Writing Excuses

Your Hosts: Brandon, Mary, Mary Anne, and Wesley When we talk about "raising the stakes," we mean making the outcomes of the events in a story increasingly important to the reader. In this episode we talk about the tools we use to raise the stakes in ways that are more sophisticated than just queuing up larger and larger explosions. Credits: This episode was recorded in Chicago by Andrew Twiss, and mastered by Alex Jackson

Your Hosts: Brandon, Mary, Dan, and Howard What makes something a novel, rather than just a serialized collection of stuff that happens? How do we use structure to turn collections of stuff into something more cohesive? What tools do we use to outline, map, and/or plan our novel writing? Reference Note: "Scene and sequel" comes to us from Dwight Swain's Techniques of the Selling Writer, first published in 1965 (52 years ago.) Credits: this episode was recorded in Cosmere House Studios by Dan Dan the Audioman Thompson, and mastered by Alex Jackson

Your Hosts: Brandon, Piper, Dan, and Howard Our listeners sent us  some questions about writing shorter fiction. Here are the questions: How do you market short stories today? Has ebook self-publishing made novellas more viable? How do you structure a short story? How short is too short? Is publishing sections of a novel a viable way to get traction for that novel? What should I look for in the semi-pro market if professional publications have rejected my work? What aspects are crucial in novels, but which don't belong in short fiction.   Publication "reputation" references: Preditors and Editors, Absolute Write, Writer Beware Credits: this episode was recorded in Cosmere House Studios by Dan Dan the Audioman Thompson, and mastered by Alex Jackson

Your Hosts: Dan and Howard Toni Weisskopf and Cat Rambo joined Dan and Howard to discuss what it is that editors "really want." Question To Help You Decide Whether Or Not To Send Your Editor Bad News: "Will this news get better if I wait?" Credits: this episode was recorded at GenCon Indy 2016, and mastered by Alex Jackson

Your Hosts: Brandon, Mary, Mary Anne, and Wesley What makes a plot a subplot? Must subplots and main plots be linked by something more binding than the actual binding of the book? In this episode we answer these questions, and ask and answer plenty more. Credits: This episode was recorded in Chicago by Andrew Twiss, and mastered by Alex Jackson

Your Hosts: Brandon, Mary, Dan, and Howard Larger than a short story, smaller than a novel... there's quite a bit of space between those two thresholds, and in this episode we discuss the ways in which we go about filling that space with a well-structured story. Credits: this episode was recorded in Cosmere House Studios by Dan Dan the Audioman Thompson, and mastered by Alex Jackson

Your Hosts: Mary, Dan, and Howard, with guest host Beth Meacham Spencer Ellsworth and Beth Meacham joined us before a live audience at LTUE 2017 for a discussion of short fiction markets, which ones we love, and why. Credits: this episode was recorded live at LTUE 2017 Dan Dan the Audioman Thompson, and mastered by Alex Jackson

Your Hosts: Brandon, Piper, Dan, and Howard Brian McClellan joins us for a discussion on fulfilling the promises we make to our readers—specifically the genre-specific promises made by the simple fact of where the book is shelved. Credits: this episode was recorded in Cosmere House Studios by Dan Dan the Audioman Thompson, and mastered by Alex Jackson

Your Hosts: Brandon, Mary, Mary Anne, and Wesley We've talked about some of the structural guidelines for short stories. In this episode we'll discuss how to write in the short form while still putting down enough words to convey the story powerfully. Credits: This episode was recorded in Chicago by Andrew Twiss, and mastered by Alex Jackson

Your Hosts: Brandon, Mary, Dan, and Howard We begin our exploration of short story structure with a re-cap of the MACE quotient (Milieu, Ask/Answer, Character, Event). Then we apply that tool to how we structure the pieces we write—specifically the short ones. Liner Notes: Here's "Evil Robot Monkey" by Mary Robinette Kowal And here's a handy MICE quotient chart! Credits: this episode was recorded in Cosmere House Studios by Dan Dan the Audioman Thompson, and mastered by Alex Jackson

Your Hosts: Howard, Mary, and Dan, with guest host Susan Chang Courtney Alameda joined us at LTUE 2017 to talk monsters, and what makes the best ones so good. We discuss some of our favorites, and how the criteria we apply to them can be applied in the creation of monsters of our own. Credits: this episode was recorded live at LTUE 2017 by Dan Dan the Audioman Thompson, and mastered by Alex Jackson

Your Hosts: Brandon, Piper, Dan, and Howard We are often asked what software we use to get our work done. In this episode we answer that question in a bit of detail. Liner Notes: Here's a linked list of the tools referenced during this episode. Aeon Timeline Asana Time Management Dropbox Excel OpenOffice Scrivener Wikidpad Word WordPerfect Write or Die Credits: this episode was recorded in Cosmere House Studios by Dan Dan the Audioman Thompson, and mastered via great mastery by Alex Jackson

Your Hosts: Howard and Dan, with Steve Diamond, and special guest Joe McKinney We invited Steve Diamond, who has been a guest before, and who has some law enforcement background, to help us grill Joe McKinney, who has tons of that background, and who also happens to be a best-selling author. This Week's Liner Notes are extensive. Follow the link for a Google Doc, or click here for our local mirror of Lyn Worthen's notes. Credits: Mastered by Alex Jackson  

Revision: it's when you make a too-short piece longer, or a too-long piece shorter.

We discuss the ways in which we decide upon the length of the stories we write, and at which point(s) in the creative process we make that decision.

Your Hosts: Brandon, Piper, Dan, and Howard Our listeners had questions about outlining and discovery writing. Here are a few of the very best: Do you outline scenes? How? How do you know when to STOP outlining something? How much do you have to know about your character and/or world before you start writing? What do you to to diagnose and fix a structural problem with a discovery-written draft? What do you do to 'get into' an outline that you're struggling with. Are each of your projects similar in terms of procedure? What are some major indicators that a piece needs more structural work? Soundbite moment: DAN: "I had to learn the difference between a story, and a bunch of stuff that happens." Credits: this episode was recorded in Cosmere House Studios by Dan Dan the Audioman Thompson, and mastered via great mastery by Alex Jackson  

Your Hosts: Howard and Dan, with special guest Callie Stoker Callie Stoker joined Howard and Dan at the World Horror convention to answer our questions about hiring an editor, which is part of the process by which self-published authors build the team of people who will make the manuscript far better than they can make it by themselves.   Credits: Mastered by Alex Jackson

Your Hosts: Brandon, Mary, Mary Anne, and Wesley How might you go about creating great outlines? There are many processes, and we cover several of them.   Credits: This episode was recorded by Andrew Twiss, and mastered by Alex Jackson

Your Hosts: Brandon, Mary, Dan, and Howard Let's talk about selling your stuff. In this episode we discuss query letters, pitches, and proposals—the tools that you use to present your material to people who can pay you for it, and who will partner with you in the task of selling it to the general public. Liner Notes: This episode pairs very nicely with episode 11.50, "Hand-Selling Your Book," with Michael R. Underwood. Credits: this episode was recorded in Cosmere House Studios by Dan Dan the Audioman Thompson, and mastered deep beneath a rugby pitch by Alex Jackson

Your Hosts: Brandon, Piper, Dan, and Howard What can discovery writers learn from outlining? What can outliners learn from discovery writing? Is there a balance between the two that can serve as a happy, productive place for writers? (summary of answers: lots, lots, and yes-but-not-all-writers.)