mbarker: (BrainUnderRepair)
[personal profile] mbarker

Writing Excuses 20.43:  An Interview with Dr. Tara Lepore on Paleontology


From https://writingexcuses.com/20-43-an-interview-with-dr-tara-lepore-on-paleontology


Key points: Paleontology is more than just dinosaurs. Mammal teeth have a neonatal line formed during birth. What is paleontology? Lots of stuff! The study of life on Earth and how it came to be, the evolution of life. Integrative more than boundaries. What do you get tired of answering? Indiana Jones was an archeologist, and Ross from Friends was a paleontologist, but so were others! What can paleontology tell us? It's like a time machine. Deep time! Snowball Earth! For more information, try your local museum or library.


[Season 20, Episode  43]


[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 20, Episode  43]


[Erin] This is Writing Excuses.

[Howard]  An interview with Dr. Tara Lepore on paleontology. 

[Erin] I'm Erin.

[Howard] I'm Howard.


[Howard] And we're joined by paleontologist and newly minted Doctor Tara Lepore.

[Tara] Hey, everybody. How's it going?

[Howard] We are so excited to have you here. Because we all have so many questions. I'm going to lead with the big one. Are you in the feathers or not feathers camp?

[Chuckles]

[Tara] Oh, you're cutting it deep, right off the bat. Yeah. Full disclosure, the last 5 years of my paleontology work have been on mammals. But, as a velociraptor fan and also reader of many papers on feathers, I'm in the feathers camp. I'm in the... There's a lot of evidence for feathers. But not all dinosaurs probably had feathers. Yeah. So kick it off with the feather stuff. That's what I have to say about that.

[Howard] I gotta say, we're all... I say we are all. I'm a 56-year-old dude, and so my introduction to dinosaurs was kind of... On the one hand was Dinotopia, and on the other hand was Jurassic Park. So we're either going to ride them like horses or they're going to eat us like we are livestock. And... But we all were fascinated by them, we loved them, and the look on your face, for those who are not benefiting from the video feed, tells me paleontology is actually a lot more than just dinosaurs, Howard.

[Tara] Yeah. Although I will say, full disclosure, as a kid, I watched Dino Riders. Which is another show about riding on top of dinosaurs that have lasers attached to their heads.

[Chuckles]

[Tara] So... Big fan, and we could talk about Beast Wars, the Transformers with animals, they're top epic. But there is, Howard, a lot more to do with paleontology than just dinosaurs. I'm happy to talk more about that. And as I alluded to, just a few minutes ago, I've been diving into the world of fossil and modern mammals and mammal evolution. Yeah, so we can zoom way out and talk about all the good stuff.


[Howard] Okay. One of my favorite questions to ask an expert on anything is... And I'm going to tee up mammals... What's the most interesting thing you've learned about paleontological mammals recently?

[Tara] Oh, yeah. So, part of my PhD dissertation research had to do with looking inside mammal teeth. So slicing them up. These were deceased mammals, mostly modern mammals I asked very nicely. And so I was looking at all kinds of modern mammal teeth, looking for evidence of birth, so there's actually like a little line that we can call like a birth certificate, a line called the neonatal line, like a neonate. And it forms in all the teeth that are forming during the birth transition in humans. And some friends of mine, some colleagues, came out with a study looking at not just modern mammals, not just humans, but looking at one of the oldest mammals that has this evidence marker of what we would think of today as a placental mammal birth. So the kind of birth that humans have, with the placenta. And the mammal had this line, this neonatal line, inside its teeth, and it was from just after the end of the age of dinosaurs. Which makes sense, because mammals at that time would have been what we call placental mammals today. There were also examples of marsupials, at least early ones, and monotremes, early ones. But I think it's so cool because we can zoom in inside of teeth and look at the chemistry and the structure inside teeth, we can kind of connect our own history of birth as like human beings to some of the earliest mammals. And I would love to see where that line of work goes, like, looking at the mammals that were around during the time of dinosaurs. So, birth certificates inside our mouths connecting us to all mammals and mammal evolution. I think it's super, super cool.

[Howard] That is... That is I mean...

[Tara] Yes.

[Howard] Fascinating and mind blowing. The idea that we have a... There's a bone structure in our mouths that says, yeah, you didn't come from an egg. You came from a uterus. And you're saying that that shows that placental birth for mammals is 60 to 65 million years old.

[Tara] At least. And then there's a whole boatload of other pieces of evidence that we can look at in the skeleton of mammals and also in some of the genes that have to do with, like, egg yolk and why don't humans have egg yolk, but we have other stuff that's yolk-y or amniotic at least and all these other kind of pieces of evidence that come along with being a mammal. But looking inside the teeth is one really cool way that we can kind of get a better sense of where we came from and also what mammals were doing back in the time of dinosaurs. So I'm super psyched about that kind of stuff.

[Howard] That is so cool.


[Erin] One of the things that I really love about this is... Thinking about, if I said, like, all the information... this is a misstatement of what you said, but like all the information about you is in your teeth. That sounds like something that is very science fictional. You know what I mean? And so what I think is really cool about looking at these, like, these types of scientific studies, are you can extrapolate pieces from those. So even if you aren't  writing about dinosaurs specifically, or ancient mammals, there's something really cool in the way that you're studying it that I could take that piece of information and put it in a story as some really interesting fact that I then build an entire world or species around. And... So I just think that's cool. But also, I just have a question, as somebody who does not know much. I'll be honest. Like, I am the, like, paleontological newbie, I guess, of the group. Which is, like, what then does make something paleontology? Is it about the time period it is, is it about the type of creature? Are there any things where like we will refuse to study bugs? Like, what is it that makes something within your realm?

[Tara] Yeah. Totally, Erin, that's a great question. And it's one that we get a lot  also in the kind of world of outreach and education as paleontologists. So, my training is specifically in what I would call vertebrate paleontology, where I work really specifically on vertebrates. I worked on everything within that from mammals and mammal teeth to dinosaur footprints and trackways to even... And this is a great party conversation starter, but... Dinosaur poop. Droppings, fossils known as coprolites.

[Chuckles]

[Tara] So, really, a lot of stuff can fall within vertebrate paleontology. But to get to your question, paleontology is the study of all life on Earth and how it came to be as we understand it today. So the evolution of life on Earth. It could be involving bacteria, plants, fungi, all kinds of vertebrates, invertebrates, shelled... All kinds of shelled organisms. So there's a ton of stuff within paleontology that really is united by the study of the evolution of life on Earth.


