Creative writing consultants help short story writers experiment with beginning their work in media res.

Beginning in media res—directly in the midst of action or conflict—is a deliberate narrative strategy that bypasses chronological exposition in favor of immediate engagement with the stakes of a story. This technique challenges writers to present key narrative elements through selective revelation rather than linear buildup. Especially in short fiction, where space is limited, in media res provides a method for building tension, revealing character, and structuring information efficiently. This blog post examines how in media res functions across classical and modern literature, explores its practical benefits and challenges, and outlines how collaboration with a creative writing consultant can support writers in executing this technique effectively.

The term in media res comes from Latin, meaning "into the middle of things." This means beginning a story not at the chronological start, but rather in the midst of action or conflict to bypass traditional exposition. The idea is to drop the reader straight into the heart of a situation, where something significant is already underway. This creates an immediate sense of urgency, compelling the reader to keep going to understand the context and stakes.

Rather than slowly building up to a key event, the writer immerses the audience in a live scene and gradually reveals necessary background through dialogue, flashbacks, or character thoughts. This method is particularly effective in short stories, where every sentence must earn its place. There simply isn't the luxury of long introductions or leisurely world-building, so starting mid-conflict helps generate narrative momentum from the outset.

One classic example is Homer’s The Iliad, which famously opens in the final weeks of the Trojan War, even though the war has been raging for ten years. Readers are thrust into the quarrel between Achilles and Agamemnon without immediate explanation. Over time, context unfolds, but the immediacy of the action draws the audience in quickly. In more modern literature, consider Franz Kafka’s The Metamorphosis, which opens with the line, “Gregor Samsa awoke one morning from uneasy dreams to find himself transformed into a monstrous vermin.” There is no prelude to explain how or why this transformation occurred; instead, we begin with the result and work backward emotionally and intellectually.

Another example is Jhumpa Lahiri’s short story “A Temporary Matter,” which begins with a couple receiving a notice about a planned power outage. This seemingly mundane event immediately sets the stage for emotional conflict, as we soon learn the couple is grieving the loss of a child. The story doesn’t start with their tragedy, but rather with a present moment that hints at a deeper fracture in their relationship. The use of in media res allows Lahiri to show how the past echoes through a quiet domestic scene.

In media res is about trust—the writer's trust in the reader’s intelligence and curiosity, and the reader’s trust in the writer to provide the pieces as the story unfolds. It transforms the act of reading into a process of discovery, where the reader becomes an active participant in assembling meaning from the fragments and implications provided. In the compressed space of a short story, this technique can be particularly powerful, allowing for a story that feels both immediate and layered.

Writers exploring the technique of beginning a story in media res often find themselves balancing immediacy with clarity. Starting in the middle of the action can be exhilarating, but it also demands a precise control of narrative elements: pacing, character revelation, context, and tone. For this reason, working with a creative writing consultant can be immensely valuable. A consultant brings not only an outside perspective, but also a practiced understanding of how stories function at both structural and sentence levels.

When a writer attempts to drop a reader into an ongoing scene, there is always a risk of confusion. Too little context and the reader may feel unmoored, unable to orient themselves within the narrative. Too much, and the immediacy is lost, the moment weighed down by unnecessary exposition. A consultant can help navigate this tension, identifying where the story needs to breathe and where it should press forward. They can point out where the emotional stakes are clear and where they need sharpening, or where a moment of dialogue might serve double-duty, both advancing the action and subtly illuminating backstory.

Moreover, a good consultant can act as a first reader, asking the questions any thoughtful audience might: Who are these people? Why should I care about what’s happening? What has already occurred, and how does that shape what I’m seeing now? Their feedback can help a writer refine not just the opening scene, but the entire architecture of the story that follows. Starting in media res is not just a matter of placement—it affects everything that comes after, from character arcs to the way information is distributed.

Working with a consultant also offers accountability and structure, especially for newer writers who are still developing their instincts for narrative rhythm. Having someone who can not only respond critically but also ask the right questions—questions that open up the story rather than close it down—can make the process less daunting and more creative. It’s not about being told what to do; it’s about being shown what’s possible.

In media res is not simply a stylistic choice—it is a structural commitment that influences pacing, characterization, and reader orientation from the outset. When used effectively, it can increase narrative momentum and encourage active reader engagement. However, its demands on clarity, context, and timing require precise narrative control. A creative writing consultant offers valuable support in navigating these challenges, providing insight into how best to craft a narrative that feels both clear and immediate. For writers aiming to apply this technique with consistency and purpose, expert feedback can improve both the opening scene and the overall integrity of the story.