Tag Archives: genre

12.46: Reinventing Yourself

Your Hosts: Brandon, Mary, Mary Anne, and Wesley

We discuss the idea of “reinventing yourself,” which can mean anything from “trying something new” to “completely re-branding yourself as a writer,” and how it’s a difficult thing to do without figuring out what it actually is that you’re currently doing. We talk about how we’ve done it, how others have done it, and how important it is to continue learning as a writer.

Credits: This episode was recorded in Chicago by Andrew Twiss, and mastered by Alex Jackson

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Immerse yourself in a genre that is new to you. Short story anthologies in that genre, or award winning novels are a good place to start. Read those.

NOTE: The Lost Book of the White by Wesley Chu and Cassandra Claire has been retitled and rescheduled. You should (eventually) be looking for:

The Red Scrolls of Magicby Wesley Chu and Cassandra Clare, scheduled for release in March of 2019.

Writing Excuses 10.19: Intrigue

What’s the difference between intrigue, suspense, and mystery? We answer this (it comes down to reader knowledge vs character knowledge), and then talk about what makes intrigue useful as a tool for any story, and how to use it without falling back on idiot character plots, or simply withholding information from the reader.

Intrigue is also its own genre, with spy stories and political intrigue stories fitting into this space. We talk a bit about how those stories work, and how they’re built.

Upcoming Homework: We’ll be doing a Project-In-Depth on Mary’s new book, Of Noble Family, in two weeks (episode 10.21, airing on May 24th.) To get the most out of that episode without having anything spoiled, pick up a copy now and start reading!

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Write dialog in which each of the speakers has a different subtext and motive. Without explicitly stating those, try and make them clear to the reader.

A Spy in the House: The Agency 1, by Y.S. Lee, narrated by Justine Eyre

Writing Excuses 9.50: Writing for the Enfranchised Reader

Recorded live in front of the Out of Excuses students, a crowd of savvy readers if ever there was one, we talk about how to effectively write for readers who are familiar with the genre or story structure in which we’re writing. It’s a tricky problem, since genre fiction is supported in large part by the very tropes that prove problematic. Sometimes the solution is trope subversion, but that brings its own problems.

Dave Farland’s Writing Workshops sponsored us for this episode! Both Brandon and Dan have studied under Dave, and we’re all happy to wholeheartedly recommend his workshops to you. If you can’t fly to his place, well, visit MyStoryDoctor.com and take the online course. The coupon code for your Writing Excuses discount is EXCUSES, but don’t think that means you actually HAVE any of those…

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Take a mentor character, and outline a way for that character to NOT be killed off in order for them to not be more effective than the hero.

Writing Excuses 9.43: Writing Mysteries

Live from Westercon 67 and Fantasy Con, Mette Ivie Harrison and J.R. Johannson join us to talk about writing for the mystery genre. We begin by talking about the key differences between thrillers and mysteries, and then move into how this understanding can drive our story structures. We discuss how characters with arcs and iconic characters drive different types of stories, and how each of us go about building these kinds of things.

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Write a mystery in which you explain where Howard was during this recording session.

The Ghosts of Belfast, by Stuart Neville,  narrated by Gerard Doyle

Writing Excuses 9.2: Hard Science Fiction with Eric James Stone

Eric James Stone joins us for a discussion of hard science fiction. We begin with a discussion of definitions, and then we take care not to spend the whole episode just talking about that. We talk about what we like about hard science fiction (with examples) and of course we address the crux of the matter: can you write hard science fiction without having a degree in the hard sciences?

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Think of a way to combine two technologies that are currently not combined, and weave them into a story.

Bowl of Heaven, by Gregory Benford and Larry Niven, narrated by Zach Villa

Writing Excuses 8.32: Microcasting

Microcasting! It’s what we call a Q&A, because it’s like several little podcasts in one! Here are the questions (you’ll have to listen to the show for the answers):

  • How do you manage your workload?
  • Are writing contests worth it? Which ones are good?
  • How do you make it clear that the weird aspects of your world are done on purpose rather than just being bad science?
  • How do you know when to take a break from your writing?
  • What are your word count suggestions for various markets?

Some Worthy Links: Writer Beware, Writers of the Future

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Keep track of your hourly word count for a day’s writing. Then set goals to beat that word count in subsequent sessions.

The Madman’s Daughter, by Megan Shepherd, narrated by Lucy Rayner

Writing Excuses 8.26: Space Opera

This week’s episode covers the perjoratively-named sub-genre, space opera. These are adventure stories in which the setting is futuristic, but in which the science is secondary. The lines are blurry, as they are with any definition of genre, but we’re pretty sure that Howard writes space opera.

A possible definition? Space Opera is when the author uses science to justify the cool stuff he or she has come up with.

We talk about the decisions that go into writing a space opera, how Howard has gone about it, and what you might focus on in order to write a compelling, adventurous romp.

Pithy Howardism: “If I pee far, it’s because I stand on the shoulders of giants.”

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Posit a faster-than-light drive that nobody else has thought of. Or at least that you haven’t heard of.

The Warrior’s Apprentice, by Lois McMaster Bujold, narrated by Grover Gardner

Writing Excuses 7.54: Four Ways the Industry is Changing

And now, for the very last episode of Season 7, we shall chance taking a look forward. Is this prognostication, or reckless abandon? Neither! We get asked a lot about how the industry is changing, and how we’re adjusting to what we see happening. This isn’t us predicting the future: this is us interpreting what we’re seeing, and then describing how we plan to react.

  • Mary suggests that we’re seeing a swing from Fantasy to Science Fiction as the dominant speculative genre, and but she doesn’t plan to start writing nothing but sci-fi as a result.
  • Dan calls out a trend towards supplemental materials — shorts that tie in to flagship novels. He’s already taking part in this, and plans to keep doing it.
  • Howard hits the hot-button of “e-publishing,” and calls it “shortening the value chain.” He’s been making a living with it since it was basically brand-new, but he plans to continue to exploit the disruptions it creates — sometimes by lengthening the value chain.
  • Brandon sees increasing pressures for authors to promote themselves, (largely the result of exceptional cases of authors with good platforms), but suggests that the time can still be better spent writing more books.

And that’s it for us until 2013! We’ll be back next year with Season 8, and you’ll only have to wait a week for it to start airing.

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Figure out what you would like the future of writing to look like. Now write a story about how we get there.

The Last Light of the Sun, by Guy Gavriel Kay, narrated by Holter Graham