Writing Excuses Transcripts

Writing Excuses 11.9: Q&A on the Element of Wonder

From http://www.writingexcuses.com/2016/02/28/11-09-qa-on-the-element-of-wonder/

Q&A Summary:
Q: It's pretty clear that you can create wonder through magic, superpowers, crazy sci-fi stuff (trademark), etc. but in more realistic fiction, what are some ways or examples of creating wonder?
A: True love. Every character has something different they find wonderful. Share that with the reader, looking at someone you love, a spectacular sunset, the Grand Canyon. Emotional wonder. Capture the character's reactions!
Q: What are some ways that you can incorporate a sense of wonder within a well-explained world or magic system? If it's not going to be wondrous to the characters to use this, how can you still make it wondrous to the reader?
A: Expand a moment, just linger on it. Vocabulary. Give the reader a true sense of size. Look for someone who is experiencing awe, and remind the world-weary character of it. Just because you're used to something doesn't mean it isn't wonderful! Juxtapose the reader's wonder with the characters' casualness.
Q: How do you avoid getting boring when you show a character in awe of what they're experiencing?
A: Show something wondrous, then show something else wondrous. Engage many senses.
Q: How do you give a sense of wonder about gods that are also slaves?
A: See N. K. Jemison The 100,000 Kingdoms.
Q: There are known steps to dealing with loss. Anger, denial, grief, acceptance. Are there steps in wonder? Excitement, discovery, fear, boredom, question mark, or is it self-sustaining?
A: Disbelief. Awe. Attempt at understanding. Internalization of the awe.
Q: Does wonder come more from the style of prose, the pace of the plot, or the type of setting and its description? Is whimsy connected to wonder in some way?
A: Yes. Can be, but whimsy is not necessary. Like caramel and dessert.
Q: How should you, or should you at all, foreshadow wonder?
A: Wonder does need setup, but also surprise and discovery. Contrast wonder with normal. Often there's a buildup, or escalation, of wonder.

( Over the rainbow... )

[Brandon] All right. It is time to break for our homework. But first, I would really like to thank Gama for being on the podcast with us.
[Gama] Well, thank you for having me. It's great.
[Brandon] Everyone should check out his books. I'd like to thank the audience here at LTUE.
[Whoo!]
[Brandon] One woman is so excited to clap, that she dropped her laptop.
[Chuckles]
[Brandon] I am going to give the homework here. One of the questions talked about… In fact, several of them took different tax on this, which is how can you have someone who is world-weary and knows a lot about the world still experience a sense of wonder? What I want you to do is try to do this contrast. Have a character who is not necessarily in awe of some aspect of the world, and find a way, in a story or scene, that you can evoke a sense of awe in the reader. Whether by doing what I talked about, harkening back to the character's first experience, or just having them blow it off, but the reader says, "Wait! This is awesome." This has been Writing Excuses. You're out of excuses, now go write.
[Whoo!]

Writing Excuses 5.19: Fulfilling Promises to Your Readers

From http://www.writingexcuses.com/2011/01/09/writing-excuses-5-19-fulfilling-promises-to-your-readers/

Key points: Be careful of memorable, vivid phrases. Beware of a gorilla in a phone booth derailing your story. "Don't put a gorilla in the phone booth if that's not what your story is about." Watch out for "bait and switch" endings (aka deus ex machina). When the rest of the story has built expectations, don't yank the rug out from under them. Ask yourself, "Where am I spending my time?" That is making a promise. Beware deus ex wrench, things going wrong without foreshadowing. Cool twists may break promises, especially when they shift genres. Make sure you have enough foreshadowing, and that if you put a gorilla in the phone booth, you let him call Chekhov by the end.
( gorilla costumes? )
[Brandon] This has been Writing Excuses. You're out of excuses... except we need a writing prompt. Howard?
[Howard] OK. Um... promises, promises, promises. All right.
[Brandon] Oh, I made you do it the other time. So you have to do it again. Dan'll do it next time.
[Howard] No, we'll be fine. I'll get this. I just... it's right here on the tip of my tongue. Think of all the times that... in grade school, you or a friend of yours said something and said, "I promise." Any time that a child has made a promise in that sort of a context. Pick a really good... and that usually means in child context, stupid promise that a kid has made. Now use that as the leaping off point for a promise that you're going to keep in a book.
[Brandon] OK. This has been Writing Excuses. You're out of excuses, now go write.
[Howard] I'll be your best friend.

Writing Excuses Season Three Episode 12: Subplots

From http://www.writingexcuses.com/2009/08/16/writing-excuses-season-3-episode-12-subplots/

Key points: Subplots are secondary plots. They can flesh out other characters, make the world feel more real, keep the tension high, and introduce elements as foreshadowing for the main plot. They can also provide quick accomplishments for a sense of progress. Be wary of subplots being more interesting than the main plot. How many subplots? It depends on your genre and skills, but don't overload the reader. Subplots feel real when they advance character, the main plot, or reveal setting.
( plenty of words about subplots )
[Dan] Here's our writing prompt. By odd happenstance, Brandon and I are wearing the same T-shirt today. Well, two different instances of a similar T-shirt.
[Howard -- choked laughter] Thank you.
[Dan] It is from an explosives company. We all know why we are both wearing the same T-shirt, but your prompt is to write a story about why we are wearing an explosives and blasting T-shirt.
[Brandon] This has been Writing Excuses. You're out of excuses, now go write.

Writing Excuses Season Two Episode Four: Viewpoints, Plot Twists, Etc.

from http://www.writingexcuses.com/2008/11/02/writing-excuses-season-2-episode-4view-point-plot-twists-and-being-a-part-time-writer-with-eric-james-stone/

A question-and-answer session at Mountain con with Eric James Stone

Key points: advice for balancing work, writing, and other necessities of life? Set aside some time to write each day, treat it as a job, and find a balance that keeps you sane. It's gonna be hard. Deadlines are necessary. Set them, and reward yourself. Plot twists need foreshadowing and smoke and mirrors. Avoid self-description by staring in a mirror, but do sneak in what you can.
( mucho gusto )