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Writing Excuses 21.12: Breaking Down Barriers - Environment


From https://writingexcuses.com/21-12-breaking-down-barriers-environment


Key Points: Barriers? Environment: Desk, office, light, sound, etc. Standing desk, monitor, window, comfortable keyboard, sound. Desktop with dual monitors, and laptop. Clean desk, dual monitors. Dark cave and natural light. What am I running from? Check senses. Desk, story, or world? Sound or quiet? Pavlovian training. Windows, chairs. Playlists. Tiredness. Troubleshooting? Run through your senses. What is distracting you? Pay attention to signals. Figure out what to do to fix it. What do I need to do to fix this? What are you avoiding? Watch out for your phone's distractions. Turn off notifications, customize do not disturb. Smart watch buzzes! People in your environment? Signals for interruptible or not. Reading glasses. 


[Season 21, Episode 12]


[Howard] For more than a decade, we've hosted Writing Excuses At Sea, an annual workshop and retreat in a cruise ship. You're invited to our final cruise in 2026. It's a chance to learn, connect, and grow, all while sailing along the stunning Alaskan and Canadian coast. Join us, the hosts of Writing Excuses, and spend dedicated time leveling up your writing craft. Attend classes, join small group breakout sessions, learn from instructors one on one at office hours, and meet with all the writers from around the world. During the week-long retreat, we'll also dock at 3 Alaskan ports, Juneau, Sitka, and Skagway, as well as Victoria, British Columbia. Use this time to write on the ship or choose excursions that allow you to get up close and personal with glaciers, go whale watching, and learn more about the rich history of the region and more. Next year will be our grand finale after over 10 years of successful retreats at sea. Whether you're a long time alumni or a newcomer, we would love to see you on board. Early bird pricing is currently available, and we also offer scholarships. You can learn more at writingexcuses.com/retreats.


[Mary Robinette] This episode of Writing Excuses has been brought to you by our listeners, patrons, and friends. If you would like to learn how to support this podcast, visit www.patreon.com/writingexcuses.


[Season 21, Episode 12]


[Mary Robinette] This is Writing Excuses.

[DongWon] Breaking down barriers - Environment.

[Erin] Tools, not rules.

[Mary Robinette] For writers, by writers.

[Mary Robinette] I'm Mary Robinette.

[DongWon] I'm DongWon.

[Erin] I'm Erin.


[DongWon] This week, we are talking about the barriers to your writing process. We started off a little earlier this season talking about this sort of track of the curriculum this season, that is talking about, like, how do you find tune your process, how do you keep going, how do you make sure that you're in a space where you can keep working on the stuff you want to be working on. And so, we're going to be doing a series sort of following on to the process conversation about what are your barriers to writing? What are the things that are getting in your way? How to analyze them, how to figure them out, and some solutions from us on how to deal with it. So, the first one we wanted to start with is kind of the most obvious, what are the environmental factors getting in your way? And that could be everything from what's your desk setup, where is your office, what's the light like, what's the sound like, these kinds of things. Right? So, I guess what I just want to start off with is for each of us, what is your ideal working environment, and do you feel like your current workspace fulfills that?

[Mary Robinette] My workspace... Like, I honestly don't know what my ideal would be...

[DongWon] Yeah.

[Mary Robinette] Because I move around so much when I'm writing. Currently, what I have, and I quite like it actually, I'm in a furnished apartment and it came with a standing desk with a giant monitor. And I find that I love that. I've had a standing desk before, and I really like it because it reduces... Like, I can just walk to the desk, I don't have to worry about pulling things out and stuff like that. But, for me, the things that I found that I need for a long-term writing solution is I have to have a window. If I can't see outside, I get, like, a little squirrely. I need a comfortable keyboard, I need a monitor that I don't have to strain to see. And then I need the right kind of sound. Which varies, depending on project. So, control over my sound...

[DongWon] Yeah.

[Mary Robinette] I guess would be the better way to say it.

[DongWon] That makes sense.

[Erin] It's interesting, because I have two different sort of setups in my apartment. One is sort of my desktop setup, which is a desktop with dual monitors that are exactly the same size. It's just two of the same ones. And I do feel like I'm probably the most productive when sitting up in front of my desk doing that. However, there are times when I just get sick of working. I can't explain it, but I'm just like, oh, more writing.

[Chuckles]

[DongWon] I don't think you need to explain...

[Mary Robinette] Yeah.

[DongWon] Getting sick of working. I think it's a very normal emotion.

[Erin] Why? And, so, I also have a laptop that I use mostly when I travel. But sometimes I will take it and I will just sit in front of the TV. Which is interesting, because I know I am not as productive. But it's, like, I can work on half productivity but less annoyance at the fact that I have to be somewhat productive. If I sit on my couch and, like, type on the laptop while, like, 18 seasons of American Greed play in the background or some other show, that Cupcake Wars, that, like, is so repetitive that it doesn't really require my full attention, but every so often, something interesting happens and I can look up and be like, [garbled] cheated him out of all that money...