[Howard] It sounds... And I could be too freely mixing of my disciplines here, but it sounds like paleontology without organic chemistry, paleontology without geology, paleontology without astrophysics stops being complete paleontology. Because if you don't know how to tell, for instance, that an asteroid hit the Yucatan Peninsula, then a lot of your fossils don't make sense, and you don't have the whole story. How... How is the wrong way to start that question. Do you guys draw like discreet lines... You. You are a geologist, not a paleontologist. Go to your rock room.

[Chuckles]

[Howard] Stay away from my bones.

[Tara] I do have a rock room. No, I wish I did, actually. The program that I came from and the way I was trained throughout different parts of my career is to think of what I do as integrative. I did my PhD in an integrative biology department. And you mentioned geology, and often people will need to learn a lot about geology and rocks, as well as biology and the study of life, to do different kinds of paleontological work. That being said, I'm also a really big kind of supporter of thinking across what we might traditionally call boundaries between different disciplines. I think we really learn a lot when we talk to the people who do organic chemistry or we talk to the people who are studying insects, maybe that are alive today. In my line of work, I did quite a bit of cross talk with people who look at modern mammals and modern mammal birth, because that also helped me understand a little bit more about the landscape of how mammals are born today and what do we know about them and what is their parental kind of care and things like that. Sometimes in our scientific communities, we will have different conferences that can kind of push people into that silo effect, where we'll go to a geological society meeting or a paleontology meeting or vertebrate paleontology over here. But I also think that we have a lot to gain by breaking down those kinds of silos. So, yes, some structure exists, but I think we have a lot more fun and do a lot more interesting things when we have spaces where people can talk together. And not just as scientists, but as people who do all kinds of different types of work. Some of the best people I know in paleontology have come from really wide-ranging backgrounds. I have a really good friend who had an English degree as their first degree. And I really feel like we need to open up more spaces for that kind of stuff. Because it's all about telling stories. Stories about Earth and life and everything that's relevant to us today. So I think we benefit from a wide range of backgrounds.

[Howard] That's... That's amazing. And as writers, we kind of have to be interdisciplinary. As Erin pointed out, oh, now that I know this thing about mammal teeth, I can invent a thing about these alien jaw bones or whatever and use it to inform my story. And Erin doesn't need to be a paleontologist. And I don't need to be an astrophysicist. But we need to know that those disciplines exist, and we need to... Like, the way English steals from other languages, we need to steal from all the other disciplines in order to do the things that we want to do. I think it was Terry Pratchett who said English doesn't borrow from other languages, it follows them down dark alleys and mugs them, and then goes through their pockets for loose grammar.

[laughter]

[Howard] But, yeah, the idea that we don't want these silos. getting an English degree is fine if you just want to know how English works. But if you want to actually write stories about interesting things, you have to learn all the interesting things. And learning all the interesting things brings us to a nice spot to pause.


[DongWon] 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.


[Tara] So, we want to give a shout out to the University of California Museum of Paleontology. Or UCMP. And UCMP is a museum that I just finished up my graduate work at, and it is based at the University of California, Berkeley. And they have an amazing website ucmp.berkeley.edu. And this is a really great one-stop shop if you want to go on there and check out what it's like to be a paleontologist. They also have really great resources on understanding evolution and understanding science, which is really widely accessed by a lot of teachers and other educators, and there are a  number of blog posts that are also written on the UCMP website that were written by grad students, myself included. But I also just want to give a shout out for everybody who shared their really great research through these blog posts so if you click on the UCMP website, you'll find a link for blog posts. And, yeah, I think it's a really great resource in general on that website. Just for people who want to learn more about paleontology.


[Howard] [pre-roll gusto add copy take one] Speaking as a small business owner, I don't think anyone starts a business for the joy of calculating tax withholdings. That's where Gusto comes in, to take the stress out of payroll, benefits, and HR, so you can focus on why you started your business in the first place. Gusto is online payroll and benefits software built for small businesses. It's all in one, remote friendly, and Incredibly easy to use. So you can pay, hire, on board, and support your team from anywhere. Automatic payroll, tax filings, simple direct deposits, health benefits, commuter benefits, workers comp, 401k, you name it, Gusto makes it simple and has options for nearly every budget. Get direct access to certified HR experts to help you through the toughest HR situations. Try gusto today at gusto.com/wx and get 3 months free when you run your first payroll. That's 3 months  of free payroll at gusto.com/wx.


[DongWon] If you've spent any time around me, you've probably noticed that coffee is very central to my life. I'm rarely far from a cup of frankly whatever is available. But, while I'll take what I can get, I do have opinions. Strong ones. About what makes a great cup. If you haven't tried an Aeropress coffee yet, you're in for a treat. Aeropress uses a completely unique brew method, and because of that, you get a completely unique and exceptionally delicious cup of coffee that you can only get with an Aeropress. As someone who's on the road a lot, it's a great solution to get consistently great coffee where you usually can't get it. Hotel rooms, road trips[camping, backpacking... I've taken one lots of places. It's lightweight, easy to pack, and sturdy. But more to the point, it makes consistently great coffee that lets the lighter notes in the beans shine through. It's a little bit like a Paul Rover, a little bit like a French press, and a little bit espresso. If you like a lighter or more complex roast, an Aeropress is a great solution at home or on the go. Aeropress is shockingly affordable. Less than 50 bucks, and we've got an incredible offer for our audience. Visit aeropress.com/wx. That's aeropress.com/wx and use the promo code WX to save 20% off your order. That's aeropress.com/wx and make sure to use code WX at checkout to save 20%. It's time to ditch the drive-thru, toss the French Press, and say yes to better mornings fueled by better coffee. Aeropress ships to the US and over 60 countries around the world. And we thank them for sponsoring our show.


[DongWon] The holidays sneak up fast. But it's not too early to get your shopping done and actually have fun with it. Uncommon Goods makes holiday shopping stress-free and joyful, with thousands of one of a kind gifts you can't find anywhere else. Uncommon Goods looks for products that are high quality, unique, and often handmade or at least made in the US. Many are crafted by independent artists and small businesses. And because they're made in small batches, the best finds can sell out fast. Uncommon Goods has something for everyone, from moms and dads to kids and teens, from book lovers, history buffs, and die hard football fans to foodies and mythologists and avid gardeners. You'll find thousands of new gift ideas that you won't find anywhere else. When you shop at Uncommon Goods, you're supporting artists and small independent businesses. Many of their handcrafted products are made in small batches, so shop now before they sell out this holiday season. And with every purchase you make at Uncommon Goods, they give back $1 to a non-profit partner of your choice. They've donated more than 3 million to date. So shop early, have fun, and cross some names off your list today. To get 15% off your next gift, go to uncommon goods.com/wx. That's uncommon goods.com/wx for 15% off. Don't miss out on this limited time offer. Uncommon Goods, we're all out of the ordinary.


