If you’ve ever hit a wall with your novel and thought, “Something’s wrong, but I can’t tell what,” you’re not alone. Most writers don’t stall because they can’t write — but because the story’s foundation is wobbling.
Do not fret or allow imposter syndrome to take over just yet. Plot problems are incredibly common, and they all have clear solutions.
I spent weeks over a weak revelation in my own story once, and I had to scrap or completely re-do characters because they felt too shallow. So, with me, you are definitely in good company.
Here are five of the biggest culprits (and how to fix them without tossing your whole manuscript in the bin).
1. The Wandering Middle
The dreaded “sagging middle” is when your story loses momentum halfway through. Characters wander. Scenes happen, but nothing feels urgent or purposeful. The middle becomes like a slice of ham in the middle of a soggy sandwich: it barely adds any substance and just leaves you craving for more.
Fix: Think of your middle as an escalator of conflict. Each chapter should either raise the stakes, reveal something new, or force your protagonist to make a harder choice than before.
- Add mini-goals (short-term wins or setbacks).
- Introduce complications that disrupt their plan.
- Keep the tension rising so the reader feels pulled toward the climax though foreshadowing and layers of conflict.
Example: In The Hunger Games, the middle doesn’t drag because Katniss constantly faces new dangers (fires, alliances, betrayals), each one riskier than the last.
Actionable advice: make sure every scene has a purpose and goal. Ask yourself: what does this scene/chapter add to the story? If I removed it, would the story still stand or would it crumble? What can I add or change here to make it impactful to the story?
2. Flat Stakes
If your reader doesn’t understand what’s at risk, they won’t care who wins. Sometimes writers know the stakes in their head, but they don’t make them clear on the page.
Fix: Ask yourself: What happens if my protagonist fails? The answer should matter deeply — either to your character personally, to the people they love, or to the world at large.
- Make it personal. Stakes aren’t just about “saving the kingdom.” They’re about what losing means to the hero.
- Don’t be afraid to raise the consequences as the story progresses.
Example: In Finding Nemo, the stakes aren’t just about finding a fish. It’s about Marlin losing the last family he has. That personal angle keeps the audience hooked.
Actionable advice: make sure your character’s interiority is clearly displayed if the stakes are personal to them, or that the emotions around what’s at stake are shown. Emotions are your best friends here, show the anxiety, the fear, the anguish, make the reader an active part of the story.
3. Too Many Subplots
Subplots can enrich a story — until they start overwhelming it. If readers can’t tell what the main story is anymore, you’ve got a problem. This is a “problem” that sometimes make it into published work too. I cannot count the number of books where the romantic subplot eventually hijacked the main plot.
Fix: Subplots should be connected with each other and have influence over the story, however, every subplot should connect back to the protagonist’s journey.
- If it doesn’t, cut it.
- If it can, braid it into the main thread.
Think of subplots as satellites: they orbit the main story, not the other way around.
Example: In Pride and Prejudice, the Lydia–Wickham subplot isn’t random drama. It ties directly into Elizabeth’s journey of judging character and making wiser choices.
Actionable Advice: create a visual representation on the main plot and subplots, simply draw them starting as parallel lines on a page, noting when they start and when they solve, and have them cross when they weave within each other. If they never touch the main plot, they may need to be revised. You could also just write them down in a list, if it works better for you.
4. Convenient Resolutions
If your climax hinges on sheer luck, coincidence, or a character suddenly developing new skills out of nowhere, readers will feel cheated. Well, depending on the story and its themes, sometimes there could be the “everything falls on your lap” solution, but more often than not, your characters need to earn their victory.
Fix: Your protagonist should be the one to solve the story’s main problem, that’s why they are the protagonist.
- That doesn’t mean they win easily — but the outcome must come from their choices, growth, or sacrifice.
- If luck helps, it should work because the character made a bold move first.
Example: Harry Potter doesn’t defeat Voldemort because of random luck. He succeeds because of the loyalty, courage, and relationships he’s built throughout the series.
Actionable advice: Look at your climax scene and ask yourself: Does my protagonist’s decision drive this outcome? Would the resolution change if my protagonist’s actions changed? If your answer to the latter is no, you may what to revise it.
5. A Weak Antagonist
Stories thrive on conflict, and conflict thrives on strong opposition. If your villain is vague, passive, or just plain boring, the whole story loses energy.
Fix: Treat your antagonist like a protagonist of their own story.
- Give them goals that clash with the hero’s.
- Make sure their motives are as strong as (or stronger than) the protagonist’s.
- Remember: villains rarely think they’re “the bad guy.”
Example: Killmonger in Black Panther is compelling because his motives are understandable, even sympathetic — which makes his clash with T’Challa feel inevitable.
Actionable advice: Write your antagonist’s story goal as if they were the hero and they were the protagonist of the story. Make it clear, urgent, and deeply personal. This alone strengthens conflict. Also, more often than not, antagonist and protagonist share the same deep value, but choose to act upon them differently.
Plot problems happen to everyone. The trick isn’t to avoid them entirely, but to recognize the patterns and know how to untangle them.
So next time your draft stalls, ask yourself: Is it one of these five? Chances are, it is — and now you’ve got the tools to fix it, so get back to your book and happy writing!
