Unless we’re only ever going to write just one book, we need to improve our ability to develop an idea into a story. That means we need to learn how to brainstorm in a productive way.

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How to Use Focused Brainstorming to Develop Our Plot — Guest: Janice Hardy

We’ve been talking about antagonists lately, and how some writers minimize the conflict in their stories, even though “good fiction is the path of greatest resistance.” In a perfect bit of serendipity, a guest post by Janice Hardy today addresses the most common myth about conflict.

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Conflict: Why It Isn’t Just about Fighting — Guest: Janice Hardy

Story description has a bad reputation for being “skippable,” but a story without description happens in a vacuum. Today, Janice Hardy is here to share advice and examples on how to make our descriptions less flat, less “told,” and therefore, less skippable.

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4 Tips for Preventing Flat Descriptions — Guest: Janice Hardy

Today, Janice Hardy shares her revision advice on how to include the right amount of backstory. Too much slows the pace, and too little can leave readers confused. Her tips help us avoid the issue of slow pacing, learn how to hide backstory, and identify when we need more.

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Backstory: Finding the Right Balance — Guest: Janice Hardy

Today, Janice Hardy shares her tip for getting unstuck with our plot. Whether we’re plotters or pantsers, working backward from the end can help us figure out our story’s plot. Sometimes we need to shake up how we do things to get the creative juices flowing again, and working backward can be the key we need.

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Stuck on Plot? Start at the End — Guest: Janice Hardy

I’ve gushed many times about the awesomeness of Janice Hardy’s blog—for good reason. Her writing tips are clear and insightful. She discusses topics more thoroughly than most. And it’s a rare thing when I can’t find an answer to a writing question there. She’s also a super-fantastic person (I’ve met her in real-life, so I

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4 Tips to Solve 99% of Your Writing Problems — Guest: Janice Hardy

Third-person POV ranges from the most distant to the deepest perspectives, so how can we tell where our story falls on the POV spectrum to avoid problems?

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Is Our Story’s Point of View Really What We Think It Is?

Let’s talk unreliable narrators: What can they do for our story, how can we create them, and what are the pros and cons of using them?

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Unreliable Narrators: The Pros and Cons