[Howard] We're back. Tara, I have a question for you, and it's a scary one. What's the question that you get tired of answering?

[Tara] Oh, man. I'm getting tired just thinking about it.

[Chuckles]

[Tara] So I want to preface all of this with I would never get mad or upset or push somebody away or be like, no, you don't know what you're talking about. But I kind of grit my teeth a little bit when people try to relate what I do as a paleontologist and they say something like, oh, yeah, I really love Indiana Jones too, or, I absolutely can relate to that because of Ross  from Friends. and I feel like we're doing society as a whole a disservice because Indiana Jones, for better or worse, was supposed to be an archaeologist, and I think that's also an important distinction that we can make in our conversation about, like, that difference. and Ross from Friends, I mean if you even watched Friends or know that Ross, the character, was a paleontologist, if that's our only touch point for paleontology, and people are skipping right over, like, I don't know, Ellie Sattler, Ellen Grants, any of the other fictional people from the movies, then I think we're just missing out. And so, yeah, it makes me grit my teeth a little.


[Erin] What... It's funny, that gives me an idea for a question, which is a lot of that's about stories, that we were talking a little bit earlier about how paleontology helps you tell these really interesting stories about the way that the Earth existed in all the... The thing that you said earlier that I'm not going to remember or do credit to. But these other stories have sort of taken the focus, it's like, this is what paleontology is. So a question I have is what are some of the stories about our world, about beings and creatures on it, that paleontology is able to tell in a way that no other field can?

[Tara] Yeah. That's a really good question, because I think paleontology and other ways of looking at the natural world, different kinds of sciences and also social sciences, we unite all  of these ways of thinking. Paleontology as situated in that context gives us like the next best thing to a time machine. And I really think that that's a powerful way that people can not only connect to paleontology as a concept, as a science, but to think about why it matters, and what can paleontology tell us about the story of life on Earth. Which is really our story as human beings. And, of course, there's a whole field too that has to do with human history and human evolution and things like that, related to paleontology. Some might say that there's a lot of overlap, but that would be things like paleoanthropology, for  example, the study of ancient humans. And often those folks will work with people who are more expertise in other types of life besides humans. So, yeah, I think having the ability to look back into what we might call deep time, not just the time frame of human lifespans or human history, but deep time that goes into thousands and millions and even billions of years. Way back before humans were around. I think paleontology is a really cool kind of vector for us to do that. And it's a big reason why I think it also captures a lot of people's imaginations. Like, paleontology can help us learn about what life was like before any people were here.

[Howard] I love the concept... Just the idea, the mental framework that the words deep time create. Just this idea that the stories that we're able to tell from history, the stories we're able to tell from deep history... We have writings that are 5,000 years old or whatever. Those are shallow time. Those are back when the moon was still in basically the same orbit it's in now. One of my favorite deep time stories is, oh, yeah, y'all, the moon was a planet that slammed into Earth and spat back out and there was a whole ring around Earth for a long time. I say a long time, I don't know how long the ring lasted, but Earth was a hot, miserable place for a long time and the moon was really close and it's been moving away. And I love that story. I can't remember which... There was some show I watched where they've gone back in time and someone looked up at the sky and was like, the Moon is too close. Oh, crap.

[Chuckles]


[Howard] We went back further than we were supposed to. Because if I can see that the Moon is bigger, actually bigger, not on the horizon, optical illusion bigger, then we overshot. So, yeah, I love deep time. And I want to re-ask Erin's question, do you have a favorite deep time story? I've already told you, mine's the Moon. Do you have one?

[Tara] Oh, wow. So deep time, thinking about all the things that have happened to and on this planet that I'm aware of, and there are many more that I'm not aware of. My mind immediately goes to how the planet has changed and, Howard, you mentioned how the Moon was formed and Earth was changed. It was a hot molten mass for so many millions and millions of years. I like thinking about how Earth has changed, how it went through a period called Snowball Earth, where at least there's good evidence that for several million years, the Earth was an ice ball planet and not entirely inhospitable to life, but very different from what we would think of it today.

[Howard] Not friendly to sunbathers.

[Chuckles]

[Tara] Exactly. I'm sure there was great snowshoeing. But, yeah... And then my area of thinking about this often comes back to the animals and plants and the interesting kind of creatures that, number one, we have evidence of in the fossil record but, number two, this is sort of like... Not so much my favorite part of deep time, but something I love thinking about is what are the creatures that probably existed but never became fossilized? Or if they did, we haven't found them yet? So I love thinking about the huge diverse array of life on Earth that we know of from the fossil record and how imperfect and incomplete that fossil record is. And it just is such an imaginative and creative thing. Not just as a scientist, which I think can be a really creative endeavor, but as somebody who likes to think about stories and wonder what else was here? So, yeah.  I think that kind of stuff is really cool to think about.


[Erin] Yeah. And I think the... One of the things that I love about that is how many possibilities it opens up. Again, not just for the thing that it is, but for the things that we can imagine. If you think about, okay, I'm  writing a story that's... We're going to go to an ice planet. Finding out that there was a snowball Earth, like, there's actually a thing you could study looking back that could help you create a planet a million years away or in a fantastical landscape that has no human intervention, based on that. So I'm wondering, like, if we wanted to get more of these stories, I mean we could keep you here for hours and we wish we could, but, like, what are some other resources that, like, we could go to in addition to the one you shared at the break? Are there other places to start when we're looking for this kind of information to inspire us to  create interesting stories?