[Chuckles]

[Erin] Or, they made a cupcake, and then go back to what I'm doing...

[Mary Robinette] I forgot that when I was in Chicago, I did have something that kind of felt like the ideal thing. I had a desk for work, like, etc. And then I had a chaise lounge that was wide enough for me and a cat for writing. And was next to the fireplace, and a window, and it was glorious.

[DongWon] Yeah. For me, I think a little bit similar. I have my own office in the place I just moved to, and I have dual monitors. One is horizontal, one is vertical, because a lot of what I do is look at contracts. So a vertical monitor is very helpful for comparing documents. I think the biggest thing for me is I need my desk. I need very low visual clutter in my workspace. So my desk is, like, clean. There's, like, nothing on it, aside from the devices that need to be there. And then... I think that's like one of the biggest things for me is just, like, not a lot of visual diversity where I'm looking. My biggest struggle is around natural light. I like to work in a little dark cave. Also, I really like natural light. Right?

[laughter]

[DongWon] So I think finding an easy way to balance those two things is the thing that I have yet to quite figure out at this stage. In part, my office is also, like, where the projector is set up to watch TV and stuff. And so it has really intense blackout curtains that I could just open. Do I? No. Which results in having a secondary thing which is I often take my notebook and go outside and sit outside and work if I'm doing something that's not computer based.

[Mary Robinette] Yeah.

[DongWon] I'll go sit... We have, like, a little picnic table outside so I can sit at that and work. Or just making deliberate time to be, like, I'm going to sit in the garden for a little bit because I've been in my little cave all day. So I think balancing those is part of the trick and figuring out what do I need right now in terms of natural light, in terms of having, like, this little dark space that I can focus and concentrate in. It's an ongoing, sort of, like, how do I balance this?


[Mary Robinette] Yeah. I find that when I'm... It was interesting when you asked me what my ideal place is, because I've spent more time thinking about what gets in my way than...

[DongWon] Yeah.

[Mary Robinette] So, like, what am I running from instead of what am I running to? If that makes any sense.

[Erin] Yeah.

[Mary Robinette] So what I tend to do, because I have ADHD and I do get distracted with shocking ease, in hindsight, that was my whole life. But, like, I will run through my senses to kind of check to see, is it... When I'm bouncing off, going, it's like, is it a thing that's happening with the desk? Is it a thing that's happening with the story? Is it a thing that's happening with the outside world? When it's a thing with the writing space, the recommendation I have for folks is literally run through your senses...

[DongWon] Yeah.

[Mary Robinette] Sight, sound, touch, scent, and taste. And, like some people, like, I cannot write with the TV on.

[DongWon] Yeah.

[Mary Robinette] That's a...

[DongWon] Sound is a big one for me. My last apartment before this one was next to a major road. And having moved, I can tell how much just the constant road noise was draining me at some level. That I had [garbled]

[Mary Robinette] Yeah.

[DongWon] And now, like, having a nice little quiet room has been so much better for me.


[Erin] Speaking of sound, I'm remembering the time I tried to, like, Pavlov dog myself into writing more constantly, years ago, where I had a specific song that I would always listen to at the beginning of every writing session, to the point where, like, I just associated it so heavily with writing that I could put it on... It had nothing to do, it was like a random Tracy Chatman song, but I was like, okay, like, this song is on, it's time to write now. Because it...  listening to y'all, I'm realizing that I'm sort of, like, a disembodied, like, consciousness...

[Chuckles]

[Erin] In that I think, like, a lot of times I just screen out everything that is happening around me and, like, unless it is really big, I will not notice it. Like, I wear noise canceling headphones in my house 99% of the time. And so when storms happen, it startles me, because until the actual thunder hits, I have missed the 18 other cues...

[Chuckles]

[Erin] That we are in the middle of a storm.

[Chuckles]

[DongWon] Yeah.

[Erin] Oh, it got darker. Like, oh, this happened. Like, I've missed all of that until... It's like Googling, and I'm like, what's happening? Are we under attack?

[DongWon] [garbled] totally...

[Chuckles]

[Erin] Oh, no, it's thunder.

[DongWon] Capable of working anywhere.

[Mary Robinette] Yeah.

[DongWon] I've seen you work in, like, noisy bars, in airports, in hotel lobbies, like, in your hotel room, that I wish I was more flexible where and how I could work. There are a couple of tricks that I have for, like, working in places that aren't my normal space of working. You know what I mean? And, for whatever reason, this last couple weeks, we've been staying at this retreat center, and there's certain spaces here I work great in, and certain spaces I don't. And my room, unfortunately, is one that I don't work great in. And over the past few days, we've been limited to our rooms, and I've noticed that my ability to work is gone. Yeah.

[Mary Robinette] I finally realized that I needed to sit facing the window because I've been sitting with my back to the window, facing into the room, and I was like, oh, look outside, it's better.

