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Writing Excuses 19.52: End of Year Reflections: Navigating Speedbumps 
 
 
Key Points: Life's speedbumps! Career, body, circumstances... Slow down, and rattle and shake over it? Rent a backhoe and scrape it off before driving? Break everything into smaller pieces and celebrate any progress. Sometimes you do it to yourself! Choose to move, and... disruptive, cascading issues. Depression and panic disorder? Brain shingles! In a grocery store without a cart, just picking up items and juggling! Strategies! Self-medicating with sugar? No, talk to everyone about it and talk about how to do something more healthy. Don't go too far with ergonomics, but if something is causing you pain, is there a quick and easy way to fix it? Identify obstacles. Beware, your brain confuses happy off-balance and frustrated or sad off-balance. Having trouble with decisions? Lists! Two hand choices. Eliminate repeated options that aren't working. Pie slices! How big is it, and how many do you want? Think of yourself! Move from triage dealing with fires to sustainable, balanced approaches. Replace "you can't have it all" with "you don't actually want it all!" Focus on what you want most, and ignore the rest. Be honest with people about what you need, and can do, before you hit a crisis. Count, and give yourself time before you answer. Say not to the projects that you don't want to do, because sometimes you'll have to say not to the ones you want to do. Give yourself a restorative.
 
[Season 19, Episode 52]
 
[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 19, Episode 52]
 
[Mary Robinette] This is Writing Excuses.
[DongWon] End of Year Reflections: Navigating Speedbumps.
[Erin] 15 minutes long.
[Dan] Because you're in a hurry.
[Howard] And we're not that smart.
[Mary Robinette] I'm Mary Robinette.
[DongWon] I'm DongWon.
[Erin] I'm Erin.
[Dan] I'm Dan.
[Howard] And I'm Howard.
 
[Mary Robinette] As the year comes to a close, we've been talking about a lot of things, but one of the things we haven't really been talking about is kind of how you keep going when life has thrown you speedbumps. This can be a lot of different things. It can be a career speedbump, it can be your body, it can be circumstances around you. So we're all going to just kind of talk about some of the speedbumps that we've been encountering and some of the strategies that we've used to navigate around them.
[Howard] You know what, I… The speedbump metaphor I think may have been mine when we originally set this up, because as a younger, healthier man, speedbumps were things that I would just maybe slow down for a little and then just rattle and shake on my way over them. I'll just plow through it. I'll just muscle through this. I will just… I'll put in the extra hours. I'll put in the less sleep, whatever. Over the last couple of years, I've realized that that approach is no longer the option. The vehicle I am driving over the speedbumps is now a 72 station wagon…
[Chuckles]
[Howard] That does not have… Well, 68 station wagon, if we're actually talking my model year, so it does have wood panels on the sides, with a bad suspension, and the back of the station wagon is full of poorly packed glassware.
[Laughter]
[Howard] If I decide to hit the speedbump at 30 miles an hour, I am going to break things, and it's a mess. So, my life over the last couple of years has been built around activities that look a lot like, metaphorically speaking, pulling up to the speedbump, stepping out of the car, renting somebody's backhoe, scraping the speedbump off the street, getting back in the car, and then driving forward. If it sounds like I move more slowly than I used to… Yes. Yes I do.
 
[Mary Robinette] I have been dealing with an emotional speedbump. Last year, 2023, is what my family has taken to calling the year of five deaths. Which… I'm not going to go into a great deal of detail about that, because as you can tell, it's a little bit of a downer. But I kept… It was… My life is badly paced and badly plotted and maybe that… The author kept reaching for the same trick. It's like, come on. But we couldn't wait two months. My mom was one of the people who I lost last year. Each time, I kept thinking, okay, I just have to get through this, and then after that I'm going to be able… And there was never an after. So what I had to do was come up with ways to be able to keep moving while things were falling apart around me. I turned in Martian Contingency a week before mom died. I had to have my cat put down on my birthday. I mean, it was like… But it sucked. And I had deadlines. So it was… I… The renting of the backhoe, it's like that is a strategy to get around the thing. For me, because it mostly messed with my executive function, making decisions, any of that was just incredibly difficult. And I had competing priorities. I wound up having to break everything down into smaller and smaller pieces in order to make any progress at all, and learning to celebrate making any progress was hugely important. This year, which I thought, ha ha, has been a different set of things. We had an unexpected move this year because of different family health things. And the coping skills that I learned last year have been very, very useful with these speedbumps. It's been… Yeah. So, there you go. I could keep talking…
[Laughter] [garbled]
[Howard] Breaking things down into smaller and smaller pieces… Would you like to peer through the boxes of glassware…
[Mary Robinette] Oh, yeah.
[Howard] In the back of my station wagon?
[Laughter]
 
[DongWon] It's funny, because speedbumps, in these cases that we're talking about so far, can be very hard things, very difficult things, and sometimes they can be something that you do to yourself. So, in my case, I made the bright choice to move across the country this year. I packed up my life in New York and I moved to Southern California. And it's been a really wonderful decision for me. It's been the right choice, and I'm really, really delighted by where my life is at in a lot of ways. But also, talk about a god damned speedbump.
[Laughter]
[DongWon] It was so much more disruptive than I anticipated, and it definitely caused a cascade of issues in my life, some of them professional and some of them personal. There's a way in which all of this has been really joyful to do, but also, that doesn't mean it wasn't a speedbump. It doesn't mean that I didn't need to make space for myself, make space for the people around me, and adjust to certain realities of what it was going to be to go through that level of disruption. Right? So, how you plan for, and how you respond to speedbumps is, like, hugely important and I maybe learned a small lesson of I'm not in my twenties anymore, or even in my thirties anymore, and I need to maybe make more space for certain disruptions that I needed to even five years ago. So, it's been an interesting moment of reflection as I'm looking at building a new life here, building a new community here, things like that. But also, how to keep plates spinning, keep balls in the air, while doing multiple things at once.
 
[Dan] My major speedbump this year, and last year, has been a recent diagnosis of depression and panic disorder. Both of which recently upgraded… We'll use that word… To severe depression and severe panic disorder. Which is just delightful. That's… Like DongWon was saying about planning for disruptions, that's the reason you haven't really heard from me throughout the year. I was on a few episodes that we recorded very early on, but I did hit a point, actually and 22, where I realized that my choices were to either back away temporarily from this podcast or quit it all together. Which I did… Absolutely did not want to do. But that's the state that my brain was in and to some extent, continues to be in. I hope to be on, and will be on, many, many more episodes next year. But… Yeah. We call this the brain shingles. I got the brain shingles.
[Mary Robinette] Yeah.
[Erin] [garbled]
[Howard] And it's not the good kind of shingles that keep rain off of things.
[Mary Robinette] No.
[Dan] No. Not at all.
 
