Janice Hardy's Blog, page 2

3 Ways to Add Tension to a Scene

By Janice Hardy

If your scene lacks excitement, try making someone squirm.

I wrote an interrogation scene for my detective WIP that should have been dripping with tension, but it read like a giant infodump. No resistance. No stakes. Just the bland back-and-forth of information I wanted readers to know, and the whole scene just went splat.
This is pretty common, especially in early drafts. We know what happens in our story and why, so we tend to skip over the uncertainty that creates that all-important story tension. 
But without that uncertainty, scenes can feel like they're just going through the motions.Continue ReadingWritten by Janice Hardy. Fiction-University.com

What Your Favorite Book Can Teach You About Writing

By Janice Hardy

Your favorite book ismore than a great read—it’s a masterclass in writing craft.

I have a beat-up copy of Dave Duncan’s The Gilded Chain on my shelf that’s filled with notes in themargins and highlighted passages in different colors. It was my writingtextbook when I was figuring out how to write and analyzing what made the booksI loved work.

I loved Duncan’s prose. (Still do.) It’s smooth, clear,never draws attention to itself, but always pulls me right into the story. Istudied how he structured sentences, how he handled action, how he manageddialogue without slowing the pace. I wasn’t trying to mimic him—I was trying tounderstand why his writing kept meturning pages long past midnight.

Continue ReadingWritten by Janice Hardy. Fiction-University.com

The Secret to Avoiding the Sagging Story: What Makes a Good Middle

By Janice Hardy

Many writers dread the middle of a novel—but writing a strong one is easier than you think.

When I was new to writing, every novel I wrote bogged down in the middle. I’d start off well, but then run out of things for my protagonist to do, so I’d start making things up just to fill up space. Soon, it would turn into a complete mess and I’d start over.

I can’t tell you how many times I did this. Dozens at least, if not more.

Eventually, the frustration got to me and I decided if I wanted to break this cycle of despair, I’d have to find a way to get through the middle of my novel.

And I did.

So well, in fact, that my agent said my first novel’s middle was “damn near perfect.”

Continue ReadingWritten by Janice Hardy. Fiction-University.com

Two Questions to Ask for Stronger Character Goals and Motivations

By Janice Hardy

Strong plots start with two deceptively simple questions.

The sheer number of plotting questions I get—both in personand online—is a good indication that plotting is something a lot ofwriters wrestle with. And it’s not always because they don’t understand storystructure or scene dynamics.

You can write gorgeous prose and still wind up with a storythat meanders, stalls, or lacks punch. That’s because the characters aren’tmaking active, motivated choices that drive the story. They’re just… doingthings.

“Because that’s what has to happen next” isn’t agoal.

I’ve had countless brainstorming sessions with stuck writers(and been one myself), and over the years, I’ve noticed something. No matterhow complex the plot, how high the stakes, or how elaborate the worldbuilding,the problem almost always comes down to one missing element: goals.

Continue ReadingWritten by Janice Hardy. Fiction-University.com

Where Was I Going Again? The Benefits of Re-Reading During a Revision

By Janice Hardy

A re-read might be theright path to find your story and fall in love with it all over again.

Many writers shudder at the very thought of revising theirnovel. Others curse. But I’ve always enjoyed the revision process (don’t hateme). I’ve found it’s where my best writing happens, because I know how my storyturned out and I have a much better understanding of who the characters are andwhat they want and need to do.

Even if you’re a meticulous outliner, your final draftrarely matches your original plan exactly. And if you’re a pantser or discoverywriter? Well, your manuscript may resemble your initial vision about as much asa squirrel resembles a spaceship. Though honestly, that can happen to plotters,too.

Because things change as we write. Motivations shift. Newideas pop up halfway through and suddenly alter our understanding of the plot.Characters do things we didn’t plan, and sometimes what sounded brilliant inChapter Eight feels like a complete mistake by Chapter Twenty.

