Story Structure: In Medias Res

The concept of “in medias res” (Latin for “in the midst of things”) in novel writing dates back to ancient Greek and Roman literature. The Roman poet and philosopher Horace wrote about the technique in his Ars Poetica (The Art of Poetry), which was published around 18 BCE. In this work, he advised poets to begin their stories in the middle of the action, rather than at the beginning, in order to grab the reader’s attention and create a sense of urgency. As a novel writing technique, in media res also involves beginning a story in the middle of the action, rather than at the beginning, in order to capture the reader’s attention and create a sense of immediacy and urgency.

One of the earliest examples of in medias res can be found in Homer’s epic poem, The Iliad, which begins in the middle of the Trojan War, rather than at the beginning. This technique was also used by other ancient Greek and Roman writers, including Virgil in his epic poem, The Aeneid.

The concept of in medias res was later adopted by medieval writers, who used it in epic poems and chivalric romances. It was also popularized during the Renaissance when it was used in plays and novels. In modern literature, in medias res continues to be a popular technique, used by writers across genres to create a sense of immediacy and urgency in their storytelling. By beginning a story in the middle of the action, writers can capture the reader’s attention and set the stage for a compelling narrative that keeps them engaged from beginning to end.

An in media res story outline begins in the middle of the action, typically in the second act of the story. The first act is usually skipped or presented through flashbacks or exposition. Here’s a general breakdown of the structure:

In Media Res Opening

1. Begin with an exciting or dramatic scene that captures the audience’s attention
2. Introduce the protagonist and the conflict they are facing
3. Provide enough information to keep the audience engaged, but leave enough mystery to create suspense

Rising Action

1. The protagonist faces obstacles and challenges in pursuit of their goal
2. The conflict intensifies and the stakes become higher
3. The audience learns about the protagonist’s background and motivations through flashbacks or exposition

Flashbacks or exposition

1. Reveal the events that led up to the opening scene
2. Provide context and backstory for the protagonist and their situation
3. The flashbacks or exposition are usually interspersed throughout the story to reveal information as needed

Climax

1. The highest point of tension in the story
2. The protagonist faces their biggest challenge or obstacle
3. The outcome of the conflict is uncertain

Falling Action

1. The tension begins to decrease as the conflict is resolved
2. The protagonist learns important lessons and grows as a character
3. The loose ends of the story are tied up

Resolution

1. The story comes to a satisfying conclusion
2. The protagonist achieves their goal or is transformed by their journey
3. The final scene often provides closure or a sense of hope for the future

An in media res story structure is commonly used in film and television, but it can also be used in literature and other forms of storytelling. It can be an effective way to capture the audience’s attention and create suspense, but it requires careful planning and execution to ensure that the audience can follow the story without getting lost.

Writing Sample

Here’s an in media res outline of the novel Station Eleven by Emily St. John Mandel:

Flashback

1. The narrative jumps back in time to trace the interconnected lives of various characters before the pandemic.
2. The reader is introduced to Arthur Leander, his relationships, and his troubled personal life.

Pre-Apocalyptic Storylines

1. The narrative shifts between the lives of Clark Thompson, Arthur’s close friend and business associate, and Kirsten Raymonde, a child actress in Arthur’s last performance.
2. The reader learns about their experiences leading up to the outbreak of the Georgia Flu.

Post-Apocalyptic World

1. The narrative returns to the post-apocalyptic world, following the Traveling Symphony and its members, including Kirsten, who is now an adult actress.
2. The Symphony roams from settlement to settlement, performing Shakespeare and struggling to survive in the dangerous new world.

Interconnected Lives

1. The novel explores the connections between the characters in the pre- and post-apocalyptic worlds, revealing the impact of their pasts on their current circumstances.
2. The reader learns about Clark’s role in the formation of the Symphony and his friendship with Arthur.

Survival and Loss

1. The Symphony faces various challenges, including encounters with dangerous cults and desperate survivors.
2. Kirsten embarks on a journey to find a lost friend and confronts the dangers of the post-apocalyptic landscape.

Revelations and Clues

1. The narrative unveils more about the origin of the pandemic and the mysterious Prophet, who poses a threat to the Symphony.
2. Clues about the interconnectedness of the characters and their pasts are revealed.

Climax

1. The Symphony arrives at a settlement controlled by the Prophet, leading to a confrontation.
2. Kirsten’s quest for answers reaches a crucial turning point, intertwining her fate with the fate of the Symphony.

Resolution

1. The Symphony and Kirsten confront their fears and the consequences of their actions.
2. The narrative returns to the opening scene, providing closure to the characters’ stories and reflecting on the enduring power of art and human connection.

This in media res outline captures the non-linear structure of Station Eleven, starting in the post-apocalyptic world and then weaving together the past and present lives of the characters. It highlights the interconnectedness of their experiences and explores themes of survival, art, and the resilience of the human spirit in the face of catastrophe.