[DongWon] Yeah.

[Mary Robinette] Also, those chairs are not comfortable.

[DongWon] Yeah.

[Mary Robinette] Which is like one of the things that was happening to me in Chattanooga, that I didn't realize how uncomfortable my chair was. That it was...

[DongWon] Yeah.

[Mary Robinette] Just uncomfortable enough that I was getting up, but not so uncomfortable that it was causing problems. And when I switched chairs, weirdly, the chair that worked best for me was, like, one of those old wood schoolhouse chairs...

[DongWon] Yeah.

[Mary Robinette] Which just ergonomically fit me exactly right. So that was better. One of the things that I... I've also done the pavlovian training of myself. I have a writing playlist which is instrumental versions of power anthems which I love. Like violins with '80s rock power. It's just amazing. But I also... I started doing Brain FM, which is binaural sound, and I was like, nah, this is science driven. I was just like...

[DongWon] Sometimes, who cares?

[Mary Robinette] But sometimes who cares. And it is deeply annoying, because it works really, really well.

[DongWon] Yeah.

[Mary Robinette] I turn it on and I do get more focused...

[DongWon] Yeah.

[Mary Robinette] And I get more work done.

[DongWon] 90% of the time, I want it quiet. 90% of the time, it's just me working in silence. But there are certain times where I'm getting in a headspace where it's like my brain is too noisy, and I need something to, like, suppress that almost...

[Mary Robinette] Yeah.

[DongWon] In a weird way. And so a friend of mine made this playlist that we call work heavy, that is just like really pounding driving... It's like industrial horror rap basically.

[Chuckles]

[DongWon] And it's like, the lyrics are fast enough and loud enough that you don't really make them out, but also, like, if you stop and listen, you're like, what's happening?

[Mary Robinette] Yeah.

[DongWon] What am I listening to? Anyways, they made this thing, and I use it all the time. And it really helps me, like, power through a block in a certain way. Because... It's just sometimes it's also, like, the beat and the aggressiveness will just be like, okay, I'm going, I'm doing the thing.


[Erin] It's funny. I'm thinking about like how tiredness also affects all of us.

[Mary Robinette] Yeah.

[Erin] Because when I... I also, like, I have a regular playlist that I listen to. And normally it's fine, like, I would ignore it, even though it's songs with lyrics or what have you. But the more tired I get... Late at night, if I'm still working, I will easily get distracted by the song.

[Mary Robinette, DongWon] Yeah.

[Erin] I think because I want to be sleeping. And so my brain's like, I don't want to be doing this anymore...

[DongWon] Yeah.

[Erin] I'm done with you. And so I actually have to switch to instrumental. It's the only time that I listen to instrumental, is, like, late at night when I'm still trying to focus, because I think I do focus more, and it's the one time that I need the extra boost to, like, carry me through my actual physical state, which is like...

[Mary Robinette] Yeah.

[Erin] Oh, this is not quite working for me.

[Mary Robinette] And just for our listeners, we are going to be doing a whole episode about physical fatigue later.

[DongWon] Yeah. But let's take a break there. And when we come back, I want to talk more about how to troubleshoot these problems.


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[DongWon] Okay. Welcome back. Yeah, so, we've been talking about understanding what your ideal workspace is in terms of these different sensory things. Right? Like visual, sight, sound, sort of physicality sitting in your chair and things like that. How do you start troubleshooting when something goes off? Like, when you're having a problem, how do you work backwards to is this an environmental factor?

[Mary Robinette] I really... So, I really do sit there and run through my senses.

[DongWon] Yeah.

[Mary Robinette] And sometimes it will involve sitting in the chair and going, what is distracting me right now? What's pulling my attention? And, like, I will sometimes journal it. It's like, is there a problem with the story? And it's... I become aware that it's an environmental thing when there's not a problem with the story, and I know where I'm going, but I still keep getting up.

[DongWon] Yeah.

[Mary Robinette] That's usually a trigger... Or a cue. And if I... If I'm doing some journaling, like, is there other stuff? Because sometimes it is the fate of the world. Which, we will, again, be talking about later. But usually if I sit or stand in my spot, like, what is making me feel unsettled right now? I also have to have a clean desk and for the long... Most of my life, I was not, but now I realize how important that is. So, that kind of thing.

[Erin] Yeah. I think for me, like, being... Because a lot of times, I'm ignoring my body... When something comes through, like, I need to pay attention to that signal. So, like, I will be sitting at my desk and be like, it is hot in here...

[Mary Robinette] Yeah.

[Erin] And realize suddenly, I'm like, oh, I forgot to turn on the air. Whatever. It's Texas. Like, it's hot and I'll be like, but, wait, keep working. And I have to remember that the three seconds it's going to take me...

[DongWon] Yeah.

[Erin] To go adjust the air or put a fan on is worth all the lost... Because it feels like, oh, I don't want to step away from what I'm doing, but then I'm going to think in like 30 minutes or 10 seconds, God, it's really hot, I'm so hot right now. Like, this is so annoying. And so I think it's like, for me, it's less being able to recognize the signal...

