[identity profile] mbarker.livejournal.com
Writing Excuses 11.Bonus-04: Fantasy Food, with Elizabeth Bear and Scott Lynch

From http://www.writingexcuses.com/2016/11/29/11-bonus-04-fantasy-food-with-elizabeth-bear-and-scott-lynch/

Key points: Food engages readers. It contains worldbuilding, economics, trade routes, and many other interesting points. Potatoes! Don't forget the peasants. Who eats beef? Think about the logistics. How long does it take to cook, what are the ingredients, who eats it? Think about the health consequences. Oysters and lobsters. Characters' reactions are more interesting than what they are actually putting in their faces. Don't forget the potatoes!

What's cooking in your pot? )

[Dan] I'm kind of thinking… And, actually, our time is up, so it's time for us to go and get dinner. But first, we get homework.
[Scott] Homework. All right, well, your homework is to go out and cook something. Actually, that's useful homework. But my actual writing homework, since I have to give you a prompt. I want you all… All of you! Yes, you. I want you to take a character of your own who is beloved of you, and I want you to make them the antagonist, plausibly, in somebody else's story.
[Elizabeth] And does this involve food?
[Scott] It can involve food. I want you to cook while doing this.
[Howard] Oh, way to throw down the gauntlet.
[Dan] Awesome. Cool. All right. So. Thank you very much, Scott and Elizabeth. You're wonderful.
[Elizabeth] Thank you.
[Dan] Listeners, go out and read Karen Memory and all of their books. This has been Writing Excuses. You are out of excuses. Now go write.
[Elizabeth] Now go write.
[identity profile] mbarker.livejournal.com
Writing Excuses 11.Bonus-01: Characterization and Differentiation, With Robin Hobb

From http://www.writingexcuses.com/2016/10/12/11-bonus-01-characterization-and-differentiation-with-robin-hobb/

Key points: How do you make characters unique and interesting? How do you create characters? Some writers start with a plot or a what-if. Others start with a character. When a character steps out and starts talking, the world will form around them. Ask who are you? What formed you? What kind of family did you grow up with? What did your parents do for a living? Are you from urban, rural, or where? Wealthy, poor? Think about how a character's backstory influences them. A lot of it is your character's reactions to whatever is happening. When the story unfolds, trust yourself. Differentiating characters really means paying attention to the characters' backgrounds. What vocabulary do they use, how do they see things? Attitude, sentence structure, slang, cadence, it all makes a difference. Then add in description. And reactions to other characters and events. Reaction shots reveal character!
In the depths of the character... )

[Dan] Do you have a writing exercise you can give to our listeners?
[Robin]'s Well, I think one of the things that's kind of fun to do is to pull some of your favorite books down from the shelf and look at the dialogue. Purposely kind of train your eyes so you're not looking at the he said, she said. Or, if you can find a long section where it's simply this person, that person, this person, that person, can you tell in the middle of the book who's speaking? What were the tricks that were used to do that? Or…
[Howard] Why isn't it working?
[Robin] Pull out a section of your old dialogue and look at it and say, "If I ran this all together in one paragraph, with the reader really be able to tell that somebody else was speaking the second part of it?" Just try it out. Talk out loud. There are some things that are written in dialogue and they just… When you try to actually say them, they don't work. There are some books that I really loved when I was a kid, and then I went to read them out loud to my own children and I suddenly realized that the dialogue was just terrible. The story was great, but I could not make it sound like something somebody would believably say to someone else. So it's try it out loud…
[Dan] That was my book she was reading…
[Laughter]
[Dan] By the way.
[Howard] She really enjoyed I Am Not a Serial Killer as a child.
[Laughter]
[Dan] She read it to her children at night.
[Robin] I read it to my children at night.
[Laughter]
[Dan] Awesome. Well, Robin, thank you so much for being here. This has been wonderful. Thank you to our audience. And to everyone out listening, you are out of excuses. Now go write.
[identity profile] mbarker.livejournal.com
Writing Excuses 11.6: The Element of Wonder

From http://www.writingexcuses.com/2016/02/07/11-06-the-element-of-wonder/

Key Points: Sensawonda? Oh, sense of wonder! A 15 story tall ship! A giant promenade in the middle of the ocean? An aft balcony, with a new sunrise and location every morning! New, strange, and amazing. That's so cool. How do you get there? A spaceship the size of a moon. "That's no moon." Context, the POV reaction, the reader reaction. Direct the reader's attention with the character's attention. Basking in the moment of awe. Give the character, and the reader, time. Foreshadow (aka context) and then reveal. Pacing. Don't rush, let the character's attention linger on it, walk through the fine details, enjoy it. The sense of wonder isn't always big, sometimes it's something tiny. Also, there's a sense of engagement, of wish fulfillment, with the sense of wonder. It's not just wonderful, we get to do something with it!

Fireworks, sunsets, glory! )

[Brandon] We are out of time with this one. So we want to give you some homework.
[Dan] All right. Your homework today is that you are going to apply a sense of wonder to something for us. But we want you to do it with something that is relatively small and ordinary. Something maybe just by your desk, something in your house as you look around. Spot an object, and then describe it in such a way that the reader will get a sense of wonder.
[Brandon] This has been Writing Excuses. You're out of excuses, now go write.

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