Continue ReadingWritten by Janice Hardy. Fiction-University.com

The Great Word Count Freakout (And Why You Can Relax)

By Janice Hardy

Figure out your word count without losing your mind.

You’ve finally finished the novel you’ve been working on foroh-so-long. You poured your heart into it, metaphorically bed on the pages, andfinally typed “The End” before doing a little happy dance. Then you checkedyour word count—and panic set in.

Is it too long? Too short? Will agents laugh? Will readersriot? Should you cut 30,000 words? Add 20,000? Toss the whole thing into a fireand start over?

Take a deep breath. It’s all going to be okay.

Stressing out over your word count happens to pretty muchevery at some point.Continue ReadingWritten by Janice Hardy. Fiction-University.com

Dramatic Irony vs. Surprise: Which One Should You Use (and When)?

By Janice Hardy

Should you clue readers in or keep them guessing?

It’s one of those sneaky little questions that pops up mid-draft, usually right when you’ve got a big moment brewing. You’re plotting a reveal, or writing a high-stakes scene, and BAM!—you're second-guessing yourself. Should readers know what’s coming, or should they be as shocked as the protagonist? Will a slow-building dread serve you better, or is it time for a jaw-dropping twist?

It's time to choose between dramatic irony and surprise.

Both are powerful narrative tools that, when used well, can hook your reader, raise your tension, and add a satisfying emotional punch. But used poorly? You risk confusing your audience, frustrating their expectations, or even undercutting your story’s payoff.
Continue ReadingWritten by Janice Hardy. Fiction-University.com

Can You Hear Me Now? Developing Your Narrative Voice

By Janice Hardy 
Your narrative voice sets you apart from other writers.

Voice is one of those things that's easy to spot, but hard to define. There is no formula for it, no set of rules. Without a strong narrative voice, stories fall flat and you wind up with a lot of "Close, but it just didn't grab me as much as I'd hoped" type rejections. With a strong voice, your prose sings.

Voice is the feeling that there's a person behind the words. It's the judgment of the world around the characters and how they convey their opinions about that world to the reader. It's also the rhythm of the words they say, and the words you as the author choose. Is your writing casual or formal? Simple or complex? Flowery or basic? 
It's the little decisions you instinctively make while you write that make your writing sound like you.
So how do you do that?
Continue ReadingWritten by Janice Hardy. Fiction-University.com

How to Find the Right Place for Your Inciting Incident

By Janice Hardy, @Janice_Hardy

Struggling to find where your story truly begins? Learn how to pinpoint the perfect place for your inciting incident.
The inciting incident (sometimes called the inciting event) is one of the most critical moments in any novel. It’s the point where something changes—where the protagonist's normal world is disrupted and the core story begins. It kicks off the central conflict and gives readers a reason to keep turning pages.

But unlike major plot points like the midpoint or climax, the inciting incident doesn’t have a fixed place in a story’s structure, which can cause confusion—especially for newer writers.

You’ll find articles that say it should be on page one. Others claim it belongs at the 10% mark. Some swear by chapter three. And the truth is...they're all right, depending on the novel.
Continue ReadingWritten by Janice Hardy. Fiction-University.com

3 Easy Edits for Better Emotional Descriptions

By Janice Hardy, @Janice_Hardy

The wrong words can flatten the right feelings—learn how to spot them and breathe emotion back into your scenes.
Ever read a scene that should hit you right in the feels, but somehow doesn’t? The words are there, the setup is solid, but emotionally, it falls flat. 
That disconnect often comes down to the wrong word in the right place. A frown where there should be fear. A smile that doesn’t carry the weight of what’s unspoken. 
The smallest word choices can make or break a reader’s emotional connection—and when that connection breaks, so does their investment in the story.
The right word can mean the difference between connecting emotionally with a reader and having them forget a character’s name. The more they connect, the more likely it is that they’ll love the story. The more they love the story, the more likely they are to tell all their friends about it and buy the next one. Continue ReadingWritten by Janice Hardy. Fiction-University.com