[DongWon] Yeah.

[Erin] And more knowing what to do with it. Because I think it can be... This will sound weird, but, easy for me to ignore things...

[DongWon] Yeah.

[Erin] Like, I have not eaten.

[Mary Robinette] Yeah.

[Erin] So sometimes I'll also think, like, have I eaten today?

[DongWon] Yeah.

[Erin] Am I hot? Like...

[Mary Robinette] Yeah.

[Erin] What is happening? And try to, like... But I never thought of it sense-wise, which is interesting... Like, what the senses are. Because it may be that I'm noticing it without even realizing it.

[Mary Robinette] Well, that was the thing that I... That was the thing that made me realize that it was my chair, was that I was like, what is... What is it?

[DongWon] Yeah.

[Mary Robinette] And just bumped through the senses.


[DongWon] I mean, the thing that I struggle with sometimes is exactly what you're talking about, Erin, in terms of overcoming the threshold of I need to deal with this. Right? The, like, I'm uncomfortable right now, but, like, I need to get up and go get a glass of water... I need to turn the fan on, because my room is hot. Or, I need to spend 5 minutes researching a solution to the problem that I'm having of, like, my pens are all over my desk and it makes me insane everyday. What's a better place I can put my pens? I need a caddy or a thing or something. Right? This also leads to the flip side of it, which is sometimes I end up buying 18 different productivity things that make no difference at all to my life.

[Chuckles]

[DongWon] You know what I mean? And I'm someone who's very easily swayed by the aesthetic thing that looks nice, and then does not meet my function for whatever reason. There's an old YouTube video that I think about all the time that has a key line in it which is sometimes expensive things are worse.

[Mary Robinette] Yeah.

[DongWon] I think about that a lot sometimes when I'm like, this notebook is very beautiful. It's not meeting my needs as a physical object that increases my productivity.


[Mary Robinette] Yeah. I will, in those cases, what I will also check is, is the thing that I'm working on something that makes me want to flee? Like, if it's something that makes me want to flee, then you're not actually thirsty.

[DongWon] Yeah,

[Mary Robinette] You just want to get away from this.

[DongWon] You're just being avoidant.

[Mary Robinette] Yeah. You don't actually need a new pen light, like, it's... Right now. And so, I... When I am good person...

[Chuckles]

[DongWon] I'm laughing because I just remembered a week ago when I changed the ink in my pen for no reason...

[Mary Robinette] Yeah.

[DongWon] And clearly, I just didn't want to do whatever it was.

[Mary Robinette] Yeah.

[laughter]

[Mary Robinette] Yeah. I have done that, and been like, well, Now I need to clean all of my fountain pens.

[DongWon] Yeah.


[Mary Robinette] But I find that if I can... If my desk is clear, then my notebook is there and I can make a note to myself that I need this thing. So, like, running through the... You had said, let's talk about some of the things we can do to...

[DongWon] Yeah.

[Mary Robinette] Solve problems. I've already talked about some of the sound things. Sight things is one of the things I actually want to flag for people, because our phones are visual stimulus...

[DongWon] Yeah.

[Mary Robinette] And they are designed to get your computer... Your noise. So all of the things that are happening on your computer. So, Nurse made apps like freedom.to. I have a minimalist app on my phone. Just turning off notifications.

[DongWon] Even just customizing your do not disturb setting so that you can turn it on, and then you know that, oh, if the school calls, it'll still come through...

[Mary Robinette] Yeah.

[DongWon] Because I set up my do not disturb properly. Right? Even just taking the 5 minutes to do that could be really helpful.

[Mary Robinette] Yeah. I have a bowl that I put my phone into that's on my desk. It's an aesthetically pleasing Bowl. But the action of pulling it out of the bowl is so specific that I notice it, whereas when it's just on the desk, like, that's... You set the phone down all the time and pick it up. So it wasn't enough of a this is different. You set it there because you didn't want to use it. I know some people use a bag to stick their phone in. Which is just one... It's... You have to figure out what the barrier is...

[DongWon] Yeah.

[Mary Robinette] And the opening the bag to put the phone in was too much of a barrier...

[laughter]

[Mary Robinette] So the bowl works better for me.

[Erin] It's funny because I feel like I'm the opposite way, but the same. Totally makes sense. Which is, like, I wear a smartwatch because I think digital watches are a neat idea...

[Chuckles]

[Erin] To call back to a previous episode, and I just like the fact that it will buzz if something is happening that I need to pay attention to. So, to me, I think the danger is... If I'm just getting an email, I actually don't find that distracting. I can easily process, is this something I need to do, is it new work, is it...

[DongWon] Yeah.

[Erin] Like a thing... Cool, I'll deal with that later, and I use, like, a very not complex, but I use, like, a tagging system in my email to say, like, I have to respond tag.