[Tara] Yeah. So I think that there are a whole number of different museums around the country and around the world that are doing really cool work, both online and in person. Trying to share these kinds of stories with the public and maybe with people who aren't always tapped into the, say, paleontology realm or maybe really interested in it, but they don't know where to start. So I think that a really great just general shout out is, if you have a local museum, even if it's really small, try checking them out. And you can also search for, like, what we would call accredited museums through the American Association of Museums, the AAM. So that's just another place where if you're like, I don't know if this museum is telling me the truth or what's going on or what is truth? Ah! Existential crisis. But, yeah, there are a number of really great museums that you can visit, and I'm a big fan of local museums. I got my start in paleontology as a volunteer just going to my local museum, and I think that made a huge impact on my life. And this sounds really old school, but just honestly the library, because a librarian or somebody that you can talk to and say, hey, what resources do you have on this? I really like the idea of just touching base with those kinds of folks. For me, a lot of that was something that I had really the privilege to access through the PhD program and I could talk with people. But I also really want to shout out, like, check out your local library, talk to your local museum. If you don't have a local museum, look for a website of one in the biggest city near you period and uhm yeah. I think that's what I would probably highlight the most.

[Howard] I love librarians. I mean, they're like the original interdisciplinarians because... They're not... They're literally not allowed to put a book on the shelf unless they've read it. So they've read all the books. And this fact that I just made up now...

[laughter]

[Tara][garbled] true?

[laughter]

[Howard] I'm so sorry. I'm a terrible person.

[Tara][garbled] librarians[garbled]

[so many years in solitude]

[Howard] But librarians get asked all of the questions all of the time, and, yeah, they're a brilliant resource. Well, gosh, we could just keep talking, and asking, and talking, and sharing. I love this, but at some point, we have to send everybody home with some homework. Tara? Do you have some homework for our listeners?


[Tara] Yeah. So I would love for the listeners to think about if you have some way of making deep time, this concept of deep time, within the millions and maybe billions of years, relevant to your upcoming or current writing project. So, maybe pick three ways that deep time could be interwoven into what you're currently working on, whether that's a fantasy, with what kind of fossils could have been on that planet, or maybe it's as simple as how deep time and fossils and the Earth are relevant to your memoir. So, yeah, pick three things and see what comes up this next few weeks and enjoy. I hope it's an interesting exercise.


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

 
mbarker: (Me typing?)
[personal profile] mbarker
Writing Excuses 20.22: The Lens of Time 
 
 
Key Points: Time! Setting? Day versus night? The when of the character? Anticipation and flashbacks, expectations and disappointments. Magnified moments. What is the character noticing? Order or sequence of time. Time as an extension of setting. Associations with time of day. Personal physical cycles! Conveying passage of time. Children, other changes. Sensory details, obligations. 
 
[Season 20, Episode 22]
 
[DongWon] Between drafting your new novel, building your lore bible, or meeting with your critique group, who has time to stress about website security? As a writer, your website is your digital face to the world that lets people know about your work and where they can find it. Securing your website means less stress about anyone disrupting that important outlet. Kinsta offers managed hosting for WordPress with lightning fast load times, enterprise grade security, and 24/7 human only customer support. They're available in multiple languages and ready to assist regardless of site complexity. It's complete peace of mind knowing your WordPress site is always secure, online, and performing at its best. Kinsta provides enterprise grade security and is one of the few hosting providers for WordPress with SOC2 and other certifications that guarantee the highest level of security for your website. And Kinsta customers can experience up to 200 percent faster sites by simply moving their WordPress sites to the platform. They even have a user-friendly custom dashboard called MyKinsta that makes managing your site or multiple sites a breeze. And if you're moving from another host, they offer unlimited expert led migrations to ensure a smooth transition, so you won't experience any downtime. Ready to experience Kinsta's hosting for yourself? Get your first month free when you sign up at kinsta.com today. It's a perfect opportunity to see why Kinsta is trusted by thousands of businesses worldwide to power their websites. Visit kinsta.com to get this limited time offer for new customers on selected plans. Don't miss out. Get started for free today.
 
[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 20, Episode 22]
 
[Dan] This is Writing Excuses.
[Mary Robinette] The Lens of Time.
[Chuckles]
[Dan] I'm Dan.
[Mary Robinette] I'm Mary Robinette.
[Erin] I'm Erin.
[Dan] And this is Dr. Who.
 
[Mary Robinette] So, we've been talking about these different lenses that you can look at a story through. We're looking at the idea of where and when, and time is one of the big lenses. You don't have to be working on a historical piece of fiction to be thinking about time. All stories move through time, even if it's only for a moment. So we're going to be talking about time as your setting. The differences between a story that's set during the day versus at night, or even a scene or a moment. We're going to be talking about how you can use time to your advantage. Not so much in a structural way, but more in that sense of controlling the reader's experience of the story and the character and the setting.
[Erin] We are going to be doing that.
[Dan] Love it.
[Erin] And we're starting now.
[Chuckles]
[Mary Robinette] When you are sitting down to think about a story, I know, Erin, that you often start with a voice and that you are very much thinking about the character. How much is the character... At that stage, are you thinking about the when of the character?
[Erin] I think a lot... So. I saw a very interesting tweet a long time ago that said that one of the ways you can upgrade your craft is to move time in the story. To actually use anticipation and flashbacks… Not necessarily, like, an entire flashback, but just what is your character coming from? What are they looking back to? What are they looking forward to? And, like, playing with that in the story. That in truth, and in our own lives, we rarely just move forward in time. We're often thinking about, like, our expectations, which is our vision of the future, and our disappointments, which is our reckoning with the past. And so, a lot of times, I really think about how my characters are reckoning with the time they are in in their own times. And, like, also the time that the world around them is in. Are they in sync? Like, are they moving forward in a world that's moving forward with them? Do they want to hold back in a world that they're like they love tradition, but the world wants progress? And then, looking at that as a source of tension in the story, between the way that they're dealing with time and the way the story and the world is.
[Mary Robinette] I love this idea of looking at where they are in time and using that anticipation as a source of tension. That… You're making me think of something that I just did a brief reread of which is in Dune, which is the fight between Paul Atriedes and Jamis, when he has to, like, "Hello! No, here I am! The Chosen One." And what's interesting in that scene is the way Frank Herbert plays with time. It's happening at a particular point in Paul's life and… Where he's a young man, he's approaching a point where he is going to kill for the first time. That is a threshold, that is a time threshold. That's going to be a marker. Before he killed, and after he killed. That's how his world is going to divide. But the other thing that he does in that is that he does these very small flashbacks to before he is in this thing, where he's thinking about my training taught me this. And all of that is setting up this anticipation of the ways the scene can go wrong, the ways that it can potentially go right, but mostly the ways it can go wrong. It's looking at the… That he's been trained in this one particular way, to go very slow against the shield, and that he keeps making the same mistake over and over again because of his training. And so you've got this contrast of this… His knowledge… His history compared with the future that he's aiming for and this anticipation of all the possible paths for which it can go wrong, which is, I think, one of the great things that you can play with with time, is the… Is letting the reader know, oh, there's more than one path for this. There's more than one path, there's more than one way that this can go wrong. You don't know which of those possible futures you're going to land in.
 
