Tag Archives: Outlining

Writing Excuses 8.29: Out of Excuses Retreat Q&A #1

We recorded this episode in front of our live audience at the first-ever Out of Excuses Workshop and Retreat. Here are the questions (you’ll have to listen for the answers):

  • To Dan: How did you go about selling your first trilogy in Germany before selling it in the US
  • To Howard: did you consider doing a separate storyline on Sunday strips? Why or why not?
  • Have you transitioned between outlining and discovery writing?
  • To Brandon: Why is John Scalzi your evil nemesis?
  • To Dan and Howard (and Mary): When you had full-time work, what did you do to “reset” when you came home from work, especially since your job used the same parts of your brain that writing does?

A Humble Suggestion for the Name of John Scalzi’s Next Band: Neil Gaiman’s Eagle Balls

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Someone is doing a puppetry move so extreme they end up hospitalized.

The Human Division, by John Scalzi, narrated by William Dufris. (We were told that Wil Wheaton would be narrating this, but according to Audible the narrator is William Dufris.)

Writing Excuses 8.27: Chapter Breakdowns

What determines our chapter breaks? How do we handle POV shifts, scene-sequel balance, and other considerations when we’re carving our stories into chapters?

Dan starts with a discussion of the POV considerations in Fragments and in Ruins (from the Partials series,) and Brandon contrasts that with some of the epic fantasy methods. We argue the respective merits and pitfalls of rapid switching and large blocks, and then we talk about how the chapters take shape during our outlines and initial drafts.

Episode Trivia: This was the first episode we recorded at the Out of Excuses Workshop and Retreat, and was the first time in a year that the four of us had been together to record. So rusty!

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Outline a two-character plot arc, and then break it into chapters. Experiment with big blocks and little blocks of POV in this chapter-chopped outline, and consider how this will affect the arc.

Promise of Blood, by Brian McClellan, narrated by Christian Rodska

Writing Excuses 8.22: Pre-writing with E.J. Patten

E.J. “Eric” Patten joins us for a discussion of pre-writing. His first book, Return to Exile, came out in 2011, and The Legend Thief released in March of 2013.

What is pre-writing? Eric walks us through his process for developing a story, beginning with the high-concept world-building inspired by the phrase “Cthulhu for kids.” He talks about the importance of getting the characters right, and how this process precedes plot development. Each of us handles this a little differently, and we talk about how that goes.

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Kids get magical powers from their Halloween costumes…

E.J. Patten’s books aren’t available on Audible, but if you’re looking for Cthulhu that isn’t for kids, H.P. Lovecraft’s classics “Call of Cthulhu” and “Reanimator” can be found in H.P. Lovecraft, Volume 2, narrated by Garrick Hogan.

Writing Excuses 8.6: Retellings and Adaptations

Retellings are pretty popular right now. Game of Thrones is a retelling the War of the Roses. The Thirteenth Warrior is a retelling of Beowulf, and The Lion King is a retelling of Hamlet. Why do we write these? What do we like about them?

Familiar stories let us explore things in new ways, both because we know what’s coming, and because we don’t need to be brought up to speed on the story.

The line between retelling and adaptation is a blurry one, though. For writers, a good approach, especially early on, is to grab a great story, peel everything away to the plot and key characters, and start writing something new.

On This Date Five Years Ago: the very first episode of Writing Excuses appeared online. 260 weekly episodes later, here we are.

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Do a retelling of a Bible story in a science fiction space setting.

Cinder, by Marissa Meyer, narrated by Rebecca Soler

Writing Excuses 8.2: Hero’s Journey

Beowulf didn’t kill Grendel on a day trip, Luke didn’t overthrow Emperor Palpatine in just one season, and here at Writing Excuses, we didn’t get around to properly discussing the Hero’s Journey until we were well into the second decade of this century.

Sorry about that.

The Campbellian Monomyth, as defined in Joseph Campbell’s Hero With a Thousand Faces, is a system of comparative mythology that, for better or for worse, gets used a lot by writers. We talk about some of our favorite examples, and immediately begin arguing over terms. Hopefully this is delightful to you, and educational for everyone. Especially since the monomyth is not a checklist, and it should not be taken that way.

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Take Goldilocks and the Three Bears, apply the Campbellian Monomyth, and give us a short story.

At the time we recorded this, Hero With a Thousand Faces was available on Audible. It’s not anymore. So… go find something else educational?

Writing Excuses 7.50: Outlining the Mary Way

Mary has a distinctive outlining methodology, and this episode is all about it. She tells us about roadmaps, layers, thumbnails, under paintings, synopses, and more, in the order in which those elements usually appear.

The discussion of pacing vs. plot is particularly useful. Especially if you’re Howard.

Mary then takes us through the process of outlining a specific short story which, as of this cast, she had not yet written. Also, this episode is part of a sequence that was recorded in a different order than that in which it aired. Our bad! Here’s the one you probably wanted to listen to first.

The outline itself can be found here.

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Give us a magic system in which the thumbnail, the under painting, the other imagery are the basis for the magic.

The Dragon Factory, by Jonathan Mayberry, narrated by Ray Porter

Writing Excuses 7.41: Seven-Point Story Structure

If you’ve ever had difficulty outlining something, this episode might be a perfect fit for you. We discuss the Seven-Point Story Structure, an outlining system Dan uses in which the story moves forward along seven sequential points.

Dan originally acquired this from a role-playing book, but it also sees regular use in screenwriting. Dan walks us through the system, and we hold his feet to the fire on behalf of Lou Anders, who once privately confessed to Howard that he just couldn’t get this thing to work.

Here, without any flavor text, are the seven points:

  • Hook
  • Plot Turn I
  • Pinch I
  • Midpoint
  • Pinch II
  • Plot Turn II
  • Resolution
While these are (obviously) not the only seven things that happen in your book, these are the key things that are working together to move you from hook to resolution.
After an explanation of the system, we brainstorm this on Dan’s “I.E.Demon” story in order to demonstrate the tool for you. Also, for Lou.

Audiobook Pick-of-the-Week: Enchanted, by Alethea Kontis, narrated by Katherine Kellgren

Linkage: Dan Wells Seven-Point Story Structure on YouTube

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Try out the seven-point story structure for yourself. Outline something!

Writing Excuses 7.31: Project in Depth — Hollow City

It’s time for our fourth “Project in Depth” episode, and now Dan Wells is on the spot. The Hollow City is Dan’s latest book, and while it’s not a new John Cleaver book, it’s still a supernatural thriller with a tight psychological focus.

Spoilers galore, of course. If you haven’t read The Hollow City yet, go read it before listening to this episode.

Dan’s New Twitter Handle: Per Howard’s suggestion, @JohnCleaver has been retired in favor of @TheDanWells.

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Go find an interesting mental illness (quick, before Dan takes all the good ones.) Now write from the sufferer’s POV, but don’t tell us what’s actually wrong.

Sucks to be Me, by Kimberly Pauley, narrated by Nancy Wu