An Easy Tip to Avoid Infodumps in Your Dialogue

By Janice Hardy

Just because a character says it, doesn’t mean it isn’t an infodump.

Dialogue is one of my favorite parts of writing. It's fast-paced, grabs attention, and usually keeps the reader reading. When two characters are having a zippy conversation, readers feel like they’re hanging out with them and are part of the story.

But those conversations can also contain the dreaded infodump-as-dialogue.

Infodumping (throwing in a lot of "need-to-know" information at one time) doesn't just happen to prose. Characters can have conversations they'd never have, talking about things they'd never talk about, just so authors can explain things to readers.

Which is bad, because...

Infodumps remind readers they’re reading, and can knock them right out of the story.

The Overwritten Novel: How to Identify & Fix Purple Prose in Your Novel

By Janice Hardy

Be wary of going too far and turning a good sentence (or scene) into an overwritten mess. 

The term "purple prose" has been around as long as I've been writing, and chances are you've heard it too. 

If you're unfamiliar with the term, purple or flowery prose is so filled with adjectives and adverbs, similes and metaphors, that it screams "Hey look! I'm fancy writing" and distracts readers from the actual story. You often need a thesaurus just to read it.

Overwritten text is trying too hard to sound "written" or trying to explain too much. For example, a sentence that uses fifteen words when three is enough, and half of them are adjectives. Or a sentence that explains every single step in a task that doesn't need it. 

If you ever thought to yourself, "Yeah, I get it, he was angry, move on" then you probably read an overwritten passage.

Overwriting bloats a novel and usually kills the pacing and narrative drive, because the focus is on the description, not the action. Even when what you're describing is action.

Message for M. Reader: Are You Telegraphing Your Plot?

By Janice Hardy

Hints are great, but be wary of making it too obvious what's going to happen in your novel.

If you've ever watched a TV show or movie and heard a random stranger say something like, "Well now, we haven't use that road since a big old sinkhole opened up ten years ago," you've stumbled upon a telegraphed clue. You know that sinkhole is totally where the hero is going to lead the horrible monster or bad guy chasing him at the climax—and he does.

Kinda takes all the fun out of it, right?

While foreshadowing is a wonderful tool that can heighten tension and make the reader eager to know what will happen, telegraphing steals all the tension and takes the mystery out of those hints. 

Shhh! 3 Things Silent Movies Can Teach us About Storytelling

By Janice Hardy

You can learn a lot from the classics. 

My husband and I are big silent movie fans (well, fans of movies in general, really). But it's especially interesting to watch movies that are 90 to 100 years old, and even more interesting to see how storytelling hasn't changed all that much in all those years. What worked back in 1920 still works today.

What's even more fun, is that the first time many of the classic sight gags were done were in silent movies. These folks created them. 

Filmed in 1926, the Buster Keaton film, The General, is an excellent example of tight plotting and storyboarding. Nothing is wasted in this film. If you see a detail on screen, you can be sure it'll come into play at some point. And the best part? It still surprises you. I can't tell you how often we laughed over something we should have seen coming.

That’s the secret of great storytelling. 

The Question You Should Ask for Every Scene

By Janice Hardy

If you can’t explain why a scene exists, you probably shouldn’t write it

Writers ask a lot of questions while drafting a novel—who are the characters, how does the worldbuilding work, what are the goals, motivations, and plot twists? And readers have their own questions driving them forward. Will the hero win? Will the lovebirds fall in love? Will the hockey team survive?

But we don’t always ask the question that can save us a ton of time and frustration.

What’s the point of this scene?

This question isn’t about the story's theme or the protagonist's goals—it’s about why you decided to put this scene into your story in the first place.

If you can’t answer why a scene is in your novel, it's a huge red flag that the scene might not be serving the story.

Why "Start With the Action" Messes Up So Many Writers

By Janice Hardy

Sometimes really great advice is anything but helpful.

If I took a poll for the most common writing advice, “start with the action” would make the list. 

Which it should, as it’s great advice. But it’s also like saying, “show, don’t tell.” You know you ought to do it, but you don’t always know how, and those four words don’t really help you write the beginning of your novel.

This can be especially hard on new writers, because they might think they’re doing everything right, but still get negative feedback or even rejections on their manuscripts. “I do start with action,” they cry. “Can’t you see that car barreling off that cliff there? What do I have to do, blow up a planet?”

Well, no. And that's where the problem lies.

If you don’t know what “action” means in fiction, you can easily misunderstand how to use it.

Do You Suffer From NWS?: Living With Nice Writer Syndrome

By Janice Hardy

Are you too nice to your characters? 

Do you love your characters?

Do you wish nothing bad would ever happen to them?

Then you might suffer from Nice Writer Syndrome.

This is a common malady. We spend hours and hours creating our characters, interviewing them, filling out complicated character sheets, determining which personality they are on the Myers-Briggs Scale. They become like family, and we can't bear the thought of doing anything bad to them.

We don't throw them into conflict. We don't let them get hurt. We don't make them work for their rewards at the end of the novel (those slackers).

It can get so bad, we stop letting them leave the house, so nothing ever happens to them.

The Best Advice on Plotting I've Ever Heard: Two Tips That Make Plotting Your Novel Way Easier

By Janice Hardy

A good story is more than a series of things that happen. It's all about the cause and effect.

Way back in 2012, I read a few pieces of plotting advice that are just as good today as they were then. They're nothing new, nothing ground-breaking, and things countless writers have said before (including me), but the way they're said is sheer genius. They're probably the most applicable and easiest plotting tips I've ever heard.

The advice refers to full scenes, but I quickly realized it was just as effective on diagnosing the action in an individual scene as well as the big picture of the novel's plot. It's an incredibly useful tool for pinpointing problems in a scene you know has issues, but can't figure out what they are.

The Recipe for Writing a Great Scene

By Janice Hardy

A great scene is a lot like a great meal. 

Maybe it's because I'm married to a guy who loves to cook, but I think of scenes like I think of food. Meals with one item on the plate might be tasty while you eat it, but once it's done, you kinda forget about it. And it's rarely as satisfying. 

But the meals with multiple items and layers of flavors going on? I still talk about some of those meals.  

Due to nature of writing and storytelling, it's easy for writers to think of scenes as "one item meals." We even describe them that way sometimes, such as, "This is the scene where Bob finds the body in the trunk.” "This is the scene where they finally kiss." "This scene is where it all goes wrong."

There's nothing wrong with this, as scenes do tend to have a main point to them. But the best scenes typically have multiple things going on, too. Plot things, character things, backstory things. A common rule of thumb here...

Give every scene at least three reasons for being in your novel. 

5 Ways Repetition Hurts Your Novel

By Janice Hardy

How to spot and fix those sneaky repetitions that weaken your prose.

Aside from a great one liner, a declaration of love, or a juicy piece of gossip, most people don’t like to hear the same thing over and over. This is doubly true for readers, and repeating yourself in a novel can make your story feel redundant, stale, or even poorly edited.

When you consider a typical novel runs between 80,000 and 100,000 words, it’s no wonder words (and even ideas) get repeated. Some of those words readers don’t notice (such as said) and others stand out even if you only used them once or twice (like antidisestablishmentarianism). 

Repetition drags down your pacing and makes even strong prose feel clunky.