Tag Archives: MICE Quotient

Writing Excuses 10.42: How In The World Do I Tie All This Together?

Nalo Hopkinson joins us again, at sea, for our second Master Class installment on endings. We cover some of the reasons why an ending might not be working, and then talk about the sorts of diagnoses that will help you solve the problem. You’ll likely need to dig deep in your toolbox. Our episodes covering the MICE quotient, promises made to the readers, and the Hollywood formula may be worth reviewing in this process.

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Consider the last paragraph of your work in progress. Compare it to your first paragraph. Identify possible resonances that you can mirror between the two.

Shadows of Self, by Brandon Sanderson, narrated by Michael Kramer

Writing Excuses 10.25: What Makes a Scene?

What defines a scene? How do we, as writers, structure things using scenes? When does a scene begin, when does it end, and when has it gone on too long?

We each do this a little differently, and obviously the definitions and processes will vary widely across mediums. In this episode we talk about how we do this, and we make reference to Scene/Sequel format, the MICE quotient, and pacing.

 

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Look at the next few scenes you need to write, and identify their plot function, identify what your main character’s goal is. Now consider where the starting and stopping points can be placed to best serve those elements.

The Devil’s Only Friend, by Dan Wells, narrated by Kirby Heyborne

This will be our Project-in-Depth book in August, so dive in now!

Writing Excuses 10.9: Where is My Story Coming From?

This month’s syllabus topic is story structure, and we’ll be starting with the part we start with. And that part usually isn’t the beginning — that’s where the story starts for the reader. We’re going to talk about where the story starts for you. It’s the answer to questions like “where is my story coming from?”, “What kind of a story is this?”, or  “What questions does it seek to raise, and subsequently answer for the readers?”

Structurally, it may help to revisit our discussion of the M.I.C.E. quotient. Knowing that your story is primarily a milieu story, as opposed to a character story, is a pretty big thing to know before you start writing.

Of course, if you’re not outlining, this whole discussion may seem irrelevant to you, but ultimately if you discovery-write your way into a good story, you’ll have answered these questions during that process. Knowing that this is a thing you do will likely help you do it better.

The Sherlock Episode Howard referenced was “The Sign of Three”

Homework For an upcoming “Project in Depth” — you may wish to acquire a copy of Schlock Mercenary: Massively Parallel, because we’ll be digging into the bonus story, “Parallel Perspectives,” which plays with POV in some ways that required significant re-writing during the collaboration process.

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Take a favorite piece of of media (but not something YOU created,) and reverse engineer an outline from it.

Ancillary Justice, by Anne Leckie, narrated by Celeste Ciulla. This book has won the Hugo, the Nebula, and the Clarke award, and is a great listen. (note: In the ‘cast, Mary says that this book was narrated by Adjoa Andoh, who actually narrated Ancillary Sword.)

 

Writing Excuses 9.33: Microcasting

Microcasting!

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?
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Introduce a random element–dice, coin-tosses, the i ching–and write a story in which you (the writer) commit to letting the random element make the decisions.

Attack the Geek, by Michael R. Underwood, narrated by Mary Robinette Kowal

Writing Excuses 9.32: Adjusting Character Proactivity

Let’s adjust sliders again! This episode references our sliding scales for characters, and this time around we’ll be talking about how proactive a character is. We also talk about the verb “protag.” Because protagging is what protagonists should do, especially later in our stories.

Our goal is to be able to consciously adjust a character’s level of proactivity in order to similarly adjust how engaging that character is for our audience. We talk about the techniques we rely on, and some of our favorite stories in which we’ve seen these techniques employed.

 

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Tie your protagonist up, and then have them protag their way forward in the story with nothing but dialog.

The Blue Sword, by Robin McKinley, narrated by Diane Warren

Writing Excuses 8.20: The Short Story, with Mary Robinette Kowal

The number one request we got when we asked you what you’d like us to talk about? Short story writing. Mary is our resident expert, and if she weren’t already a member of the cast, she’d our go-to expert for an interview. Convenient!

We begin by addressing the popular notion that writing short stories is a good way to practice for writing novels, and selling short stories is a way to break in and sell novels. We then return to the M.I.C.E. quotient (first addressed by us in 6.10) and discuss how the quotient (or model, or formula) helps you understand what to cut from the telling of a story to make it a short story.

Mary then walks us through her process for turning an idea into a story concept, and then distilling that concept into a short story. She also invites us to explore her 950-word short, “Evil Robot Monkey,” free of charge!

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Being “bi-textual” is a controversial lifestyle choice…

The Language of Moths, by Christopher Barzak, narrated by Paul Michael Garcia