[Dan] Yeah. One of the other things going on in that scene is… That also plays with time is what my seventh grade English teacher always used to call a magnified moment. Where it's really an exchange of blows that takes probably ultimately maybe 30 seconds. I think in the movie, it was drawn out to 40 or 45 seconds. But it's still very short. Whereas the actual excerpt is two or three pages worth of material. Because every single second, every single step, every single move of the blade is given this momentous weight. And so it is expanding things out and magnifying every little moment that takes place into this huge, kind of glorious, thing.
[Erin] I love that… I was thinking about, like, fight scenes and love scenes are two of the ones in which the time in which it's taking on the page and the time it was probably taking in the life of the characters are so different. I'm curious, like, how like… Like, how do you make that moment… Like, how do you make it slow down and not fade as it feels momentous? But not slow down so much that people are, like, wow, I've been on three chapters of the same, like, sword cut, and, like, I wish they would do it already…
[Laughter]
[Erin] [garbled] is it just, like, let… Like, how do you, like, actually make time slow and speed within something?
[Mary Robinette] I think that there's two pieces that you're playing with. One is the character's awareness of time, and the other is the actual amount of time that it takes the reader to experience it. So, one of the things that happens in the example that we were just using is 2 to 3 pages takes several minutes to read. And… Unless they are listening to some [garbled] to speed.
[Chuckles]
[Mary Robinette] But it is that reader experience of it will slow it down. Sometimes when something is slow down in ways you don't want it to be… Fight scenes that are slow in ways that are not helping the story… It is because you're taking too long to get us through it. Likewise, you can speed things up by compressing it so that the reader's actual experience of reading it is shorter. Like, physically shorter. But then there's also what the character is noticing. Sometimes you can create a sense of, oh, this took forever, by lingering on the character's experience, feeling all of the things that they feel. The kinds of things that I've been thinking about lately are what they're noticing, where they feel it in their body. It's not that you have to hit all of these beats, but that each time, you hit one of those, you are having the character live that moment again. So if I have my character picking up a sword, and the first thing that happens is that we describe what the sword looks like, and then the next thing is the character experiences the physicality of picking it up. The weight of it, the heft, the balance. We've now experienced that sword twice. If we think about, this was the sword my father gave me, that's a third time that we're experiencing it. If we think… If we cut through the air, if we try some simple bl… Strikes with it, that's a fourth time that we're experiencing it. But all of those are things that probably happen almost immediately for the character. So, those are ways to slow it down, but also to be conscious that sometimes you don't want to slow it down, and you want to just pick one of those, the one that is most distinct to the character, the one that is most demonstrative of this specific moment in time.
 
[Erin] I think that's interesting, because that's making me think about ordering a lot. Which, like, ordering is a function of time… Or whatever. Sure, I'm going to say it is. Ordering is a function of time because I said so.
[Laughter]
[Mary Robinette] I think it is.
[Erin] Yeah. But I'm thinking, like, let's say that the character ends by slicing somebody in half. I don't know if this is what happens, but… This is what happens. Then I'm wondering, that, if it's like, if you pick up the sword, sliced the person in half, then notice the weight of it, then think about that it's the fact that it's the sword that your father gave you, it's a completely different emotional experience…
[Mary Robinette] Yeah.
[Erin] Than if you do all of that before you hit. So, thinking about, like, what order things happen in is really interesting. I also just really love that there are certain things you can do in prose that are difficult to do in other forms. Which is that… Like, I always think people in the world of my character probably find them very annoying because every time they say a line of dialogue, they then think for, like, a long period.
[Laughter]
[Erin] Half a paragraph of deep thought. Return line. Which is, like, an interesting… And we can talk at some other time about dialogue and how not to lose the reader when you, like, have long periods of, like, epic thought in between dialogue. But in real life, that would be quite irritating, unless you think very quickly. But in a story, the reader does want to know what's going on in the character's mind. And so they're willing to, like, pause with you for a moment. Because what they're gaining in that moment of time as a reader is worth the pause in the reality timeline of the story itself.
[Mary Robinette] I think, on that, why don't we pause for a moment?
 
[Mary Robinette] One of the things that I am really enjoying about this conversation is that we're talking about using time in so many different ways. We're talking about the sequencing of a story and how that can change… Just when a character has a reaction. We're talking about using time as a way of… As an extension of setting. And I'd love to actually dig into that part of it just a little more, the idea of time as an extension of setting. I think I've talked about this more on a previous episode, but one of my favorite scenes that taught me so much was from Jane Austen in Northanger Abbey where we get a character going into a room and describing it… First, her experience of it, her interactions with it, when she arrives in the middle of the night and it is fulfilling all of her Gothic fantasy dreams. And then, the next morning, when she gets up, and discovers that the terrifying scratching sound is actually a rosebush that's beautiful outside the window. And that the secret locked cabinet that had a role of enciphered paper in it is actually not actually locked. It was open, she had accidentally locked it, and the enciphered paper is actually a literal laundry list. She just couldn't read it because it was dark. But the… How the literal time can cause the character to experience a place and the reader to experience a place in a different way, which gives you essentially two settings for the price of one.
[Erin] Absolutely. Because we associate certain times of day, I think, with certain things. Like, night and danger often go together. Which is interesting, too, because if you with… If there's a character who's like, not feeling steady in their bones, until the sun goes down, then that's an interesting… That's something different, and what does that mean about the character? What does that say about them? But I often think about, like, I experience my own body differently walking around based a little bit on time of day.
[Mary Robinette] Yeah.
[Erin] You know what I mean? It's like I am more… Because it feels like you don't have the 360 view in the same way at night. And so I am more conscious of who's around me in the distance. And those are all thoughts that I'm having, and that a character can be having as a way… So then what do they notice? Because we all… The dangers that we view are reflections of our own mentality. And so, the dangers that you view in the night are going to be different than the dangers I view in the night. And so thinking about that, then, that's a great opportunity to maybe get to what are your character's fears? Or what is your character's fearlessness? Where do they feel comfortable? When do they not? When do they feel ill-at-ease? And I think all of those are, like, great moments, I think especially… I think that's especially great when you're trying to get something done clockwise. Like, I need to have the character go to the grocery store…
[Chuckles]
[Erin] Because it's like, really important later on that they've been there. But it's not interesting at all, so, like… But, if it's all of a sudden, they're going and, it's, like, they've got to go in the middle of the night… Or they need to go out in the day, but they hate their appearance. Then, how does that time actually make something mundane more interesting so that you can hide the plot work that you're doing that will then become more interesting later.
 
