpoint as the most crucial part of a story, yet his interpretation of it is underwhelming. If the midpoint is so significant, one would expect it to carry the weight of a major structural shift, perhaps even initiating a new act. Instead, Bell’s explanation feels arbitrary and ill-conceived.
His use of metaphors does little to clarify his argument. He likens a story to a “suspension bridge” with the midpoint in the middle, then claims that the midpoint represents “death.” When this is inevitably challenged by examples that don’t involve literal death, he introduces the concept of “psychological death,” which sounds more like a convenient workaround for a flimsy premise than a meaningful structural insight.
He defines the so-called “magical midpoint moment” as a “look in the mirror” moment, where the protagonist either reflects on who they are and how they must change or, in plot-driven fiction, assesses the odds against them. However, this raises an obvious question: why should a moment of self-reflection be the defining factor of a midpoint? Reflection, in and of itself, is not inherently dramatic. It is an effect of prior events rather than a structural necessity.
Bell’s examples further weaken his case. For instance, he argues that in Gone with the Wind, the midpoint is when Scarlett must preserve Tara and her vision of the old South or risk “dying inside.” This is an awkward way of describing stakes—her internal struggle is evident throughout the novel, but to isolate this moment as the defining midpoint seems forced rather than revelatory.
Consider The Silence of the Lambs. According to Bell’s logic, the midpoint should be Clarice’s moment of introspection in her room. Yet, what truly defines the midpoint is not her reflection but the kidnapping of Catherine Martin—the senator’s daughter—which escalates the stakes and propels the narrative forward. Similarly, in Lethal Weapon, Bell identifies Riggs’ admission that killing is the only thing he was ever good at as the defining midpoint, claiming that it informs everything that follows. But this moment could have been placed elsewhere in the film without fundamentally altering the structure. His past trauma is crucial to his character, but it does not, in itself, dictate the trajectory of the plot in the way Bell suggests.
Stronger examples of midpoints exist that contradict Bell’s theory. In The Matrix, the midpoint is Morpheus being captured, a clear turning point that pushes the story into its next phase. In Jurassic Park, the midpoint is when the security system is shut down, unleashing chaos. Neither moment involves a protagonist gazing into a metaphorical mirror, yet both serve as undeniable structural pivots.
Ultimately, Bell’s theory is half-baked and fails to hold up under scrutiny. His attempt to define the midpoint as a universal storytelling principle is riddled with exceptions, forced explanations, and tenuous logic. While the idea of a strong midpoint can be useful, Bell’s execution of the concept leaves much to be desired.
A Flawed Theory
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