[DongWon] Yeah.

[Erin] So I'll just be like, okay, tag that to respond, then I won't forget about it. And I know it came in. But I don't check my phone to see if anyone has texted me or called me, because if they did, I would know, it would have buzzed. So there's no reason to just look, and I found that before I had the watch, I would pick up the phone, thinking, like, oh, maybe somebody in my family texted me, and, oh, let me check the state of the world while I'm holding this. Oh, God.

[Chuckles]

[Erin] But the notifications won't tell me about the state of the world, they will only tell me about the state of...

[DongWon] Yeah.

[Erin] People who are trying to reach me in this moment. And I can easily, like, for me at least, distinguish between what's important there and what isn't. And I don't freak out thinking I'm missing things, which I think is a thing for me.

[DongWon] I also do literally the opposite. But because my job requires me to not miss messages when they come in and get those notifications. So, I literally have a magnetic charging stand, so my phone is directly under my computer monitor so that if it buzzes, I can look down and be like, oh, my mom texted. I can respond to that later. Sorry, mom. Or my boss is calling me, I need to pick that up and see what he needs. You know what I mean? Like that.

[Mary Robinette] It's funny, because I developed the bowl because my... The thing I used to do was put my phone in airplane mode when I was working. And with Mom, I had... They had to be able to reach me. So, the phone would buzz. Like if somebody needed to get to me, the phone would buzz, and it was... It's much louder in the bowl than it [garbled]

[laughter]

[Mary Robinette] But there's a... It's a limited number of people. And the vast majority of things... If they have to wait half an hour or an hour,...

[DongWon] Yeah.

[Mary Robinette] There's almost nothing that's that urgent, that is a business thing. So...


[Erin] Yeah. I think for me, the reason also... I was thinking about environment. I'm sure we're going to talk about this in another barrier later, but, like, I think part of environment is people in your environment, like...

[DongWon] Yes.

[Erin] Who is in your environment physically. And I think, as somebody who lives alone, like, I think I also like the buzz because it reminds me that, like, I'm actually a person in the world, and people want to reach me, even if it's just to tell me about the great sale...

[Chuckles]

[Erin] That I can only get 20% off today. But it makes me feel connected in a way if I'm like, this is the fifth day in a row that it's just going to be me in my house working. And I think that is why I'm like, oh, at least somebody...

[Mary Robinette] Yeah.

[Erin] At least the people at the sale care about me type of thing. That sounds bad. But it's nice to see, like, a family member's texting me. Let me see what's going on there. And so I like being able to have it right at hand.

[DongWon] Yeah. I'm sharing space with a new person in my life, and so when we moved in recently, we had to have a conversation about, like, okay, what are our signals for I'm interruptible or I'm not interruptible?

[Mary Robinette] Yeah.

[DongWon] What level of contact do you want throughout the work day? And, for me, it's... The problem with me is it's variable. Some days I'm like, yeah, you can come in and chat and it's fine [garbled] . There's other days where I'm like, I need to be focused on this. So even just coming up with a couple really clear signals to roommates, partners, or whatever it is of door closed, door open, maybe a certain light in the hallway on or off, those kinds of things. Just come up with some system that lets you signal to other people, hey, I'm interruptible, I'm not interruptible. The biggest thing I hear from people is they just constantly have these interruptions and it derails them. So finding ways to protect your space from your loved ones is also really important.

[Mary Robinette] Yeah. We're going to do a whole episode on how to manage interruptions, because they do happen.

[DongWon] Yeah.

[Mary Robinette] And so, like, how to deal with it when someone has interrupted you. But I have the same thing. Like, I had to... It's a... Even if you have them trained to not interrupt you, sometimes it can still be a visual distraction and make you go, what is going on? So, like, I had to set my desk so that I could not see the door, because my husband would come to the door, and I had a thing on the desk that said I was writing. But he would come to the door and you'd see this slow lean in...

[Chuckles]

[Mary Robinette] Peering, as he was trying to see what it said, and then slow lean back out, and I'm like... By that point, I've already noticed him.

[laughter]

[DongWon] That's like a cartoon. This is really funny.

[laughter]

[Mary Robinette] Yeah.

[DongWon] But it's also, you like the person, you want to talk to the person...

[Mary Robinette] Yeah.

[DongWon] So it's like distraction is not necessarily them being an intrusion.

[Mary Robinette] Right.

[DongWon] Sometimes it is also like protecting our time from ourselves.

[Mary Robinette] Yeah.

[DongWon] Right?

[Mary Robinette] Yeah. Yeah. Having a reasonable response to a piece of stimulus. So you remove the stimulus by...

[DongWon] Yeah.

[Mary Robinette] Not removing your spouse, but just setting it so you can't see them.