[Dan] Yeah. And I think a lot of kind of personal physical cycles can go into this as well. Healthwise is what I'm thinking of, since developing depression and on the particular meds that I'm on right now, I am so much better in the mornings and in the afternoons than I am in the evening. And by the time we get to dinner time, there's just not much of me left. And so I will experience the world and people will experience me in very different ways based on what time of day it is as well.
 
[Mary Robinette] It is interesting how much we are shaped by time. And yet it is also one of those things that I think is hard to convey to readers. Like, the passage of time. The way in which someone is different in the morning then in the evening. One of the questions that I'll hear people ask is, like, how do I let people know that time has passed? If…
[Dan] Yeah. I asked Fonda Lee this question a while ago, because I think she does such a brilliant job of it in the Greenbones saga. With the first book takes about a year, the second about five years, and the third book covers 20, 25 years of time. And how do you convey that so well? One of the little tricks she pointed out was that she made sure to always talk about the children as soon as possible after a time jump, because if the kid that was toddling around and barely verbal last time is suddenly doing his school homework, well, then you know that a certain amount of time has passed. And it became a really interesting shorthand for me to go back and look through the books and go, oh, yeah. She does do that every time there's a time jump.
[Laughter]
[Dan] She starts talking about the kids early on. Because they will change more than the adults will, and so it makes it more obvious that time has gone by.
[Mary Robinette] I think that actually interestingly ties back into what we were talking about for where… How much can you change a place and still have it be recognizable. And, like, how much can you change a time… When you're changing time, what are the pieces? If you don't have the option to have children, if it is just moving day to night, what are the pieces that change, and those are the things that you flag. Like, kids change a lot, but buildings don't change that much. If you're going day to night, the light through the window changes a lot even if nothing else in the room does.
[Dan] Yeah. The temperature could change, the sounds that your hearing outside, whether there's suddenly crickets or something else, that you could… There's a lot of sensory details that you can mention that will immediately clue you in to the passage of time.
[Erin] I also think obligations change over time. Like, from day to night, if you're in a sort of traditional, like, work during the day is the, like… One of the reasons a lot of times writers write late at night and early in the morning is because those are times that people feel that the obligations of life had yet to like come tug on them. And so it's, like, is it quiet in some ways, not just the quiet of the actual room, but the quiet of, like, no one demanding things from you and nobody is needing things from you in this moment.
[Mary Robinette] Yeah, but… Interestingly, that has been one of the things that has been disruptive for me at this… And I've recognized the symptoms before I say it… That's one of the things that's been disruptive for me about teaching my cat to talk…
[Laughter]
[Erin] There are many, but that's…
[Mary Robinette] Is that her diurnal cycle is not the same as a human's. So she sleeps during the middle of the day, and then, at night, when I am starting to wind down, when, normally, before this, I would have been able to have quiet, because the rest of the world has quieted, that's when she's like, let's play! Let's have zoomies together! Let's use this button board thing and let me mash on it and talk to you. So I have… Like, I'm finding that now I'm starting to write during the middle of the day, which has never been a writing time for me. Because then those obligations, which is this, are quiet.
[Dan] I need to write when my cat shuts up.
[Mary Robinette] Oh, my God. I love her so much, but choices were made.
[Chuckles]
[Erin] What I love about that is, like, you're not going to get your cat to not be dire… Like, you can have some stern talks, but I don't think it's going to work. And so, also thinking about, like, what are the things… Like, children's growth, like a school day, like, what are the things that keep… That are unchangeable by your character, no matter what they do in the world?
[Mary Robinette] The inevitabilities.
[Erin] These are the inevitabilities of time. At the beginning of the day, they'll have to do this. At the end of the day, they'll have to do that. I was reading Babel…
[Mary Robinette] Yep.
[Erin] By R. F. Kuang and it's all about school. Like, it's a schoolbook, for at least the portion then I'm in. And so there's a lot about the school year, and, like, the passage of time in a school year, which the characters are going through so much internally, but there's still, like, they have to hit the external, go to this class, be in this place, do this thing by this time. And, I think, we sometimes forget or ignore or get used to the strictures of time in our lives. But maybe we should not do that for our character's lives, and think about how we can use that as an opportunity for tension or fun.
[Mary Robinette] That is a fantastic example of great time passage and using time as setting and time to manipulate character. Speaking of time, it is time for us to give you some homework.
 
[Mary Robinette] And it's a really simple one this time. It's similar to the one that we gave you at the beginning of this, looking at the lens of when and where. And this is just I want you to change the time at which a scene takes place. If you've got a scene that's set during the day, what happens when you move it to the night? What changes? If it's set in the spring, what happens if you move it to the fall? You don't have to make all of the changes, but, what happens if you change the time in which that scene takes place?
 
[Mary Robinette] This has been Writing Excuses. You're out of excuses. Now go write.
 
mbarker: (BrainUnderRepair)
[personal profile] mbarker
Writing Excuses 16.46: World and Plot: The Only Constant is Change
 
 
Key Points: To make your world feel real, make sure it incorporates change! A past, a present, and a future, with the events of your story and the historical context interacting. Plot is about constant change, and you need to think about how that intersects the changes in the world. At whatever scale suits your story. Pay attention to why a status quo exists, and what is holding back change. People don't all react the same way to changes. What can you use to give your story a sense of time? Break it into chunks. Use labels for times and events instead of dates. Idioms! Pay attention to diaspora, the movement of people and the interaction of cultures.
 
[Season 16, Episode 46]
 
[Dan] This is Writing Excuses, World and Plot: The Only Constant is Change.
[Fonda] 15 minutes long.
[Mary Robinette] Because you're in a hurry.
[Howard] And we're not that smart.
[Dan] I'm Dan.
[Fonda] I'm Fonda.
[Mary Robinette] I'm Mary Robinette.
[Howard] And I'm Howard.
 