[Erin] It's interesting, listening to all of this, because I feel like I… Knock on wood… I, in 2024, like, had not had as a huge, like, speedbump of that kind. Whether unanticipated, whether…
[DongWon] Self-Inflicted?
[Erin] Self-inflicted.
[Chuckles]
[Erin] I… Like, so is somebody who does not drive…
[Laughter]
[Erin] I like to think about something that I do in my life where I create my own sort of speedbumps or cracks in the sidewalk to be tripped over. Like, somebody in a grocery store who doesn't get a cart and starts getting items off the shelf. Right?
[Laughter]
[Erin] It works a bit. Like, you're like, okay, I can hold this can, I can hold this soda, okay, what's… Okay, if I just rearrange this, I can put this thing on top. And you never know what will be the either item, obstacle in your path where it's a very small obstacle, but you're holding a lot of things, and it's a very delicate balance, and if something can throw it off, and now, all of a sudden, things are going everywhere and you're trying to hold on to everything and not drop any of the items and create a spill on aisle five.
[DongWon] I feel personally attacked and called out right now.
[Laughter]
[DongWon] I don't think you even… [Garbled]
[Howard] It's not so much that you are your own worst enemy as it is that we are all our own that exact same worst enemy.
[Mary Robinette] Erin is, I will say, an extreme example of it.
[Laughter]
[Mary Robinette] Having been in a bar with her, watching her continuing to work…
[Laughter]
[Mary Robinette] While on a cruise ship. I'm like, no, no. Erin has a bigger capacity for stacking things and believing that she can continue to carry them then I… Than anyone I've ever met.
[Erin] Yay?
[Laughter]
[Erin] Like, on the plus side, there are things that you can do to, like, learn yourself. You know what I mean? Like, I know this about myself. So, thinking about what are the strategies… Like, to figure out… Like, what are the things that we need to do? I know that we are coming up on a break, so maybe the time to talk about the strategies is on the other side of it? Question mark?
[Mary Robinette] That is exactly what I was thinking. So, let's take a quick break.
 
[DongWon] So, my thing this week is I want to talk about the movie Furiosa. Which I really love. I sort of feel like there aren't enough people talking about it. I feel like it didn't get quite the love that I hoped it would. Mad Max: Fury Road, one of my favorite films, I think we can all agree that it's an absolute masterpiece of action cinema, and finally, they released the follow-up to that which is actually a prequel, but tells the story of Furiosa's childhood and early life as she sort of becomes the imperator that we meet in Fury Road. One thing that's really interesting is this movie is structured so differently from Fury Road. I think a lot of people went into it with the expectation of getting that same hit, getting that same high, and instead, it's a slower, quieter, more traditional drama in certain ways as we watch this person grow up and develop into this… Into the sort of force of nature we meet in the future. And Chris Hemsworth is also in it, playing opposite Anya Taylor Joy. Chris Hemsworth plays the villain, a character named Dementus. It's some of the best performances I've ever seen from him, that he brings a weirdness and a humor to it, but also a deep unsettling menace by the end of it. So, I highly recommend Furiosa. Remind yourself that this isn't Fury Road, it's its own thing. Manage your expectations around that. But just some absolute killer action sequences that I really love, some great character work, and great performances. George Miller is like nobody else out there and anything he does, I will show up for.
 
[Mary Robinette] Hey, friends. The 2025 retreat registration is open. We have two amazing writing retreats coming up and we cordially invite you to enroll in them. For those of you who sign up before January 12, 2025… How is that even a real date? We're off… [Background noise... Friend?] As you can probably hear, my cat says we've got a special treat for our friends. We are offering a little something special to sweeten the pot. You'll be able to join several of my fellow Writing Excuses hosts and me on a Zoom earlybird meet and greet call to chit chat, meet fellow writers, ask questions, get even more excited about Writing Excuses retreats. To qualify to join the earlybird meet and greet, all you need to do is register to join a Writing Excuses retreat. Either our Regenerate Retreat in June or our annual cruise in September 2025. Just register by January 12. Learn more at writingexcuses.com/retreats.
 
[Mary Robinette] Strategies are one of the things that actually keep us going. I think all of us have strategies that are probably overlapping and some things that are wildly different. I would love to hear about some of the strategies that you've found that have kept you functional while you have been trying not to drop things in a grocery store.
[Laughter]
[Dan] One of the strategies that I learned accidentally was, the beginning of this year, I decided, as a New Year's resolution, that I was going to stop eating sugar. Because I was snacking on sugar constantly, especially at work. And the depression skyrocketed over the course of about two or three weeks. I realized that without knowing it, I had been self-medicating with sugar as a way of getting through the day. I'm still kind of sort of trying to do that, but sweeter. The lesson to learn from this, the way this turns from an accidental thing into an actual coping strategy, is, once I realized that that had become an important part of my process, then that became a thing to discuss more directly with my family, with my employer, with my psychiatrist, and say, well, this is what I have been doing. What can I do instead that is healthier than that? Well, what are ways that I can manage this depression without just sugaring up and muscling through it?
 
[Howard] Years ago, we, on this very podcast, we would joke about the… It may have been an April Fools episode… The excuses we make instead of writing. I think one of them was, oh, gosh, I sure need to vacuum my keyboard. I've looked at, this last couple of years, I've spent a lot of time rebuilding literally where my keyboard sits. Where my monitors sit. Where I sit. I didn't get very much writing or much work done, because I was spending so much time paying attention to a very small pain point. Oh, I have to reach for this thing, and I'm reaching further than I think I should. How do I fix that? I'm going to take the time right now to fix it. And I ended up building an entire 2C stand, two big… Three boom rig surrounding a zero gravity chair where I don't have to turn my head much, I don't have to stretch my arms much, but I can do everything I need to do from that chair. It took a long time to build, and the strategy really amounted to, Howard, if you don't make time to move that piece of speedbump now, then you're going to wear a hole in yourself reaching a little extra far or having to get up and do a thing. It's sort of like ergonomics, and I don't counsel everybody, yeah, look at your workspace and go fully ergonomic contextual inquiry. But, at the same time, if something is causing you a little bit of pain, there might be a very easy way to make it stop doing that so you can get more work done later.
 
