[identity profile] mbarker.livejournal.com
Writing Excuses 6.25; When Characters Do Dumb Things

From http://www.writingexcuses.com/2011/11/20/writing-excuses-6-25-when-characters-do-dumb-things/

Key points: Don't just make character do dumb things because the plot requires it, because then readers disengage from the character. Let the audience have information that the character doesn't, but don't let the reader get it too far ahead of the character! Dumb choices should make sense as far as the character knows -- even if the reader wants to let them know that there is something else they need to know. Dumb choices may be personality based, a character flaw, or driven by emotion. Pay attention to the consequences -- really dumb choices should have strong consequences. Avoid plotting that requires a character be stupid. Dumb choices often are dumb because you didn't lay the groundwork. Give your characters good reasons for their choices.
Try the yellow pages? )
[Brandon] I'm going to go ahead and do our writing prompt because I've been gone for so long from the podcast. I'm going to suggest that you actually create a really solid romance where the characters can't be together for good, character-driven reasons. Not because of a misunderstanding. Not because they have an argument in act one and then hold a grudge. But because of legitimate, either cultural biases or character biases. Write a story about that romance where in the end they don't get together.
[Howard] And not because one of them is dead?
[Brandon] And not because one of them is dead, and not because either ot them are stupid. This has been Writing Excuses. You're out of excuses, now go write.
[identity profile] mbarker.livejournal.com
Writing Season Four Episode 30: World Building the Future

From http://www.writingexcuses.com/2010/08/01/writing-excuses-4-30-worldbuilding-the-future/

Key Points: A guiding decision -- is the future of your story comprehensible or not? Post-singularity? Consider consequences. Strategies: worst-case scenario, best-case scenario, consider the human element, what's cool. Are you telling character-driven stories or idea stories? Can you work backward -- what story do you want to tell, now what framework does that imply?
Unrolling the future... )
[Brandon] We have a writing prompt. I think we have a writing prompt that will come magically to us from the ether. You are instructed to write your story based on this concept, and here it is.
[Unearthly voice] Oh, no, it's the were-cuttlefish! [strange chomping noises] You are out of excuses and time. Now go write quickly before it gets you. [more strange chomping noises] [Pop! Pop!]
[identity profile] mbarker.livejournal.com
Writing Excuses Season Two Episode 13: Violence

From http://www.writingexcuses.com/2009/01/04/writing-excuses-season-2-episode-13-violence/

Key Points: "Violence is one of the ultimate shaping forces of human culture and to not write about it is dishonest." But you need to include consequences. Wolves and sheepdogs both have teeth. And some doctors laugh when they give you shots.
all the words )
[identity profile] mbarker.livejournal.com
Writing Excuses Episode 15: Costs and Ramifications of Magic

http://www.writingexcuses.com/2008/05/18/writing-excuses-episode-15-costs-and-ramifications-of-magic/

The quick version: make sure that you consider consequences, ramifications, and limitations of magic in your story. Cost provides conflict between using the magic and paying for it. Consequences and ramifications make the magic a part of the world, not some special white box effect outside of it. And don't forget the donkey - using magic should be more difficult than letting the donkey do it.
More words . . . and Schrödinger's Wizard Donkey )

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