Your Hosts: Piper Drake, Aliette de Bodard, and Wesley Chu, with special guest Ken Liu
Our hosts for this episode are experts in a great many different things. One thing that they have in common is that they’re all members of the Asian Disapora, and in this episode we’ll learn what kinds of things writers get wrong when writing Asian Diaspora elements, and how we as writers can learn to get those things right.
Credits: This episode was recorded by Bert Grimm, and mastered by Alex Jackson
Internal conflicts, simply put, are problems your characters have with themselves. In this episode we address the ways in which writers can build stories and subplots around internal conflicts, and how we can tell when it’s not working.
Notes: the MICE quotient is Milieu, Idea, Character, and Event. Mary’s relationship axes are Role, Relationship, Status, and Competence.
Credits: This episode was recorded by Andrew Twiss, and mastered by Alex Jackson
When Mary says we could do fifteen different episodes on character arcs, she’s being conservative. Notwithstanding, we set out to talk meaningfully about character arcs in one episode rather than in fifteen (or fifty.) We look at the shapes of these arcs, how they progress in our narratives, and the tools we use to get them to function properly in the context of our larger works.
Notes:Elizabeth Boyle‘s DREAM tool for plotting character change is easier to remember when written out. So here it is!
Credits: This episode was recorded by Dan Thompson and mastered by Alex Jackson
Your Hosts: Dan, Mary, Aliette, and Howard, with special guest Emma Newman
Emma Newman, author, audio book narrator, and podcaster, joined us on the Baltic sea for WXR 2017, where, six days after a brilliant presentation on overcoming fear, she recorded a session with us on the same topic. The class was just that good.
Credits: This episode was recorded by Bert Grimm, and was mastered by Alex Jackson
Character backstories: these are the tales that describe how the characters in your story became who they are by the time they arrive in the book. How much backstory needs to be written before you start in on the manuscript? How much needs to be in the manuscript itself? And how much backstory is too much?