[Mary Robinette] That's been one of the strategies that has worked well for me, is identifying the obstacle. What is the thing that is causing me problems? I also want to say that, while we're talking about speedbumps, I just want to quickly put a flag in this, that the speedbump can be a happy thing, as DongWon referred to. That sometimes, like, if you just won an award or had a short story accepted for the first time, that can become an obstacle, because your brain is very bad, it will just say, you're off-balance. But it cannot always tell the difference between happy off-balance and frustrated sad off-balance. So I identify obstacles, and one of the obstacles for me, the biggest one, was executive function. That I was just having a hard time making decisions and holding things in my brain. So because of that, I started doing lists. When the lists got to be too much, I backed off of that, and started doing something that I called two hand choice. Which is actually a trick that I learned from… Through animal stuff. When you've got a nonverbal animal, you can offer them two hands, each hand represents a choice. Do you want to go inside or do you want to go outside? I learned that with my mom during her last weeks, when she became nonverbal but still quite present. I could offer her a two hand choice and she could still respond, even when she got to the point where she was only looking at the thing. But if I offered her… Like, if I said, what do you want to wear and I showed her a closet full of things, she couldn't… She had no way of letting me know. But if I held up two things, she could let me know blue dress, then, just looking at the left-hand. With that, the other piece that I learned was that if she never chose the gray dress, I stopped offering it to her. So what I started doing with myself was when I came up on a thing and I'm… I was tempted into procrastinating or having difficulty making a decision, I'm like, which of those two choices has served me before? That would be the choice that I would go with, and I would stop offering myself the choice that wasn't serving me. That got me through some times where things were very hard.
 
[Erin] Yeah, I think… I love that. I think… I'm thinking about pie, all of a sudden, and…
[Dan] That happens to me a lot.
[Laughter] [Yeah]
[Erin] And it's always…
[Howard] The food or the infinitely repeating irrational number?
[Erin] Both. No, just kidding. The food. The food pie. Because I'm thinking…
[Howard] Now I'm sad.
[Erin] Sorry. I think about a lot as like… Thinking back to the past, like, what have you been able to handle also. So, what has served you, and also, like, where… What was the one slice of pie [committed?] Like, when the pie's delicious, you want to eat all the slices. Sometimes, it takes time to figure out. Like, okay, two, and I really wish I'd had more. Like, I actually did have enough room for a third piece of pie.
[Mary Robinette] The dessert pointer.
[Erin] But, like, 10, it turns out, was not good. Was not a good idea. So, somewhere between 10 and three is, like, the right thing. I do that with projects. It's, especially, when you repeat projects, I know, like, sort of how big a slice it is. Like, this thing, if I do this one thing, I'm only going to have room for one or two other things. When I'm teaching a college class, like, that is something that takes a lot of time to prep the lessons and talk to students. So, early on when I started teaching, I was like, oh, teaching. It'll just take a minute. Then, later, I learned, no. That's big. I can only do, like, maybe one or two side projects and teach and still get sleep and still…
[DongWon] Yeah.
[Erin] Drink water and still work at other things that make me happy. I think… For me, that's a second lesson, which is, like, think of yourself. Like, you are an important part of the equation. If you are not here, you cannot carry the same… True story, you cannot eat the pie. So I think that it can be easy to neglect the you in the equation, and think, like, I will just outwork it, I will out do it, I will under sleep it, I will figure it out. But ultimately, like, when you take the time for yourself, I think it gives you the strength sometimes to be able to do more by taking a pause and putting yourself first. So when I bring work to a bar, while that sounds wild, part of that is me saying if I finish this amount of work, I really like socializing with my friends, and I'm going to get to do that after I finish this. As opposed to doing it in my room and then just working and working and working and never leaving the house.
[Mary Robinette] Yeah.
[Erin] So it's a way for me to keep myself in mind if only by moving my location.
 
[DongWon] I'm completely in agreement with everything you've just said, and I've been going through a similar process, probably starting in… I'm thinking of the last two years, as whenever I think of as the triage years. Like, starting in 2020, kind of up until sometime this year, has been a real era of, like, me realizing how overbalanced I was in terms of the worklife balance, and how much I needed to keep up with the current treadmill I put myself on. Right? So a lot of it was… That's why I've been closed to submissions for a long time and things like that, of figuring out, okay, how do I rebalance in some way that moves from this triage mode of taking care of what's on fire in front of me to being able to approach my life in a more sustainable and a more balanced way. Right? So the kind of thing which is a little similar to what you're talking about in terms of like now what slices of pie can I actually handle, and how do I make space for the things in my life that are restorative to me that aren't just work focused. Right? How do I have friends who aren't just publishing people, how do I have hobbies outside of the space that I work in, and how do I have other kinds of creative projects that sustain me? Right? So, balancing all of those things has been really important. And, maybe even more importantly than all of that, being patient with myself even as I know that this has been a multiple year process, and that I can say now, coming up on the end of this year, of, like, oh, I moved out of triage, I'm doing this. That's probably not true, there's probably still going to be moments when that comes up, where that may extend further. As I build towards sustainability, that's going to require all of these different kinds of shifts in myself and checking in with myself. How do I feel about this? How does my body feel when I'm working at this level? How, emotionally, in my balancing the needs of my clients versus my own needs versus the needs of the people I care about in my life? Right? So, juggling all of these things has required a lot of therapy, no small amount of medication, and a lot of just work on myself to figure out how to approach that in a healthier way.
 
[Howard] In many cases, for me, I think it comes down to the graduation from the early wisdom, which is you can't have it all, to the later wisdom of dude, you don't actually want it all.
[Mary Robinette] Yeah.
[Howard] That second piece of wisdom is incredibly liberating. The realization that, hey, you know what, I… A lot of these things that I've been reaching for, if I stop reaching for them and just reach for the things that I want the very most, I will be happier. Because I didn't really want those things. Maybe other people told me I wanted those things. Maybe TV told me… I don't know what the psychology is behind it. I just know that by narrowing my focus a little bit and saying the thing that I want most is the thing that I'm going to keep in front of me, and the thing that I'm going to keep aiming myself at, and everything else, I'm going to let myself ignore if I need to.
[Erin] I think, as you do that… It can be really difficult.
[Howard] Yeah.
 
