Writing Excuses

Your Hosts: Dan Wells, Mary Robinette Kowal, Maurice Broaddus, and Howard Tayler Everything is about conflict? Really? Well, yes. Maybe not in the action-movie sense, but conflict is everywhere, even among people whose goals, objectives, and methodologies are in alignment. This, of course, means that it exists among your cast of characters, and it will inform the way the talk to one another. Liner Notes: We mentioned this famous Monty Python sketch about wanting to have an argument. Credits: This episode was recorded by Daniel Thompson, and mastered by Alex Jackson.Our Sponsors:* Check out Aeropress and use my code WX for a great deal: https://aeropress.com* Check out Gusto: https://gusto.com/WX* Check out Uncommon Goods: https://uncommongoods.com/WXSupport this podcast at — https://redcircle.com/writing-excuses2130/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Your Hosts: Dan Wells, Mary Robinette Kowal, Maurice Broaddus, and Howard Tayler We've mentioned "area of intention" earlier in this dialog master class, but now the concept gets the spotlight. If all of your characters have their own agendas, their own areas of intention, then the dialog between them should reflect that. Credits: This episode was recorded by Daniel Thompson, and mastered by Alex Jackson.Our Sponsors:* Check out Aeropress and use my code WX for a great deal: https://aeropress.com* Check out Gusto: https://gusto.com/WX* Check out Uncommon Goods: https://uncommongoods.com/WXSupport this podcast at — https://redcircle.com/writing-excuses2130/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Your Hosts: Dan Wells, Mary Robinette Kowal, Maurice Broaddus, and Howard Tayler How well do you know your characters? Sure, you might know their age, nationality, and perhaps wardrobe, but how well do you know their internal characteristics? Do you know them well enough that you can write dialog that sounds like them? In this episode we discuss how you might approach this problem. Credits: This episode was recorded by Daniel Thompson, and mastered by Alex Jackson.Our Sponsors:* Check out Aeropress and use my code WX for a great deal: https://aeropress.com* Check out Gusto: https://gusto.com/WX* Check out Uncommon Goods: https://uncommongoods.com/WXSupport this podcast at — https://redcircle.com/writing-excuses2130/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Your Hosts: Dan Wells, Mary Robinette Kowal, Maurice Broaddus, and Howard Tayler We're back with Maurice Broaddus for the second in our eight-episode mini-master-class on writing dialogue. This time around we're addressing the question of dialogue's "job." What's it for? Why is this particular bit of dialogue in this scene, this chapter, this book? Credits: This episode was recorded by Daniel Thompson, and mastered by Alex Jackson.Our Sponsors:* Check out Aeropress and use my code WX for a great deal: https://aeropress.com* Check out Gusto: https://gusto.com/WX* Check out Uncommon Goods: https://uncommongoods.com/WXSupport this podcast at — https://redcircle.com/writing-excuses2130/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Your Hosts: Dan Wells, Mary Robinette Kowal, Maurice Broaddus, and Howard Tayler Writer, teacher, and community organizer Maurice Broaddus joins us for an eight-episode mini-master-class on writing dialogue. In this episode he walks us through his three keys: pay attention to how people speak, write in a way that evokes how they speak, and write dialogue that makes individual characters distinctive. Liner Notes: We mention Descript transcription software in this episode. Here's a link! Credits: This episode was recorded by Daniel Thompson, and mastered by Alex Jackson.Our Sponsors:* Check out Aeropress and use my code WX for a great deal: https://aeropress.com* Check out Gusto: https://gusto.com/WX* Check out Uncommon Goods: https://uncommongoods.com/WXSupport this podcast at — https://redcircle.com/writing-excuses2130/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Your Hosts: Dan Wells, Zoraida Cordova, Kaela Rivera, and Howard Tayler In this, our final "ensemble masterclass" episode, we discuss the nuts-and-bolts, the tips and tricks, the tools of the trade. In short, we talk very specifically about how we do it. Color-coded sticky notes, index cards, spreadsheets, and more... Liner Notes: Howard's guest story for Dave Kellet's DRIVE compendium is now running online! It's called "History and Haberdashery." Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Our Sponsors:* Check out Aeropress and use my code WX for a great deal: https://aeropress.com* Check out Gusto: https://gusto.com/WX* Check out Uncommon Goods: https://uncommongoods.com/WXSupport this podcast at — https://redcircle.com/writing-excuses2130/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Your Hosts: Dan Wells, Zoraida Cordova, Kaela Rivera, and Howard Tayler Our episode title comes to us across two and a half centuries: "We must, indeed, all hang together or, most assuredly, we shall all hang separately." —Benjamin Franklin We've already established that you're planning to write an ensemble. This isn't an episode about the pros and cons of ensembles. No, we're here to talk about how an ensemble story can go wrong, leaving the characters to hang separately rather than hanging together. Liner Notes: It happened again! We referenced the Ty Franck/Daniel Abraham episode, which we recorded at GenCon Indy several years ago, and again we can't find a link to it. Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Our Sponsors:* Check out Aeropress and use my code WX for a great deal: https://aeropress.com* Check out Gusto: https://gusto.com/WX* Check out Uncommon Goods: https://uncommongoods.com/WXSupport this podcast at — https://redcircle.com/writing-excuses2130/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Your Hosts: Dan Wells, Zoraida Cordova, Kaela Rivera, and Howard Tayler We've talked about making every member of the ensemble meaningful. In this episode we're discussing who, in archetype terms, everybody is. How can archetypes help us get started, how can they help us set reader expectations, and what are the archetype-related pitfalls we need to avoid? And finally, is 'archetype' even the correct term here? Liner Notes: Here's the "Black Superheroes with Electrical Powers" article. Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Our Sponsors:* Check out Aeropress and use my code WX for a great deal: https://aeropress.com* Check out Gusto: https://gusto.com/WX* Check out Uncommon Goods: https://uncommongoods.com/WXSupport this podcast at — https://redcircle.com/writing-excuses2130/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Your Hosts: Dan Wells, Zoraida Cordova, Kaela Rivera, and Howard Tayler This week we're talking about how our genre choice influences the structure of our ensemble. How is a heist ensemble different from a superhero team? What happens when the superheroes need to do a heist? Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Our Sponsors:* Check out Aeropress and use my code WX for a great deal: https://aeropress.com* Check out Gusto: https://gusto.com/WX* Check out Uncommon Goods: https://uncommongoods.com/WXSupport this podcast at — https://redcircle.com/writing-excuses2130/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Your Hosts: Dan Wells, Zoraida Cordova, Kaela Rivera, and Howard Tayler Sometimes we have to look at our ensemble of characters and ask ourselves what kind of story we're trying to tell? If the story works with a single protagonist and one POV, maybe this isn't an ensemble story after all. If, however, the plot requires a team effort from the heroes, then we need to make sure the necessary team members make it onto the page. Liner Notes: The "I'm the tin dog" moment is from Doctor Who, S2 E3, "School Reunion." Mickey is speaking. Howard couldn't remember Mickey's name because sometimes Howard is the tin dog. Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Our Sponsors:* Check out Aeropress and use my code WX for a great deal: https://aeropress.com* Check out Gusto: https://gusto.com/WX* Check out Uncommon Goods: https://uncommongoods.com/WXSupport this podcast at — https://redcircle.com/writing-excuses2130/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy