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Writing Excuses 11.44: Project in Depth, GHOST TALKERS, by Mary Robinette Kowal

From http://www.writingexcuses.com/2016/10/30/11-44-project-in-depth-ghost-talkers-by-mary-robinette-kowal/

Key Points: Catalog pitch and sales pitch are often different. Catalog pitch is to get readers, sales pitch is the emotional core of the story, with spoilers. Even though you know an event is coming, when it happens can still be a surprise. Changing viewpoints, letting a character explain why he's a slimeball, can make them more real. Watch for the tension between who a character wants to be and who they are. Sometimes you can split a conflict into parts and play them at different points in time to misdirect the reader. Just because a story deals with horrific things does not mean it has to be a horror story. It depends on how the main character views things. Pay attention to what matters to the character. Emotionally powerful moments often combine two conflicting emotions at the same time. Also, telegraph that this moment, this goal is coming well ahead of time. Writing combines craft and internalized practice, and working on specific things at specific points. Use your revision to find and fix overused stuff, or places you left vague. If you know you overdo something, replace it with a different piece. You can keep a style book to help you with the colors of emotions, or other fine points! Don't be afraid to use friends and 7 point plot structures and other tools to help with outlining, and to help fix places with problems. Remember, your reader only sees the final version, they don't see the drafts and drafts. Don't judge your first draft by anyone's final version, even your own.

A whole lot of words... )
[identity profile] mbarker.livejournal.com
Writing Excuses 6.17: Writing Assistants

From http://www.writingexcuses.com/2011/09/25/writing-excuses-6-17-writing-assistants/

Key Points: Writing assistants do lots of things. Their purpose is to let the writer focus on writing, while they do everything else. Writers often over-commit and need someone to help them say "No." Writers sometimes need someone to tell them "Stay focused" but it's hard, because those awesome ideas are really exciting. Reading a book for revisions for the umpteenth time really is boring. Research grounds books, even in the fantasy genre.
Writing assistance? Assistants? )
[Brandon] All right. Peter. Writing prompt.
[Peter] Writing prompt. So this is a panel about the assistants who are not quite as interesting as the people that they work for. A kind of book that I enjoyed reading is the what I call the first person once removed book. The prototypical story is Sherlock Holmes. The narrator is Watson. But he's not the interesting character. The interesting character is Holmes. A writer who did this very well is Gordon Korman. A lot of his books are hilarious, but the narrator character is not the interesting one, it's their friend who is the interesting one. So, that's the writing prompt. Write a story where your narrator is not really the cool person.
[Brandon] The Dragonslayer's assistant.
[Peter] Yeah.
[Brandon] All right. This has been Writing Excuses. You're out of excuses, now go write.
[Applause]
[identity profile] mbarker.livejournal.com
Writing Excuses 6.8: What Does an Agent Really Do?

From http://www.writingexcuses.com/2011/07/24/writing-excuses-6-8-what-an-agent-does/

Key points: What do agents do? Everything! "All the stuff that I don't want to do, so that I can write what she does all the business stuff." Revisions, target submission list, submissions, auctions, negotiations, contracts...
a handshake and a prayer? )
[Dan] Howard, give us a writing prompt.
[Howard] Okay. Writing prompt. Your agent is actually a warlock, using magic to make your books sell. This has worked in numerous cases for numerous other clients. Unfortunately, something about your book means that this process is going to go horribly, horribly wrong.
[Dan] You're out of excuses, now go write.

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