[Erin] Because I think we're taught that anything we let go of, A) will never come again, B) was the best thing ever, C) that our lives will never be the same without it. But I think a lot of times, like, once that decision moment is past, you move on with the life you have. That is something that's really important, and also, to remember that other people are often much kinder to you than you are to yourself. It can be hard to say, like, I need to step back from this, I can't do that. I think a lot of times you think people will judge you. But, people are kind of, like, if you tell people, hey, I need X. Like, 99 out of 100 times, they'll be like okay, great. Like, let me know what I can do to be a part of that. Let me know how I can help. The one out of 100 is somebody who you don't need in your life anyway.
[DongWon] Exactly.
[Mary Robinette] Yeah. I think telling people that before you hit a crisis point also helps you not need more. Because you are in a healthier place. And it also places less emotional burden on them.
[Howard] The shopping cart teaches us that we are our own worst enemy.
[Laughter]
[Howard] Writing teaches us that we are our own worst critic.
 
[Mary Robinette] One of the things that I learned also over the past year because… That I've been applying from last year. My mom… Parkinson's slows the brain down. So it just takes longer to answer something. The temptation when you ask a question is to fill the gap, to feel that… We're so trained in conversation that there shouldn't be a silence or… So you want to help. What I realized was that I did ask mom a question, and I would have to count in order to give her time… In my head, count… To give her time to respond. I realized that I actually needed to do that with myself so that other people… My anticipation of what they wanted didn't fill the voids. So I set a rule for myself that I've been deploying for 2024 which has made things much healthier for me, that when an exciting opportunity comes up or when I'm getting… Actually, I set the… I do what Erin's talking about, is, I tell people what I need right at the beginning. I sit down to have a conversation with someone about, like, this new project, and it's very interesting, and I tell them at the front, I'm like, you're going to hear me talk about it in ways that make it sound like I want to get involved, and I do, in the moment, but I'm not allowed to give you an answer for 24 hours. Because if I do, my sense of FOMO, my sense of excitement, is going to override my sense of what I actually need. I have been doing that this year, and I have felt like, as were coming up on the end of the year, have felt much, much better.
[Erin] I would say, just the last thing on this, is like… It is, in project terms also, I have been shocked like that a lot of times, people would rather you be honest than it turn out you can't do it.
[Mary Robinette] Yes.
[DongWon] Yeah.
[Erin] Like, people would rather you say…
[Mary Robinette] So true.
[Erin] Somebody comes to me, they're like, come on, write 10,000 words of this game. I'm like, actually, I think I've got like 1000 words in me. So many times, they will be like, okay, that's fine. We'll find somebody else...
[Howard] Half of them are bad words right now.
[Erin] For the other 9000. Then, like… Then the next year, they'll come back and be like, oh, can you do 1000 again? Or, hey, maybe you can do more? Versus if I tried to take the 10,000, it's 10 years late, and then they are feeling like they are in a worse situation. So if you can, always be honest. But, yeah, before a crisis point, and really knowing yourself is… You said something once a long time ago, I think it was Dan, at a… On a cruise. You said, say no to the projects that you don't want to do because at some point, you'll have to say no to the ones you want to do. I love that wisdom.
 
[Mary Robinette] Yeah. So, with that, let me take you to your homework. I want you to use this time, the end of the calendar year, the end of the season, to think about what would be the restorative for you. Don't think about what other people think are restorative. Like, if you don't like the beach, beaches are not restorative. Think about something that would be restorative for you. And then take a step to actually doing that. Yes, I am in fact giving you a writing excuses.
 
[Mary Robinette] This has been Writing Excuses. Now go rest.
 
[Howard] Have you ever wanted to ask one of the Writing Excuses hosts for very specific, very you-focused help. There's an offering on the Writing Excuses Patreon that will let you do exactly that. The Private Instruction tier includes everything from the lower tiers plus a quarterly, one-on-one Zoom meeting with a host of your choice. You might choose, for example, to work with me on your humorous prose, engage DongWon's expertise on your worldbuilding, or study with Erin to level up your game writing. Visit patreon.com/writingexcuses for more details.
 
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[personal profile] mbarker
Writing Excuses 17.52: The WXR 2022 Q&A
 
 
Q&A Points:
Q: What strategies can you use to make the reader aware of the complexities of your world without infodumping?
A: Drop bits of reference into the dialogue without details. Pick themes that your characters are passionate about. Add stuff that is not vital to the plot. Let the character interact with them.
Q: How do you balance a sense of progress with an unreliable narrator?
A: With a goal that they are aiming for. Why are you using an unreliable narrator? Knowing that, and being deliberate about it, allows you to mix it with progress. Progress is asking questions and answering them, which is not necessarily connected to whatever the narrator may be lying about. 
Q: How can I make two magic systems work in the same setting when one is very underpowered compared to the other, and the protagonist uses the weaker magic?
A: That's the best way to do it! Because it has conflict. Show that they are the underdog, but they use their skills better. This builds sympathy and rooting interest. 
Q: Have you ever based a character on yourself or someone that you know? If so, did you find that more or less difficult to write?
A: Yes, every character is a reflection of me, in some way. No, not actively base on myself, that I consider to be me. Basing a character on someone you know? Strip out the details, keep the patterns of mannerisms. Base on a struggle or a conflict. Tuckerizations!
Q: So, on book adaptations, Dan, as someone who has had a book adapted, can you talk a little bit about what the process looks like and things to keep in mind when working on adaptations?
A: New and innovative is better than faithful. Script form, on screen, is not the same as novel form. 
Q: Do you have any recommendations for conventions or other writing events an aspiring author should attend for networking purposes?
A: Surrey International Writers Conference. Nebula conference. Check your local conventions.
World Fantasy. World Con. Story Makers and Pikes Peak. 
Q: Do you use any particular methods to calibrate how detailed your scientific or technical terms are for each series or audience or genre?
A: Consider a cheese sandwich. If all it does is feed the character, you don't say much about it. If the character is a chef, you may say more. Technical jargon is the same. Think about the structural purpose they serve in your story.
Q: How do you cultivate an audience, specifically how do you interact with fans responsibly, especially starting out when they may number less than 10 and are essentially your peers?
A: Try to add value to every group, every conversation you have. Marketing is a minus value, so add value to the group before you try to market to them. Make a contribution, be interesting, make sure people enjoy spending time with you first. Consider a street team! 
 