[laughter]

[Mary Robinette] I also want to mention, really fast, reading glasses. Because this is a thing that will creep up on people. If you find yourself... You've identified everything else, and you get drowsy when you sit down when you are writing, there is a fair chance that you're having eye fatigue. I was having this thing where I would literally fall asleep while I was narrating, actively speaking. Because of the eye fatigue. And, like, you can solve that with reading glasses that you can pick up at the grocery store. Yeah. Shall we?


[DongWon] Yeah. So, with all of that, I have a little bit of homework for you. Which is, I would like you to use your senses and make a list of all the things that you experience in your writing environment. Sound, smell, texture, weight... Make an inventory of your body's physical experience of your writing space. And then, once you've made that list, consider what serves you and what is a barrier?


[Mary Robinette] This has been Writing Excuses. You're out of excuses. Now go write.

 
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[personal profile] mbarker
Writing Excuses 13.28: What Writers Get Wrong, with Wildstyle.
 
 
Key points: In describing hip-hop production, writers often forget there is an artist-producer relationship. The producer/engineer picks the beats, composes the music, mixes it, makes the artist sound the way you hear them. Artists and producers dabble in different areas in the music. In hip-hop, artists do the lyrical work, the rhyming. The producer/engineer composes the beats, the melody. There's a collaborative interplay in the best relationships. Sometimes the artists ask for a certain kind of music, sometimes the producer/engineer composes something and thinks it would be perfect for someone. How do you make it real? Focus on the relationship between the producer and the artist. Twitter beefing, jealousy, and producers trying to steal artists? What makes a producer wild? Artists who know everything, who want to tell the producer how to do the composition and engineering. 
 
Talking about ... my generation... )
[Brandon] This is Writing Excuses, What Writers Get Wrong, with Wildstyle.
[Mary] 15 minutes long.
[Dan] Because you're in a hurry.
[Howard] And we're not that smart.
[Brandon] I'm Brandon.
[Mary] I'm Mary.
[Dan] I'm Dan.
[Howard] I'm Howard.
[Brandon] And we have special guest star Wildstyle. Thank you so much.
[Wildstyle] How y'all doing?
[Brandon] We're doing all right. We are live at GenCon.
[Woo hoo! Applause!]
[Mary] Awesome. So we're so excited to have you on. Just to give the readers a… The readers? Hah. Just to give our listeners a little bit of a grounding in who you are, and so that they know you don't exist along just a single axis, tell them a little bit about yourself.
[Wildstyle] Okay. So I'm a lifelong musician… I actually started out as a violist.
[Mary] Ooo...
[Wildstyle] When I was 11. I also spent 15 years working on cars and equipment and such, and I'm also a community organizer, as well. I'm also a hip-hop producer and manager.
[Mary] So, of these various identities and professions, which are we going to focus on today?
[Wildstyle] We're going to focus on the hip-hop production, producer and managing.
[Mary] Awesome. So…
[Dan] I'm so excited about this.
 
[Mary] What do writers get wrong about hip-hop production?
[Wildstyle] I would say writers normally forget that there is even an artist-producer relationship.
[Mary] Yeah.
[Wildstyle] That's like one of the most important things, even in the music that you hear on the radio. Like, I don't know if y'all listen to Drake, but he has a producer/engineer called 40. That guy's responsible for his sound. He is the one that picks a lot of the beats, and mixes it, and makes Drake sound like you're used to hearing him. Without that guy… Drake wouldn't sound like the person that you've ever heard.
[Howard] You've already… I majored in music composition and sound recording technology. A long time ago.
[Laughter]
[Howard] Back before anything was digital.
[Laughter]
[Howard] There we go. When I was doing this, there was the artist, there was the engineer, and there was the producer. The idea of there being a producer/engineer, at least where I was doing this, was not a thing. So you've already… You've already broken one of my rules in my head. Tell me how that works? How do you be a producer and an engineer?
[Wildstyle] Well, I mean, in hip-hop, in the early days, people were doing it, and I think still now, because we all don't make that much money…
[Laughter]
[Mary] Just like writing.
[Wildstyle] Drake… Yeah. Exactly. I see a lot of parallels. But there's not a lot of money to be had, especially at the aspiring level. Which most people are. Therefore, if you only compose music and make beats for artists, you're going to have a hard time. So most… Not most people, but a good portion of producers actually learn to record and engineer the artists. In fact, a lot of artists engineer themselves, or they can if necessary. Little Wayne was one of those who actually mixed himself as a rough mix, and then give it to one of four engineers in the world and let them play around with the concepts that he had come up with. So this is really common for artists and producers to dabble in several different areas in the music, so that they get the sound that they want, or just because they want to experiment. So…
[Mary] So, for me, because I come from classical music violin, the… What it sounds like, to translate for my own brain, when you're talking about people adding beats and things, it sounds like they're actually participating in the composition process as well?
[Wildstyle] A lot of times… And that's another thing. I think on… When you see it in the movies and stuff, sometimes they overdo the artist participating in that process. I think with modern hip-hop, and I don't think it's a good thing, but that doesn't happen as much. It definitely… When it does happen, it doesn't happen the way it happens in movies. There's… If their artist is participating and great things are happening with the composition as it's happening, it is because they have a relationship and they have built that over time and they… The producer knows what the artist is capable of, not always what they like…
[Chuckles]
[Wildstyle] But what they're capable of, and what they're going to be good at, and that's how that happens. That… It's just not… People don't see that.
 
