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.”

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 person and online—is a good indication that plotting is something a lot of writers wrestle with. And it’s not always because they don’t understand story structure or scene dynamics.

You can write gorgeous prose and still wind up with a story that meanders, stalls, or lacks punch. That’s because the characters aren’t making active, motivated choices that drive the story. They’re just… doing things.

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

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

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

By Janice Hardy

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

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

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

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

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 for oh-so-long. You poured your heart into it, metaphorically bed on the pages, and finally typed “The End” before doing a little happy dance. Then you checked your word count—and panic set in.

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

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

Stressing out over your word count happens to pretty much every at some point.

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.

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?

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.

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. 

The Revision Ripple Effect

By Janice Hardy, @Janice_Hardy

Tiny tweaks in a story can cause a tidal wave of changes.

Maybe I’m a writing freak, but I actually love revisions. A single change can impact a novel on multiple levels, which is both cool, and terrifying.

Tweak a character’s backstory or change the rules of your world’s magic, and bam! Your entire novel starts to shift under your feet. One change leads to another, and another, and then you realize the larger ramifications of all those changes and before you know it, it’s practically a new book.

Which isn’t necessarily a bad thing, but you want to make sure it’s what you want.

Some rippled-revisions are massive, while others are more nuanced.

The Key to Creating Suspense Is...

By Janice Hardy, @Janice_Hardy

Suspense matters in all novels, not just the thrillers and the horror stories.

The most memorable experience I've had with suspense and storytelling, was watching the final episode for season one of "Why Women Kill." Despite the name, the show is a drama, not a documentary, and is brilliantly told through three sets of characters, in three time periods, all in the same house. All you know going in is that one of the women in each time period is going to kill. You don't know who, you don't why, and you don't know how.

The final episode where all is revealed is sheer genius.  

I literally sat on the edge of my seat, knees pulled to my chest, hand over my mouth. I was riveted.