[Season 17, Episode 52]
 
[Brandon] This is Writing Excuses, Q&A on the Writing Excuses Cruise 2022.
[Dan] 15 minutes long.
[Mary Robinette] Because you're in a hurry.
[Howard] And we're not that smart.
[Brandon] I'm Brandon.
[Dan] I'm Dan.
[Mary Robinette] I'm Mary Robinette.
[Howard] And you guys are going to ask us questions, despite our not-smartness.
[Chuckles]
 
[Brandon] Go ahead. First question.
[Julie] Hey, can you hear me?
[Dan] Yup.
[Julie] I'm Julie. What strategies can you use to make the reader aware of the complexities of your world without infodumping?
[Howard] What strategy… I love this question, and James Sutter gave us a great answer to that a couple seasons ago. Just by dropping little lines of dialogue, "the screaming hills" or "The monks of whatever" as little bits of reference without any additional details. These are just things that exist, that the characters know about, and that gets sprinkled into the dialogue, and then off they go with the plot.
[Brandon] I would pick a few themes for your book. In specific, things that you are going to… That your characters are passionate about. Right? Everybody… Kind of because Tolkien did Tolkien's thing wants to pick the ones that Tolkien did, which is not a bad idea. But your character might be a calligrapher, and they might be interested in the history of fonts on your world. They can talk about the history of fonts, and drop those hints in, not at length, not infodumps, but mentions here and there. Which will give the same sense of depth in history to your world, and be relevant to your character and their passions, rather than that same character talking about the history of that fort over there, which might be something that Tolkien would have done. Pick the ones that your characters are passionate about.
[Dan] I think so much of what provides depth to a story is stuff that is not vital to the plot. If we… If the only information we ever get is the information we require in order to understand the current story taking place, then the world is only as big as the current story taking place. Whereas, if we have other things, other history, other cultural details that have nothing to do with the current story, then that makes the world very large.
[Mary Robinette] I pick them based on whether or not my character is interacting with them. So if the character is interacting with the food, then I can describe that food. If they aren't interacting with the food, then I do not describe the national dish of whatever fiction fantasy world I have.
 
[Brandon] All right. Question number two, by the person in the excellent T-shirt. One of mine.
[Todd] Ah, yes. I'm Todd, and I'm currently wearing the same shirt as Brandon, but… For my question, I'm wondering how do you balance a sense of progress with an unreliable narrator?
[Brandon] Uh…
[Mary Robinette] Ah…
[Brandon] How do you balance… Oh, that's… I don't have to repeat them because…
[Mary Robinette] Um… So, your character can still have a goal that they're aiming for. Frequently, that unreliability is about some aspect of self. So, you don't… You can still be honest to the reader by having the character react in ways that are consistent with whatever that secret is. Which allows you to make that forward progress and then kind of drop clues before you do the big reveal about what the unreliability is.
[Brandon] Yup. I would agree. Unreliable narrators should always be a feature, not a bug. Right? Like, if you're using it, you should be using it for a reason. What is your goal in using the unreliable narrator? What are you achieving? Well, that will then tell you how you can intermix that with progress. Because you can cheat and really fun ways with an unreliable narrator. There can be several… I mean, a character that I wrote who lost several years of time in their memory, or parts of the time in their memory, becomes unreliable not because of them hiding from the reader, but they legit don't know. This then becomes a cool reveal. So highlighting those things… The thing that I would say you most want the reader to pick up on is that you as an author are doing this on purpose. The character is unreliable on purpose, not on accident. They will give you all kinds of accommodation if they know it's on purpose. As soon as they suspect it's on accident, you start to lose them.
[Howard] I think that the sense of progress and the narrator might be a false concomitance here, that those are not necessarily related. For me, the sense of progress comes from a question being asked and then later being answered. Every time I get an answer to a question I had, to a question posed by the story, I feel like we've made progress. That, for me, is completely disconnected from who the narrator may or may not be lying about.
[Mary Robinette] I just realized part of why I think they may have asked this question. That if you're writing something like a heist where…
[Brandon] Yeah.
[Mary Robinette] The narrator has a secret goal.
[Brandon] Right, right. In a lot of heists, they do. That's a very good point to bring out. A lot of times, your character will have a secret goal. Again, I still think it comes back to make sure the reader knows that it was done on purpose. So they can start to suspect and put things together. I always feel like if you're heisting the reader, the clues should have been there all along. Now, there are really brilliant ones were you're not supposed to notice anything is wrong until the last minute before it happens. But in that case, you need to have created a narrative that has payoffs all along, otherwise it's suspicious.
 
[Brandon] Question?
[Unknown] How can I make two magic systems work in the same setting when one is very underpowered compared to the other, and the protagonist uses the weaker magic?
[Brandon] Ooo. That's the better way to do it, usually.
[Chuckles]
[Dan] Why?
[Brandon] Because conflict. Stories are about conflict and what you can and can't do. I'm glad you're asking this question, but the answer is actually pretty simple in that you don't have to really worry about power level in books, particularly if your character is the weaker party. The answer is how do you do this is you make it very clear that they're the weaker party, they're the underdog, and you show them using their skills better than those who are overpowered. Right? The whole idea of I am not as strong, so therefore I must be very tactical in how I apply the strength I do have, builds enormous amounts of sympathy and rooting interest for a character. If you have a character that's superstrong, it's actually much harder because building that rooting interest when they are from a position of power means that the conflict has to be approached differently. So I would say present these kind of magic systems in an interesting way that reinforces what you're doing. Right? If the powerful magic system is in the control of the elite, and the week magic system… I mean, this is the most obvious one, but it's a good example… Is in the hands of the underdogs, both socially and narratively, then you will… It'll be… It'll flow from there.
[Mary Robinette] Yeah. The plucky hero is a common trope, but one of the things that you often see in superhero movies is that the super villain is ridiculously overpowered compared to the superhero. Those are essentially two different magic systems.
[Dan] Yeah. Well, also, when you start to think about what counts as a magic system in the kind of grand metaphor of just character power, look at something like the Star Wars series. The original trilogy has one Jedi, but that doesn't make the other characters not interesting. Right? Han Solo's magic system is that he can attack people from range and he can fly through space. He does that with other things. It's not as powerful as being a Jedi, but it's not on interesting and it still is vital to the story and to the society that they live in.
 
[Brandon] All right. Next question.
[Lisha] Hi. I'm Lisha Bickard. Have you ever based a character on yourself or someone that you know? If so, did you find that more or less difficult to write?
[Brandon] Okay. Let's split that into two questions. First, have you based a character on yourself?
[Mary Robinette] Yes.
[Howard] Yup.
[Dan] No.
[Brandon] I would say every character I write as a piece of me. Some aspect of my personality comes out. It's inevitable.
[Mary Robinette] Yeah.
[Howard] Yeah. That's… Same here. I've given up on trying to say, "Oh, this character is nothing like me." Because I am alive to write what they say, so, at some level, they're at least a little bit like me.
[Dan] But I feel like that's a very different question from have you actively based one on yourself versus do elements of yourself bleed through.
[Brandon] Okay.
[Dan] I don't think I've ever written a character who I consider to be me.
[Brandon] I would agree that I have not done that, either. There's no… I mean, I don't know if you're talking about self inserts, but, like the Dirk Pitt books, Clive Cussler always shows up in them as a character. I've never done that.
[Mary Robinette] No, I haven't done that either. But I have given my character… Like Ellena, I've talked very openly about in Calculating Stars, that while I don't have an experience personally with anxiety, my experience with depression is her experience with anxiety. That I mapped that. Also, there's several other things that I'm just like, and that's… The other thing I talk about is her experience with Parker is based exactly on someone that I used to work with. So I have done that.
 
