Our eighth and final M.I.C.E. Quotient discussion will explore using M.I.C.E. as a diagnostic tool. So… your manuscript is done, but something isn’t working. How do you figure out where the problem is? If the ending isn’t satisfying, M.I.C.E. can tell you whether the ending itself is actually at fault, and in this episode we’ll show you how.
Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson
The microphones again find us aboard the Independence of the Seas*, to talk about how terribly ugly this manuscript is, and what we can do to make it pretty. In this episode we drill down on line-by-line, paragraph-by-paragraph revisions. This stage of the revision process is where our prose gets wordsmithed. This episode runs long, touching on:
Punching up the pacing
Turning things upside down
The pyramid of abstraction
Free and direct thought
Replacing negative-information descriptions
extreme editing exercises like “one sentence per concept.”
Obviously if you want more than just the bullet points you’ll need to have a listen…
Dan and Howard are joined by Kameron Hurley, James L. Sutter, and Michael Underwood for an anything-goes Q&A at the GenCon Indy Writing Symposium. We had reached the end of our two-hour block, but the audience hungered for the chance to ask their questions of these guests, so the Symposium gave us an extra half hour in the room. The audience had already been in this room for 120 minutes, but they wanted more more more, so we ran a bit long.
Can you advise us about Writing the Other especially regarding avoiding cultural appropriation? (yes, this question deserves an entire symposium all by itself. We answered as best we could.)
If you were trying to break in right now, what would you do, and how would you do it?
How do you best handle slithering out of making a commitment to help someone with their writing, and how do you deliver bad news to those writers if you end up committing to help anyway.
How soon do you telegraph a plot twist?
How do you, as a non-writer, be a good resource to the writers in your life?
Do you know your title at the beginning of the writing process, or does it come to you later?
How do you know when you need another revision pass, vs. when you need to simply rewrite the whole thing again?
*NOTE: Back in July we attempted to record an episode on cultural appropriation with several guests hailing from marginalized and commonly misappropriated cultures, races, and backgrounds. The discussion was wonderful, but the recording itself was unusable due to an equipment failure. We wanted to share it with you, but even our brilliant mastering engineer Alex couldn’t make it listenable. We promise to address this topic in the future, and we’ve purchased all new recording gear to ensure that we capture the discussion correctly.
This episode was recorded and mastered by Alex Jackson
November is “Revision” month here in the Writing Excuses Season 10 Master Class, so while many of you may be tempted by NaNoWriMo, there’s a different kind of work to be done… Delia Sherman joins us again, this time for a frank talk about the tools and techniques we use during our revisions.
This episode was engineered aboard The Independence of the Seas by Bert Grimm, and mastered in a cloud fortress above Lake Michigan by Alex Jackson.
It’s our Q&A format, in which each answer is like its own, tiny little podcast, only without its own unique URL, intro, writing prompt, or any of the other trappings that would actually make it different from a Q&A session.
Right. So, it’s basically just a Q&A.
Listen to the podcast for the answers… Here are the questions:
Are there biases against non-English writers submitting manuscripts in English?
What is the most difficult thing Howard experienced when first creating Schlock Mercenary?
Are you ever too old to try to get published?
What are some pointers for keeping a milieu story focused on the setting?
No, you can’t have a sample of our DNA. None of you.
If you were to rewrite your early work, what would you change?
How do you improve your proofreading and copy editing?
How much time do you spend writing each day? Does it matter WHAT you write during that time?
Do you add foreshadowing in the editing stage, or are you just that good?
How do you improve your craft as a writer?
I don’t have time to ask a question, I’m washing my dog.
Do you have any writing exercises that you do regularly?
This is our fourth and final SHADOWS BENEATH story critique episode. This episode’s story, “An Honest Death,” by Howard Tayler, is available as part of the aforementioned Writing Excuses anthology, pictured there on the right, which includes the the draft we critiqued in this episode along with the final version.
We still have a few of the first-printing hardcovers left, and if you purchase the hardcover, we’ll send you the electronic edition at no additional charge.
This week we find Howard in trouble. He is, in a word, stuck.
Can our heroes help him? Can special guest Eric James Stone lend enough of his special guest expertise to complete the rescue?
We start with a discussion of what was working, so that Howard doesn’t accidentally “fix” something that isn’t broken. Then we wade into the weeds and go hunting for the pieces he needs in order to finish the story. And when we say “the weeds,” we’re talking serious wandering. The episode runs a full half-hour long…
You have, with actual paint, painted yourself into an actual corner. But the paint and the corner are in a world in which there is magic, and “you painted yourself into a corner” may very well be some sort of a spell.
The Firebird, by Susanna Kearsley, narrated by Katherine Kellgren
This is the first of our DANGER SPOILERS AHEAD story critique episodes. The story, “Sixth of the Dusk,” is available as part of SHADOWS BENEATH, the Writing Excuses anthology, which includes the finished story (obviously) and the version we critiqued in this episode. SHADOWS BENEATH also includes the stories we’ll be critiquing for the rest of July’s episodes, and some other pretty cool stuff that you can read about here. Oh, and if you purchase the hardcover, we’ll send you the ebook at no additional charge.
Sure, you can totally listen to this episode without having done the reading. We cannot stop you! Howard looked around for a full hour, but there’s no “stop playback for people who have not done the homework” button anywhere here.
This is also the first half of a two-part episode. We spent about 40 minutes hammering on Brandon’s story, and that’s just too much Writing Excuses for one week. Oh, and we recorded this episode live at last year’s Out of Excuses Seminar and Retreat. You’ll hear our audience of awesome attendees responding to us.
We run this session like Brandon runs his critique group — we begin by talking about what we liked, so that the writer knows what not to accidentally remove during revisions. Then we drill down on the things we have problems with, and you know what? There were a bunch of those things! Like most writers, Brandon’s first drafts are imperfect things that have problems in them.
We also run this session in a way that we don’t actually suggest you run your critique groups, at least not until you’ve put a bunch of critique sessions under your belt.
That Thing Howard Said to Brandon Between Sessions has been lost to time. Or repressed memory. Sorry.