[Howard] You're using some shorthand here that may be going right past our listeners. When you say the artist's participating, the artist, in a hip-hop album, they are responsible for the lyrical work, the rhyming, the part that our linguistic processors get. The producer/engineer is the one doing the beat composition. If there are melodic elements, that's them.
[Wildstyle] See, but often times… In modern hip-hop, the artist will go… Not have as great a relationship, like the… Especially aspiring ones, they will find just like random instrumentals on YouTube or something, and start, and write a song to it. But when you… Most successful artist have good relationships with their producers, so that… They're not going on YouTube and picking a random instrumental, they're absolutely sitting down with one person, and they will either be in the studio with them, or they will have been in the studio and tell them, "Hey, send me this, send me that, I want something that's dark, I want something that's vibrant, I want something that's tempo." That's… The stuff you hear on the radio, even the successful underground artists, they typically work with fewer producers and they all have personal relationships with them.
[Mary] So why don't you… Because I think this will be useful for our listeners. Why don't you walk us through the process of starting a new work? How does that go?
[Wildstyle] Well, depending on the artist… I have a handful of artists that I work with, and not much more than that. So I record… I engineer the music and I compose a lot of the music, so often times they may come to me and say, "Hey, I'm looking for this. A dark sound." Or "I want this type of feel." Or they'll reference me other songs. Either I'll come up with that or I will find something that I have already composed and I will send it to them or play it for them in the studio. Also, how this works is that I can be doodling and come up with this amazing composition, and I'm like, "I think this would be perfect for so-and-so." Either I'll wait until they get in the studio, which I prefer to do so I can see their real reaction…
[Laughter]
[Wildstyle] Or I'll take a chance and email it to them and hope that they're not emailing it to everybody else to see what they think and check out what I'm doing. But often times, that's how things get started.
 
[Brandon] Let's go ahead and stop. You're going to pitch an album to us, right?
[Wildstyle] Yes. This is an album that I executive produced for an artist named Pope Adrian Blessed, and you can find him on the web, popeadrianblessed.com. It's only three tracks along, but I engineered and produced all of that along with my friend, Ares. He produced… He composed one of the instrumentals on their, and I actually mixed and recorded all of it. It's probably different than what y'all have heard. It combines lyricism with a lot of sonic… A sonic sound that's not common with lyrical rap. So it's…
[Howard] What's the album called?
[Wildstyle] Eastern Conference. You can find out on iTunes, Spotify, SoundCloud, [tidal?], whatever you have. Apple Music.
[Dan] Awesome.
 
[Howard] So what… Earlier, when I said you'd crossed the producer/engineer boundary that I thought was a sacrosanct thing…
[Chuckles]
[Howard] And then you're describing your process and I'm like, "Oh, yeah, you also crossed the composer-engineer boundary…"
[Chuckles]
[Howard] "And the performer-composer boundary…"
[Mary] And the orchestrator boundary...
[Laughter]
[Howard] The amount… When you… When I hear the word producer, I think of the guy who sits in the back of the studio and just basically is grouchy.
[Laughter]
[Mary] Do you do that too?
[Wildstyle] I'm notorious for being that person, actually.
[Laughter]
[Howard] But what you've described really is 90% of what people hear. It's just… It's like the whole process, and the artist happens to be standing out front and making meat noises with the face hole.
[Laughter]
[Wildstyle] You know… That is…
[Howard] Doing it really well.
[Wildstyle] But I agree with you. Sometimes, in the past, not so much with my current artists, I have to remind them that this is all more like a NASCAR race, where I'm your crew chief and you're in the car. You need me as much as I need you.
[Howard] You're the crew chief and the pit crew and the tires and the car…
[Chuckles]
[Howard] And a large portion of the track.
[Laughter]
[Wildstyle] Sometimes it feels that way.
[Mary] [garbled] running over you.
[Howard] I'm having a great time. I could… This is fun.
 
[Dan] Well, I… So I've been thinking about this, this exact topic as you're describing this and realizing that it sounds like this is much more collaborative than the kind of author-editor relationship, which is what I assumed that it was. So I'm wondering, and maybe this is a weird subject to bring up, but I'm wondering a little bit about the issue of credit. Like, because you mentioned earlier, Drake, and I know Drake and I've listened to Drake. I had no idea who his producer was. Is that just me being an idiot, or…?
[Wildstyle] I think… Well, I…
[Dan] You can say yes.
[Laughter]
[Wildstyle] I'm not going to say that, but I think like most hip-hop aficionados and people that are really deep into hip-hop would automatically know that his producer is 40.
[Dan] Okay.
[Wildstyle] The sound they've crafted over the years… He's been there almost from the very beginning.
[Dan] Wow. Well, okay.
 