[Brandon] Let's take the second half of this one. Basing a character on someone you know? Have you done this? Pitfalls? How did you approach it? These sorts of things.
[Mary Robinette] Again, so, Parker is based on somebody that I know. I strip out the identifying details, and what you're left with is the patterns of mannerisms. In Glamorous Histories, I've often talked about the fact that Mr. Vincent is heavily based on my husband, who I frequently describe as the love child of Mr. Darcy and Eeyore. Mr. Vincent and Rob do not have the same back story in any way, shape, or form. But they have the same mannerisms. They have many of the same interests and attitudes.
[Brandon] It's kind of uncanny.
[Mary Robinette] It really… Yeah.
[Brandon] Yeah.
[Howard] There was this one time where, as a favor to a friend, I wrote a character into a story, and then had him kill his own dang self. Really stupidly, and… That was a lot of fun both for me and for my friend.
[Brandon] I don't generally base on… Well, I do and I don't. I base on a conflict often. If I have a friend who has a struggle or a conflict, I will put that in. The only characters that are based on friends more overtly than that are Tuckerizations, where they get to say they make an appearance in the books.
[Dan] Yeah. I often auction off for service auctions and charities and things the ability to be brutally murdered in a Dan Wells book. That's not so much copying the mannerisms as just, "Hey, look. You can show all your friends that…
[Mary Robinette] Your name.
[Dan] A monster killed you."
[Mary Robinette] Yeah. Your name is in this book. Frequently, with Tuckerizations, they are not anything like the person, they just have a name in common.
[Brandon] Yeah.
[Mary Robinette] One of the pitfalls is that if you have not cleared it with them ahead of time, that it can be… Like, my husband knows that I put his mannerisms into books. I have a friend who was a Tuckerization, and then I was like, "Oh, I'm very sorry, but your Tuckerization is actually going to be a villain in the next book. Is that okay?"
[Brandon] Yeah. The Tuckerizations I do of friends stay in the background almost exclusively. If it's an unflattering Tuckerization of someone I know, I always change the name and the description, and it's then just kind of the concept becomes on inspiration.
[Mary Robinette] Yeah. This is what happens when you write something that you think is a standalone and they ask you for a sequel.
[Dan] And then they ask for more. I had a character, there was a teacher, a schoolteacher in the John Cleaver books, that was named after a friend of mine who is a schoolteacher. Before that went to print, I realized, oh, wait. In the next book I'm going to turn this guy into a pedophile. So I'm going to change that name really quick and make sure that that does not come back to bite him in any way.
 
[Brandon] So, let's stop for our book of the week. Our book of the week is my book.
[Yay!]
[Brandon] So, 15 years ago plus, I started writing a little series called Alcatraz Versus the Evil Librarians as a way to take a break between the Mistborn books. It's as different from Mistborn as I could possibly get inside my brain. About kids who have weird magical talents that sound like drawbacks until they use them. Like being late for things or being bad at dancing or things like that. Now, long-awaited last book, last secret book of the series. I actually pitched this book to my editor. I said, "I want to do five books, and then end on a horrible, horrible cliffhanger. Because there kind of comedic, and that's what the character's been warning them. Then pretend there's going to be no sixth book because the main character refuses to write the book. Then I want to have a sixth book which is finally coming out written by another character in the series to give the actual ending because the main character was a dweeb and would not write the ending of his series, where he actually kind of proves to be a little bit more heroic than he's been telling people all along. So we have Bastille versus The Evil Librarians, written with my good friend Janci Patterson, who's been on the podcast a number of times. Who helped me get the voice right, because I was struggling with it, which is part of what took so long. It is finally out and you can get it. The series is now finished.
[Mary Robinette] Yay!
[Dan] Hooray!
[Howard] Huzzah!
 
[Brandon] All right. So, let's go to the next question.
[Unknown] Awesome. So, on book adaptations, Dan, as someone who has had a book adapted, can you talk a little bit about what the process looks like and things to keep in mind when working on adaptations?
[Dan] Yeah. So, my general theory of adaptations is that I am far more interested in something that is new and innovative rather than endlessly faithful. That is an assertion that gets sorely tested when it is your own little baby…
[Chuckles]
[Dan] Being adapted. I did not have creative control over the Serial Killer movie, but I did get the chance to read all the drafts of the script and be involved with casting and things like that. The initial drafts of the script, and even the final shooting script, included some changes that I disagreed with pretty wildly. Fortunately, I had, over the process, become good friends with the director to the point that he was able to just say, "Hey, trust me. This is an art form that I am familiar with and you are not. Give me the benefit of the doubt here." I did, and ultimately realized, oh, the changes he was making would not have worked in the book. They would not have been effective in novel form. But the changes I was suggesting he make to his script would not have worked in script form. They would not have worked on the screen. So I was right and he was right, and he was smart enough to know that that's why I was arguing with him, is because it was simply an art form that I didn't know as well. The final product, he made the right calls on those adaptive changes, and I made the right call in that I stopped making a stink about it.
 