[Dan] Fonda, the only constant is change. That's a phrase that we hear a lot. What do you mean by that? How does that relate to worldbuilding?
[Fonda] So, often times, we come across fantasy worlds that feel unchanging. We're out of time. I think we see this especially in portal realm fantasy, fairy tales, fables, stories that have that once upon a time feel to them. We know that in our world things are always changing. Our society is constantly evolving, technology is changing, social norms are changing. Even though I think there's absolutely a place for those sort of timeless ancient unchanging fairytale fable type fantasy worlds, personally I aim to create worlds that feel as real as possible. Part of that is making the world feel like it has a past, a present, and a future. And that the story that we're experiencing exists in a historical context, and the events of the story are also impacting what will be the status quo after you close the book on the final page. The fact that in our world the only constant is change intersects with the plot, because plot is also about constant change. Right? Each scene, each chapter, is a change that is driving that story forward. Because if you finish a chapter and you're in the same place that you were at the beginning of the chapter, that chapter is not necessary. So when you have change in the world intersecting with change in the plot, you're able to heighten and reinforce both.
[Dan] Yeah. I want to make sure to point out that this applies to a story of any scope. We're not suggesting that even the lighthearted romantic comedy that you're writing has to fundamentally alter the entire world. That's not what this says. The world of your story might be much smaller than the entire planet. But that it still needs to have that sense of past, present, and future.
[Fonda] Yeah, definitely. I mean, you don't necessarily have to be working on the scale of global change, it could be very small change, and world being the scope of what your characters immediate circumstances are. It could be change in a small town. Change in a high school. Change within this family. You have plot intersecting with world and that the changing world could be complicating the plot. For example, you have a romantic story, you have two protagonists, but some element of the world changing the industry in this town, causing one of the protagonists to have to move or a war pulling one of these protagonists away. I mean, all those potential changes in the external environment could complicate your plot. You could also have the events of the plot acting upon the world. So there is a give-and-take between plot and world.
[Howard] I like to think of change from the other side of the coin. Which is, why would things stay the same? Why does a status quo exist? There are status quo's that exist literally because we don't know any better. Because the technology hasn't been developed. In the 19th century, status quo for traveling around town was being a pedestrian or riding an animal or riding something that was being pulled by an animal… I mean, there was railroad obviously, but that was for longer trips. All the way up to the point that there were electric scooters and that there were people you could hire to take you to an airport to get on a plane. That degree of change was huge and a lot of it was driven by us learning things and things… Learning to do new things. But there's also status quo that is artificial. Where there is some sort of force keeping things from changing. Whether it's an economic force, someone has something to lose if we change things in the following way, or something, some structure has been built that prevents us from making the changes we want to make. Then there's status quo changes that are natural or huge, nature-sized, like… Was the story… Series of stories, Hellconia Winter, Spring, Summer… I can't remember the name of the author. Where you've got a planet that orbits twin suns, and it orbits on the outside… Complicated orbits. They have, like, a 1500 year year with hugely long seasons. So there would be these seasonal changes where suddenly the snow begins melting and it stays melted and what the heck is going on. So there are things that might change as a result of nature actually changing around you.
[Mary Robinette] The other piece of this is that people are going to have uneven reactions to that change. Depending on where they are in culture and society. So some people will embrace the change, some people will actively fight against it. You're going to have both of those things happening simultaneously, which is part of what makes something feel vivid and alive is that not everyone is having this even reaction. When you've got an event, whether that's the invention of a new technology or an invasion or just even class change, the events affect culture and culture affects events. Like, one of the kind of on a very granular level, when you're looking at rules, rules in a school or laws in a society, those rules… Or the ones that your own family sets… Those rules, the things that get delineated are always set in response to something. You don't have to create a rule about something if you don't… Aren't either afraid that someone is going to do it or if someone hasn't already done it, and often, it's, like, why would any sensible person… There's a… Why do we have a rule about the number of questions that is appropriate to ask a guest? Not saying that we have someone in my family is perhaps a little too curious, but…
[Chuckles]
[Dan] Yeah.
[Mary Robinette] These are the kinds of things that can exist and can make that sense of history. Because people will… You can always have someone who remembers before the rule. Like, I remember flying bef… When you could go and meet someone at the air… At the airplane door. At the gate. That's… That is outside of memory for many of my peers, just because of where I was born. Or when I was born.
[Dan] There's a park just about a block away from my house that has a big sign posted that says, "No fireworks, nudity, or horseback riding."
[Chuckles]
[Dan] I would love to know what event prompted the creation of that sign.
 
[Dan] But, let's pause here. Let's get our book of the week from Fonda.
[Fonda] So, the book of the week is Black Water Sister by Zen Cho. I wanted to highlight this because it is a great example of a story in which the fantasy elements interact with a changing society. So it is set in modern-day Malaysia, and there are ghosts and deities, but they are interacting with greedy land developers who are potentially going to be destroying a temple. The way that Zen Cho makes those elements interact is both very… It's very on point and it's also very witty and hilarious, and I really think it's a good example of what we are talking about. Because often times there are… We talked about choosing where you want to build the world in order to reinforce your themes, and Zen certainly does that because there is this sense that the fantasy world, the fantasy elements, are not unchanging. They are being affected by the real world, and things like… Like land development.
 
