4 Tips on Writing Action Scenes

By Janice Hardy, @Janice_Hardy

A good action scene starts with the character. Seriously.

I love action in my entertainment. Books, movies, TV shows, even games. I also enjoy a great story to go with it, but I like the external forces that cause the true nature of a person to bubble to the surface. I want to see what people do and discover why they did it. 

At this point in my career, writing action comes pretty easily to me, but that wasn't always the case. My early work was way too descriptive in how my fight scenes played out—I explained every detail, I created special names for fighting styles and whatnot. It took longer to read the action that it did to actually perform the action.

Which is the opposite of what you want when it comes to writing action. 

How Do You Know if Your Writing is Getting Better?

By Janice Hardy, @Janice_Hardy 

Without objective feedback, it's hard to know if you're improving or just making the same mistakes. 

Almost every writer at some point has wondered, "Is my writing getting any better?" I've wondered about it, many writers I know have wondered about it, and odds are good you have, too. It's a normal question when what you're doing is so subjective. 

Sadly, there's no easy checklist to verify if you're improving or not. It's also really tough to judge our writing, because it's hard to be subjective about our own work. We can love our bad writing and hate our good writing—and we often have trouble telling the difference. 

Of course, you can always get a paid critique or manuscript review from a trusted professional source, but not everyone has or can afford that option. For this post, I'm focusing on what we can do on our own.  

Stepping Out: A Look at Point of View Shifts

By Janice Hardy, @Janice_Hardy

Slipping out of your point-of-view-character's head can jar a reader right out of the story.

Years ago, I started a book and set it down before I'd finished the first chapter. The precise moment, was when a paragraph began in one character's head, and ended in another character's head. Even worse, those two characters were in different countries, so it wasn't as if it was an omniscient narrator with characters in the same scene. 

That point of view shift killed the book for me, and I've never tried anything by that author since.

If you're unfamiliar with the term, a point of view shift is when the author shifts out of the point-of-view-character's head, either into another character, or showing/explaining something that character couldn’t possibly know.

4 Must-Ask Questions Before You Start Your Novel

By Janice Hardy, @Janice_Hardy

A little thinking before you start writing can make a huge difference in how easy that story is to write.

For some writers, a blank page is a scary thing to face. For others, they see all that white space as an opportunity, and can't wait to dive in and tell their story. The vast majority of us probably fall somewhere in between, with some ideas making us eager to write, and some fighting us for every word.

I've discovered through (often painful) trial and error, that my novels go smoother when I spend some time planning them before I write them. I don't have to figure everything out, but knowing what my core conflict is, what my protagonist needs to do, and who my antagonist is makes it a lot easier to write the first draft. I struggle less, my plot comes together more quickly, and the manuscript turns out much cleaner.

You Can Fight Mama Nature: What to do When Your Antagonist is Nature Herself

By Janice Hardy, @Janice_Hardy

Some antagonists can't be fought—they can only be survived.

It's common to hear "antagonist" and think "villain," but the two are not synonymous. An antagonist is just who or what is preventing your protagonist from achieving their goal. Often, that is a person and a bad one at that, but it can also be from a conflict type that has no personal stake in the game. 

Like Mother Nature. 

Your antagonist can come from any of the four basic conflict types, and they each focus on a different type of conflict opposition. We've discussed the person vs. society conflicts, and person vs. self antagonists, so let's look at the person vs. nature conflicts.  

Person vs. Nature conflicts have often undefeatable foes to deal with, because they focus on taming the untamable or surviving the overwhelming threat.  

A great example of a nature antagonist is a traditional disaster movie like Volcano. 

An Easy Tip for Tightening Your Novel’s Plot

By Janice Hardy, @Janice_Hardy

A loose plot can easily unravel, but tying up the threads strengthens the entire novel.

One of my favorite things when writing is when I make an accidental connection that fits so well it looks like I’d planned it all along. It’s my subconscious working in the background.

One day, it dawned on me that I didn’t have to wait for my inner writer to clue me in—I could consciously look for those connections.

Once I started looking, I found multiple “hidden connections” per book that deepened the plot and made it more unpredictable. The obvious characters became red herrings for the more subtle characters lurking in the background doing “plot things” and making the story work.

Plus, it’s a ton of fun.

Broken, but Still Good: 3 Ways to Create Character Flaws

By Janice Hardy, @Janice_Hardy

Choose the right flaws and weaknesses to round out your characters.

There's an old saying: "I'm not looking for the perfect man, just one with faults I like." No clue where I heard this, but it always stuck with me, because it’s so true. Everyone has faults, and some are more palatable than others.

This is true for our characters, too. Their flaws and weaknesses make them three-dimensional people readers can relate to and root for. They also allow our characters to make the mistakes and bad choices that lead to compelling plots.

But picking any old flaw isn't going to cut it. Who cares if the protagonist can't cook if cooking never matters to the story? So what if they can’t commit if they’re never asked to? It's important to choose flaws and weaknesses that add to the overall novel.

Why You Should Write a Novel "Just for Fun"

By Janice Hardy, @Janice_Hardy

Not everything you write needs to be published—or even publishable.

A few years after I published my third novel (Darkfall), I fell into a dark time with my writing. I was drafting a novel that did not want to work the way I wanted it to, and I dreaded sitting down at the keyboard every day. Writing was no longer fun.

With sad relief, I set the manuscript aside and worked on a non-fiction project I'd been wanting to do (my very first writing book, Plotting Your Novel: Ideas and Structure). I fully intended to return to fiction afterward, expecting my dread of the novel to have passed by then.

It hadn't.

I'll be honest—it was terrifying.

Why Conflict Is so Hard to Create in Romance

By Janice Hardy, @Janice_Hardy

Romances don’t usually have a villain, but there is a strong conflict driving the plot.

The romance genre is an odd mix of writing difficulties. On one hand, it’s easy to write because it has a clear structure and set of goals for every story—get two people to fall in love and live happily ever after. 

On the other hand, since both protagonists want the same thing, it’s extremely difficult to create conflict—and plot is created by conflict.

Unlike most novels, there's no mustache-twirling antagonist standing between the lovebirds and happiness. And since the protagonists need to come together in the end, you can’t have one defeat the other, or it throws off the balance of power in the relationship and makes for a bad (and unhealthy) romance.

Without these common antagonistic elements, finding a conflict strong enough to drive a plot can be quite the challenge.

5 Common Problems With Endings

By Janice Hardy, @Janice_Hardy

Your ending is the whole point of your book.

This is the last post in my mini-series on common problems in beginnings, middles, and endings. Today, we’ll take a look at common problems with endings.

When a reader picks up your novel, they do so because something about the blurb made them think "This sounds like a great book." It might be the premise, the voice, the setting, or even a character, but something intrigued them enough to give it a try. How you end the novel and resolve the story will determine whether or not that reader raves about the novel the next day, or forgets about it before the week is over.

Oh yeah, endings have that kind of power. 

Because the ending is the moment readers have been waiting for the entire book (no pressure). It resolves the core conflict of the novel and puts the protagonist up against the antagonist, which is why the most common problem with endings is that they don't live up to that promise.

The only thing tougher than an ending is the middle. Except for the beginning.