[Brandon] All right. Next question.
[Unknown] Hi. Do you have any recommendations for conventions or other writing events an aspiring author should attend for networking purposes?
[Brandon] Oh. Specifically for networking purposes.
[Mary Robinette] There are two major ones that I would recommend. Surrey International Writers Conference in Surrey, B. C., Which is my favorite writers conference besides the… Including the ones that I run, actually. The one that were currently on, Writing Excuses, we constantly tell our students that the best thing they get out of this is the interactions, but you know that because you're here. Then, the Nebula conference is designed specifically to be a thing for developing and professional authors.
[Brandon] I met my agent at the Nebula conference 20 years ago. And he's still my agent.
[Mary Robinette] Yeah. So those are the big things for me. But I would also look at your local conventions. Because you don't have to travel places. And also, you don't have to go to conventions to network. You can network online. Also, you don't have to network to be successful. There are plenty of authors who are successful who are complete recluses. There are a number of things that it helps with. But you can also have a career without doing that, if it is something that you're not comfortable with.
[Brandon] indeed, I'd say it's the least important it's ever been before breaking into the business. Not to say it can't still be useful, but as in the publishing is happening… Happened, as publishing has started to spread out and move out of New York a little bit more, and things like that, the need to network has decreased a little.
[Dan] Let me ask a question. One con we always used to recommend as a really fantastic networking con was World Fantasy. It is my perception that that is no longer as helpful of a networking con as it used to be. Is that… Would you agree with that, or am I wrong?
[Mary Robinette] You are correct. Yeah, you're correct. The… That was David Hartwell's home convention. He always asked his fellow editors and his author stable to attend the convention. With his passing, while networking still happens, there is not quite the same presence...
[Brandon] Yeah.
[Mary Robinette] There since that. They also had some other issues that often happen when you move a convention from place to place. World Con is another one of those which depending on where World Con is… And this is also true with World Fantasy. Depending on which group of volunteers are running it, they can be more helpful than others. But you have to be pretty deep into the community already to know which one is going to be a good one. So when they're close to you, absolutely go to them. But I wouldn't always recommend making the trip for it.
[Dan] Yeah.
[Brandon] If you are in the inner mountain West, the Story Makers Conference tends to be our best conference in the Salt Lake area.
[Mary Robinette] Oh, Pikes Peak in Colorado is very good as well.
[Dan] Yeah.
[Howard] The one piece of counsel I'd offer when thinking about networking is that if you are slightly impatient, and what you are looking for is someone a few rungs up to help you really launch the career, that's challenging, and that's a hard relationship to build. If you're willing to be patient, if you're willing to network and make friends with people who are at your level in career launching or in book writing or whatever, and you begin to grow with those people, in many cases these are the relationships which five years or even 10 years down the road, these are the relationships that will redefine your career when somebody comes to you and says, "Oh, hey, by the way, I just got a show green lit, and I need a script doctor, and I know you can do it." It's… I love to see people just willing to make friends. Those friendships that you make are going to be more genuine and I think they're going to be more helpful to you.
 
[Brandon] All right. Go ahead.
[Unknown] Do you use any particular methods to calibrate how detailed your scientific or technical terms are for each series or audience or genre?
[Mary Robinette] My cheese sandwich analogy. So, if you've got a cheese sandwich and it is in a scene where everyone knows what a cheese sandwich is in the cheese sandwich serves only the function of feeding the character, you don't need to describe it deeply. If your character is a chef and they are doing something exquisite with the cheese sandwich, you need to describe it more deeply, because the character is going to have a different relationship with it. It's the same with the technical jargon that you throw out. If you've got an alien that is… Has never experienced a cheese sandwich before, what often happens to a reader, to an early career writer, is that they want to say, "All right. So a cheese sandwich is made out of cheese and bread." The alien is like, "But, okay, what is bread?" You're like, "Bread comes from wheat, which is grown in…" Like, none of that is actually useful. What you want to say is a cheese sandwich is something that you hold in your hands and you eat it and it's tasty. So when you're thinking about the jargon, you're thinking about the structural purpose… The mechanical research details… You're thinking about the structural purpose that they serve in the story. I often just put in a bracket that says technical detail goes here. Or jargon goes here. Because frequently the only reason it's there is to demonstrate competence porn.
 
[Brandon] All right. This is going to be our last question for this episode. So, hit us.
[Qwamai] Hello. My name is Qwamai Simmons. How do you cultivate an audience, specifically how do you interact with fans responsibly, especially starting out when they may number less than 10 and are essentially your peers?
[Brandon] Mmm. That's an excellent question. So, interacting with an audience. There's a couple tips that I would be… If they are your peers, in particular, but… You always want to be value adding to any group that you're part of. Marketing generally value negatives, so keep in mind that it's like your value to a group is going to earn you chances to occasionally network. The sorts of things that I don't like seeing our social media feeds that are just… Network is the wrong term. That was from before.
[Dan] Market.
[Brandon] Market. Are just marketing, are just big marketing. You'll see this sometimes on Internet forums or things. People pop in and be like, "Hey, I just sold my first book. Here it is." And it's the first time you've even seen them. If you're not value adding, don't be doing that. Try to be adding something to every group you're part of and every conversation you're part of.
[Dan] Yeah. Think of your community of readers as a group of friends that you interact with. Not necessarily close friends that you invite to your house all the time, but people that you want to hang out with and that you want to pay attention to you. If you and your friend group, all you ever say is, "Hey, I have a lot of shirts for sale on my website," you won't get invited to parties anymore. Whereas, if you are contributing things, if you are interesting, if people enjoy spending time with you, then, suddenly, you are a valuable friend that people love to hang out with.
[Howard] This comes back to what I said earlier about patience. We're all inherently impatient to some degree, we want to launch ourselves from zero readers to 20,000 readers. I don't have a magic bullet for that. I don't have a magic trick for that. The thing that I have found is that it is… Doing marketing where I am asking the marketing under something, that's exhausting. I just allow myself to be myself with my audience and be silly. Then, every so often, I let them know that I'm doing a thing. Is that effective? I don't know if it's effective, I don't know if I'm actually good at this. But I know that I'm way more comfortable with that than I am with the other approaches.
[Mary Robinette] The last thing that I would say about this is that it's very easy to sound very calculating when you're thinking about this. I've heard people talk about it as a social bank. You have to put things into the social bank in order to have a withdrawal later. That is true. Also, being a good person, which is what we're talking about, being a value add, is not transactional. It's like when you are a good, contributing member of the community, you're not doing it because, well, then they're going to be nice to me.
[Chuckles]
[Mary Robinette] That is the wrong way to approach it. The way you approach it is by being genuinely interested in other people. Finding the community that you want to be part of. That's the piece that you're doing. The people that you want to be part of, that you're genuinely interested in, they don't owe you friendship in return. Right? They don't owe you anything. You're doing that because it is something that you find satisfying. You kind of have to approach it that way. Otherwise, you are going to be angry and bitter, because you've entered a transactional relationship that no one else agreed to.
[Dan] Yeah. I do want to point out that there's kind of a community building thing that I have seen a lot of authors use. This has become pretty common over the last two or three years, at least in some of the circles that I move in, called the street team. I'm sure that there are other authors that have different names for it. This is something that is kind of overtly transactional in a way that avoids the problems Mary Robinette is talking about. Saying… Assembling a group of people and saying, "Hey, I will give you an advance manuscript or I will give you these other things because you're a super fan and I would love to have you help me spread the word about my books." That's something that I see… Maybe it's mostly in YA. I don't know if this is something the rest of you have run across. But it is a system that if you handle it correctly works well to build a community that way. Like, you're part of my club now. Here's all the benefits of the club. Then, also, you're going to help.
[Howard] I was standing at my booth at World Con and a super fan had bought a book from me and someone else came up to the booth and was kind of like, "What's this?" Super fan launched into a fantastic pitch for my stuff. I very calculatedly, very carefully, did zero things to stop them.
[Chuckles]
[Howard] Are you overselling me? I don't care. You dearly love this, and you love this in a way that I would love for other people to love this. So go. Run. Do the thing.
[Mary Robinette] I'm going to put in a quick plug for my Lady Astronaut club. Which is, basically, I have built a community. You can send away a self-addressed stamped envelope, you can be a member of my Patreon, someone can vouch for you in the community. We call it the kindest corner of the Internet. It is a place where I get to interact, but also, it is, at times, a street team. Like, if I come in and say, "Hello, I really need help with X." But I never approach it with the expectation that they will do these things for me.
 