[Fonda] One of the reasons why I set the Green Bone saga in an analogy of late 20th century was because there were so many forces of modernization and globalization that were going on at that time. Some of them continuing to this day, but especially post-World War II and the economic boom of the Asian nations, and intersected really nicely with one of the things that I wanted to bring to the forefront in that story, which is that there is this magic element, and for a very long time it has been the birthright of the people who live in this place and control that resource. But there's no way that that would be immune to technology and to economics. Someone would find a way to, and they do, a foreign power finds a way to develop a drug so that what was once exclusive to these people is no longer exclusive. That intersects with the plot, and that's why these clans start having conflicts in going to war. So, let's talk a little bit about ways that you can make your fictional world, your invented world, feel like it has a sense of time.
[Dan] Yeah. So, I've… An example I'm going to throw out is my own book, Extreme Makeover. Which is set in our world, but is specifically about how that world is slowly degraded and destroyed by a new technology. It's a hand lotion that overwrites DNA. I realized quickly early on that while I was telling a kind of an apocalyptic story about the end of the world, that would necessitate massive societal changes over time. So the… My solution was to split the book into four distinct parts, each of them presenting the world in a different way. There aren't necessarily huge time jumps between each part. But it… Categorizing it that way gave me a chance to kind of make more obvious this is our world today. This is the part of the world where this new technology has been invented and people are focusing on that. Then, as that gets worse and worse, and as the world changes, these little breaks and it make it kind of easy for me to convey those changes over time.
[Mary Robinette] One of the tricks that I use sometimes when I'm trying to create the sense of change is to make sure that my cast of characters are not all the same age for the reasons that I've already talked about. But the other thing that I found very, very useful is the way we identify time, with the exception of 2020…
[Chuckles]
[Mary Robinette] Is rarely by the year. It's usually something like before the war or after… Mid-panini, I've heard people talking about. But we come up with a catchy label for it. The something something dynasty. One of the things that you can do to create this sense that your world is very thought through is to just have people refer to something in the past with a label instead of an actual date. Because it also implies that… I've used this example before, that I had the battle of the seven red armies. Like, I have literally no idea what this battle is. I just needed to reference something that happened in the past, like a far distant event. That makes it sound like, oh, yeah, there was this whole big cultural war that went down. I don't know. I don't know what that is.
[Dan] Yeah.
[Mary Robinette] But it makes my world sound richer. It's the shorthand…
[Chuckles]
[Mary Robinette] [of cheats?]
[Fonda] That can apply to not just things that happened in the past, but the sort of echo of the historical origins for names and customs and behaviors. So, like, for example, there's… In my story, there's these people who are known as lantern men, and they're sort of patrons of this clan. But the reason why they're called that has a historical origin that dates to wartime. So having a… Having little idioms that people say to each other. I have placed interludes in my book that are structurally a way to create a sense of history. They're these brief looks back into myth or history. But then I bring them into the main narrative by having them tie into sayings or legends or TV shows and comic books or pop-culture that the current day characters are experiencing. So there's clearly a link between what came before and how that has, like, filtered into current day culture and behavior.
[Dan] We're getting… We're running out of time, but one aspect of this that's in your notes, I want to make sure that we talk about, is diaspora. Which we talked about a little bit during lunch. But I feel like the Green Bone saga is very good at conveying the concept of diaspora, and the way that different cultures migrate and kind of interface with an interface into other cultures. So can you talk a little bit about that?
[Fonda] Yeah. I mean, that was an element that I very much wanted to capture in my books, because I rarely see it depicted in fantasy novels. There's always races, different fantasy races, but they don't always take into account that people move. I mean, our whole world history is so based on the migration of people. There's a lot of cross-cultural pollination and cultures mix and they change and diaspora cultures are different from the culture that those people came from. That is an element of change and time and history that was very important to me when I was writing those books. I wanted to make it really obvious when you're reading them that these people who might be ethnically the same but have migrated to different places, now feel very distinct. Yet they have also some commonalities, and they've… So that was a tricky balance to strike.
[Dan] Yeah. One of my favorite real-world details for this is the food in Peru. Peru is South American, it is very deeply steeped in the indigenous cultures, and then the Spanish who arrived. But also, they have had Chinese influence in their culture for hundreds of years, to the point that the traditional like grandma's house Sunday dinner is a stirfry in a wok.
[Fonda] Yes.
[Dan] Which changes… We don't tend to think about that being in a South American country, but this concept of the way the cultures have pollinated each other is present.
[Fonda] Yeah. In the before times… Dan, you're making me hungry, because I visited Peru, and the food there was one of the highlights.
[Dan] Oh, for sure.
[Fonda] But they have this fried rice dish which is called chaufa. I learned that it's called chaufa because the Chinese immigrants who moved to Peru and started these restaurants, the Chinese word, and I'm going to butcher it because I don't speak Mandarin fluently is chaofan, come eat. So when they would say choafan, like, that got transmuted into chaufa, which is this fried rice dish. [Garbled] That's just like a little, very cool worldbuilding detail that if you can find ways to create little moments like that in your story are just going to make your world feel so much richer and more real.
[Mary Robinette] I'm going to actually recommend that people who want to dive deeper into food, because we could talk about it for hours, go back and check out episode 14:30, Eating Your Way To Better Worldbuilding. Which digs really deep into this. Including a fascinating detail, which is that often a side effect of a diaspora is that the food of the people who have emigrated to someplace else will freeze at a particular… At a cultural moment. The moment that they left their home country. Whereas the home country will continue to carry on and the food will continue to change. Which I found fascinating and totally relevant to this conversation.
[Dan] Yes, very much.
[Mary Robinette] But you can go listen to the full episode.
 
[Dan] Awesome. This has been a great episode. Fonda, take us out with some homework.
[Fonda] So, the homework this week is for you to take a timeless story. So pick a fairytale or a fable and reimagine it happening during a period of change in that society. So my example would be, let's say, Sleeping Beauty falls under the curse and she wakes up 100 years later. But that kingdom has been through a socialist revolution. Now the Royals are in exile. How can you imagine a timeless story being very different as a result of the world changing?
[Mary Robinette] I'm going to tag onto that really fast, and then will let everyone go. Beauty and the Beast, the Disney film, if you look at the fashions in it, takes place about 10 years before the French Revolution.
[Dan] Yeah. Sorry, Belle. Anyway, this has been Writing Excuses. You are out of excuses. Now go write.
 
[identity profile] mbarker.livejournal.com
Writing Excuses 5.24: Author's Responsibility to the Reader with Kevin J. Anderson

From http://www.writingexcuses.com/2011/02/13/writing-excuses-5-24-the-authors-responsibility-to-the-reader/

Key Points: It's all writing-related, but the core is words on paper. Treat it like a job, put in the time, and meet your deadlines. Be professional. Use the mathematics of productivity to be prolific. Set aside working time, and take it seriously. Readers, don't hound writers. Writers, get to work.
Steady work times words per hour equals? )
[Howard] Do we have a writing prompt?
[Brandon] Dan! Writing prompt us.
[Howard] Oh, dear.
[Dan] Writing prompt. Okay. You're going to write a story about a world in which writers are subject to the whims of their readers on a pleasure-pain system in real time. So as readers are reading your books and enjoying them, you are happy. If they start to dislike them or if they start to get impatient, then you experience physical pain.
[Brandon] This has been Writing Excuses. You're out of excuses, now go write.

Profile

Writing Excuses Transcripts

November 2025

S M T W T F S
      1
234567 8
91011 12131415
16171819 202122
23242526272829
30      

Syndicate

RSS Atom

Most Popular Tags

Style Credit

Expand Cut Tags

No cut tags
Page generated Nov. 25th, 2025 07:11 pm
Powered by Dreamwidth Studios