Have you ever had a brilliant story idea—one that sparks in your mind like fireworks—only to sit down and write it and … it just kind of fizzles out?
What? No?
You are possibly AI, my friend.
But if you’re a human writer, then you’ve probably met this.
Maybe the beginning sings, but the middle drags. Or maybe you get lost in the details and can’t see the larger shape of the story.
You are not alone.
This happens to all of us.
Plot is one of the trickiest parts of novel writing.
Characters, settings, and themes are exciting to dream up, but without a strong plot to hold everything together, your story risks feeling flat or unfinished.
The good news? Plot isn’t magic. It’s a skill you can practice and improve, and there are practical solutions to help you turn your idea into a story readers can’t put down.
Let’s get to it, okay?
The Problem: Great Ideas, Messy Plot
Have you ever started writing with enthusiasm only to stop?
Maybe you are halfway done or if you are me, at the 40,000-word point. Or maybe you reached the end and realized your story lacked momentum or emotional impact? This usually means the plot structure—the engine that drives the story forward—needs attention.
Plot isn’t just what happens. It’s the sequence of events that test your characters, forces them to grow, involves a sequence of cause and effect, and pulls your readers deeper into the story.
Let’s break down some common challenges and their solutions.
Challenge 1: “My story feels like a series of events, not a real plot.”
This is super common even when it’s not episodic.
Solution: Think in cause-and-effect, not just scenes.
Every event should trigger the next, like falling dominoes. If a scene can be removed without affecting the rest of the story, ask yourself: does it really belong?
It’s super hard to cut out a scene, but it’s also often super necessary.
Try this exercise:
Write one sentence that begins with “Because…” for each scene in your story. (“Because my character found the letter, she now has to confront her mother.”)
If the “because” chain breaks, that’s where your plot may need tightening.
Challenge 2: “My middle sags. The beginning is strong, but I lose steam.”
Solution: Raise the stakes and deepen conflict.
The middle is where many of us writers get stuck because the novelty of the setup wears off. To avoid this, make sure the middle of your story introduces bigger obstacles, surprises, and choices that test your protagonist’s limits. There are all sorts of beat-outlines and structures, but sometimes those can overwhelm us authors with certain brain types. This, however, is an easy and clean way of thinking about it.
Think of your midpoint as a turning point: something happens that changes the game and forces your protagonist to commit in a new way. This creates energy to drive the second half.
Challenge 3: “I don’t know where my story is going.”
Solution: Use a plotting framework to guide you.
But sometimes those structures help us (even us pantsers who don’t outline our story ahead of time).
Frameworks like Save the Cat, the Hero’s Journey, or the Three-Act Structure can act as a map. They don’t limit our creativity—they help ensure your story has shape and momentum. And you can use them in revisions.
Quickly check: Does your protagonist have a clear goal, obstacle, and stakes? If not, define those first. They’ll give your story direction.
Challenge 4: “Readers say my story isn’t engaging.”
Solution: Focus on character-driven plot.
Plot is most engaging when it emerges from your character’s desires, fears, and flaws. If your character makes active choices—and those choices create consequences—readers will lean in.
You have to have the yearning there for people to care. You have to have voice. You have to have the character going after things.
Ask yourself: What does my protagonist want more than anything? What are they willing to risk to get it? What do they need (which might be different from what they want)? Let those questions guide your plotting.
Challenge 5: “I’m overwhelmed by all the plotting advice out there.”
Solution: Keep it simple and experiment.
You don’t need to memorize every beat sheet or plot theory. Start with the basics: beginning, middle, end. Then ask: How does my character change from start to finish? Build around that arc.
Try this: Write a one-paragraph summary of your story, focusing only on your protagonist, their goal, the obstacle, and how it ends. This “story spine” will help you stay grounded no matter how complicated the plot gets.
Here’s the thing:
Plotting doesn’t have to feel overwhelming. At its heart, it’s about characters going after things—facing problems, making choices, and transforming along the way. If you think of your story as a chain of cause-and-effect events that push your protagonist to grow, you’ll already be miles ahead.
And remember: plotting is a skill. The more you practice, the more intuitive it becomes. Don’t be afraid to experiment, revise, and try different approaches until you find what makes your story come alive.
Call to Action
What about you? Do you struggle more with beginnings, middles, or endings? Drop your thoughts in the comments—I’d love to know which plotting challenges trip you up the most. And if you’ve discovered a plotting solution that works for you, share it! Your insight might be exactly what another writer needs.
PLACE TO SUBMIT
Carnegie Mellon University Press Announces an Open Reading Period for Poetry and Fiction from August 15 to September 15
Poetry Submissions
Eligibility: Submissions to the Poetry Series are open to any poet writing in English who adheres to the guidelines detailed on Submittable and pays the $25 reading fee.
Manuscripts must be complete and at least 48 pages, exclusive of front matter.
Submitting: Manuscripts for the Poetry Series should be sent during the open reading period of August 15 – September 15. All submissions must be sent through Submittable.
Reading Fee: Each manuscript must be accompanied by a $25.00 reading fee, payable through Submittable at the time of your submission.
Simultaneous Submissions: Manuscripts being considered by other publishers are allowed, but if a manuscript is accepted for publication elsewhere, please notify the Press, and withdraw your manuscript through Submittable, as soon as possible.
If you have any questions about these guidelines, please email cmupress-literary@andrew.cmu.edu.
Fiction Submissions
Eligibility
Collections of short fiction and full length novels will be considered if they meet the following criteria:
The submitted work must be in English, regardless of the first language of the author.
Eligible submissions include an unpublished manuscript of short stories; two or more novellas (a novella may comprise a maximum of 130 double-spaced typed pages); a combination of one or more novellas and short stories; or a complete novel. Novellas are only accepted as part of a larger collection. Manuscripts may be no fewer than 150 and no more than 300 pages. Prior publication of your manuscript as a whole in any format (including electronic) makes it ineligible.
Stories or novellas previously published in magazines or journals or in book form as part of an anthology are eligible.
Submissions: Manuscripts for the Fiction Series should be sent during the annual submission period of August 15 – September 15. All submissions must be sent through Submittable.
Submission Fee: Each manuscript must be accompanied by a $25.00 fee, payable through Submittable at the time of your submission.
Simultaneous Submissions: Manuscripts being considered by other publishers are allowed, but if a manuscript is accepted for publication elsewhere, please notify the Press, and withdraw your manuscript through Submittable.
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