[Brandon] All right. We are out of time. Thank you all for the excellent questions here at the Writing Excuses Cruise.
[Applause]
[Brandon] Your homework is to write out a few questions. To think about it, think about what are the things you need help most on in your writing career right now. Now, we are unavailable to answer your questions because we are off somewhere else. But I find that formulating these things, sitting and thinking what do I need, really helps you kind of put a point on what you need to do, where you need to learn, where you need to grow. That's going to help you get those answers. So, ask yourself the question, what is holding me back the most in my writing career, and what question would I have for the team if I were able to ask it. Maybe you will eventually be able to do so. This has been Writing Excuses. You're out of excuses. Now go write.
 
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[personal profile] mbarker
Writing Excuses 12.41: Raising the Stakes

From http://www.writingexcuses.com/2017/10/08/12-41-raising-the-stakes/

Key Points: Raising the stakes over the long haul? How do you keep it interesting? Lots of smaller plots, smaller scenes that raise the stakes in different ways. Subplots! Make the failure worse, and worse. Mounting consequences! Put yourself into it. Find the personal issues for the character. More specific, and more personal. Use try-fail cycles, yes-but/no-and, and build new problems out of old solutions. Rest points can accent the pedal-to-the-metal moments, if they are real. Build a stairway, always up and progressing, but there are plateaus as well as risers. The question raised at the beginning must matter, it must be gripping, then the stakes will carry you. Don't raise the stakes too fast and too high! Save your great finish for the end, don't give it away too early. Also, delayed consequences, or solutions that postpone the problem without solving it may work for you.
ExpandRaise the stakes? Bet on it! )

[Brandon] This has been a great discussion. I'm going to have to call it here. But I do have some homework for you guys. I want you to try a few of the things that we've talked about in this episode. Specifically, raising the stakes, number one, by making… Try taking a side character from a story you're working on, and raise the stakes for what's going on for them. I want you to try by making it more personal first, but I'm not going to let you use the crutch that a lot of us use, that they have lost someone in their past or that it's personal because this is the person that killed their mentor or something like that. It can't be related to the loss of a loved one.
[Mary] No fridging!
[Brandon] Yes. Just make that one not on the table, and just see what you can do with that then. And then make it more specific. Try to make it a little less epic, but more specific to the person. Try that. Try that instead. See if this raises the stakes for you in interesting ways for your story. Well, this has been Writing Excuses. You're out of excuses, now go write.

[identity profile] mbarker.livejournal.com
Writing Excuses Season Five Episode Four: Creating Suspense

From http://www.writingexcuses.com/2010/09/26/writing-excuses-5-4-creating-suspense/

Key Points: Put a bomb under the table. If it goes off, that's action. If it doesn't go off, that's suspense. Mystery is when you can't see what's under the table. Mystery is about ideas that we don't understand, while suspense is about characters we don't understand. Both create tension. Think hard about killing a character just to create tension -- it may come across to readers as a cheap trick. Make sure that there are good reasons for them to die, or use some alternate significant loss. Consider ticking time bombs and other tricks for introducing a sense of progress, too.
ExpandWatch for the bomb under the tablecloth! )
[Brandon] Excellent. All right. We have a very special writing prompt for you this week. Producer Jordo was sent a very touching piece of mail by someone in the Netherlands. It was just delightful. We're going to read just one line from this. You have to take this and make a story out of it.
[Howard] I have coated my left hand with magical ink.
[Brandon] There you go. You're totally out of excuses. This has been Writing Excuses, and I can't talk. Now go write!
[identity profile] mbarker.livejournal.com
Writing Excuses Season Three Episode 23: How to Write without Twists

From http://www.writingexcuses.com/2009/11/01/writing-excuses-season-3-episode-23-how-to-write-without-twists/

Key points: Simple surprises and obstacles are not plot twists. Watching engaging characters overcome real problems is satisfying. Watching characters make progress is satisfying. Stories without twists often have strong setups with very clear conflicts and high stakes. Even stories with major plot twists often have straight-forward subplots.
ExpandThe Peppermint Twist? )
[Brandon] Let's do a writing prompt before this spirals completely into insanity.
[Jordo] Is it going to be Jane Austen and Diehard?
[Brandon] No.
[Dan] No?
[Howard] It can't be Pride and Prejudice and zombies, either, because that's been done.
[Dan] It's going to be Sense and Sensibility and terrorists.
[Brandon] You have lots of excuses why you are not going to write, but we're going to pretend you don't. Thanks for listening. This has been Writing Excuses.
[identity profile] mbarker.livejournal.com
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.
Expandplenty 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.
[identity profile] mbarker.livejournal.com
Writing Excuses Season Three Episode Six: Dramatic Breaks

From http://www.writingexcuses.com/2009/07/07/writing-excuses-season-3-episode-6-dramatic-breaks/

Key points: A dramatic break makes the reader want to go onto the next scene. Use cliffhangers, a tense lack of resolution, a sense of satisfaction, emotional ploys -- and mix it up. Pay attention to your genre -- thrillers like cliffhangers, epic fantasy prefers satisfaction. Be aware of the sense of time. Dan parks his flying car outside. Satisfying installments keep people coming back. Scenes need to progress the character or the plot to satisfy readers. Let the reader know the scene is over -- walk out the door, step into the street, etc.
Expandno drama, just hiding the extra stuff )
[Dan] Write a story in which Howard hates elephants and dramatically breaks one.
[Brandon] This has been Writing Excuses. You're out of excuses, now go write.

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June 2025

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