[Mary] We have been schooled there. So, when you are… We've talked a little bit about the things that are annoying. What are some things that our readers could do… I keep saying readers. Our listeners could do for their readers to make it seem more real, to make it seem more grounded?
[Wildstyle] I would say, focus on the relationship, because the relationship is up and down. At the same time, especially if the artist is a big time artist, or they're making a little bit of money, or they've got a growing fan base, there's going to be plenty of other producers that want to come in and wreck that relationship, or get in so that they can take advantage and then they'll have their work out there, they can possibly make money, or they can get bigger opportunities. That often can be a bigger issue. You often see, in the hip-hop scene, that the artists and producers will end up twitter beefing off of just the weirdest stuff. I don't know how many of y'all listen to Future, but Future and Young Thug had a beef over their producer, Metro Boomin. They were all on Twitter, just acting crazy over this, and it was because of a little bit probably jealousy over they both have the same producer, and some felt that they had more, better hits with them than the other one.
[Howard] Glad that never happens with writers.
[Laughter]
[Brandon] Well, they write for a living, so they know how to go on Twitter and always…
[Laughter]
[Mary] [garbled]
 
[Dan] [garbled] with a straight face. So can you point us towards some depictions? The media depictions in books or TV or movies of hip-hop production and that producer relationship that you think are accurate? That you think have done a good job? Or can you point us toward some that are terrible?
[Wildstyle] I would say, and this isn't really hip-hop as you would think of it, but the James Brown movie about his… The bio-pic, Get On Up, was a… I don't think they quite got it right, but Bobby Byrd was like a big key to James Brown's sound, and he stayed with him, and when they finally fell out for the last time, James Brown's career went down. It was very, very quick. For his late 70s, James Brown never did have another hit.
[Mary] So this producer-artist relationship is much older than I was realizing it was. Fascinating. So with… As we're kind of wrapping up, since I do love watching people rant, pick anything that makes you kind of just flip the table.
[Howard] You're asking him to go twitter beefing live.
[Laughter]
[Wildstyle] Right. Which I do too much of.
[Mary] Not… He can pick a fictional example. He can pick out the pet peeve. Because one of the things that I think is very telling in fiction is when someone is doing a process that is so annoying. Like, what is it that is so annoying to you when you are doing your job that you just kind of want to flip the table sometimes?
[Wildstyle] Oh, as being a producer? Oh, I think it's artists that think they know everything.
[Laughter]
[Wildstyle] Often times, you will… People that you know, sometimes they get a little ahead of themselves and they want to tell you how to do your job as the composer, and as the engineer. They have all these ideas. Some of them have good ideas, and some of them have really bad ideas. Sometimes you're expected to try to piece together really bad ideas. When it doesn't work, it's your fault.
[Laughter]
 
[Brandon] Thank you so much, Wildstyle, for being on the podcast with us. Did you have homework, or a writing prompt, for our listeners?
[Wildstyle] I would say, if you haven't seen the movie Get On Up, to watch it, because that's… That gives an interesting dynamics of some of the things that… Not hip-hop, but hip-hop was founded on that… How artists have this tension with their producers and their management and everything else about the sound. I think that would help the writing and understand how hip-hop producers…
[Howard] If I can echo that, which we don't usually do during the writing prompt. But the things that you are describing, it is impossible to write these things well without listening, without hearing the music, and learning to put into your ears and kind of into your heart, the sorts of things that you're describing happening in the studio. That movie's a… Movie's really smart.
[Wildstyle] Yeah, it is. It is. I would recommend everybody watch that if they're interested in writing about hip-hop or music in general.
[Brandon] All right. Well, thank you so much. And thank you to our audience.
[Applause]
[Brandon] This has been Writing Excuses, you're out of excuses, now go listen.
 
[identity profile] mbarker.livejournal.com
Writing Excuses 5.39: Filking and writing music with Tom Smith

From http://www.writingexcuses.com/2011/05/29/writing-excuses-5-39-filking-and-writing-music-with-tom-smith/

Key points: music is a part of world building. What is the song about? Can you imagine people singing it? Filk is the music of the science fiction and fantasy community. Filk is everywhere!
picking and strumming )
And that's why that damn shrinkwrap
is so tough on the packages
you find in the store.

[Howard] Ladies and gentlemen. Tom Smith. Thank you, Tom, you are brilliant. Fair listener, you're out of excuses.
[Brandon] Now go sing.
[identity profile] mbarker.livejournal.com
Writing Excuses Season Two Episode 14: Writing Habits

From http://www.writingexcuses.com/2009/01/11/writing-excuses-season-2-episode-14-writing-habits/

Key points: Routines are what you make them. Howard likes shoes. Brandon likes four-hour blocks. Dan works at a friend's house. Dan and Brandon write music, Howard only draws to music. Games? It depends.
can the chatter )

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