Your Hosts: Mary Robinette, Lari, and Dan, with special guest Jenn Court
Let’s talk about serials. Jenn Court, whose work includes lots of writing for TV (IMDB link), joins us for the discussion. What are the elements that get us, as readers or viewers, to come back for episode after episode, and how do we, as writers, identify those elements and set about synthesizing them?
Credits: This episode was mastered by Alex Jackson
Podcast: Play in new window | Download (Duration: 17:47 — 13.0MB)
Think about your next protagonist. Make a chart that covers their positive and negative attributes.
Your Hosts: Brandon, Victoria, Dan, and Howard
We’re often asked how to balance character arcs with the intricacies of the plots we create. In this episode we talk about the various ways in which we do this.
Credits: This episode was recorded by Dan Thompson, and mastered by Alex Jackson
Podcast: Play in new window | Download (Duration: 19:19 — 14.0MB)
Create a three-pillar mythos for your character: What do they fear, what do they want, and what are they willing to do to get what they want. Then give them a mantra, or a code by which they live. Then create a scenario in which the mantra and the pillars collide, and something’s got to give.
Chernobyl, the 2019 HBO miniseries starring Jared Harris, Stellan Skarsgård, and Emily Watson
Your Hosts: Brandon, Mary Robinette, Dan, and Howard, with special guest Daniel Friend
Daniel Friend, who edits SF/F, has worked in election offices, has run for office, and has participated in campaigns. In this episode we talk about the ways elections can be worked into our stories.
Credits: This episode was recorded by Joseph Meacham, and mastered by Alex Jackson.
Podcast: Play in new window | Download (Duration: 16:22 — 12.0MB)
Volunteer for a campaign!
Your Hosts: Brandon, Mary Robinette, and Dan, with special guest Rob Kimbro
Rob Kimbro joins us this week to talk about Aristotle’s elements of tragedy, and how they might be applied to our writing. The six elements are (in Aristotle’s order of descending importance): plot, character, idea, dialog, music, and spectacle. We discuss this tool in terms of critiquing existing work, and in finding direction in the things we create.
Credits: this episode was recorded by Howard Tayler, and mastered by Alex Jackson
Podcast: Play in new window | Download (Duration: 17:03 — 11.8MB)
Take something you’ve written, and then rank the elements based on how important they are in what you wrote. Now re-order the elements, and rewrite the piece to match the new ranking.
For our second Elemental Genre episode we discuss using the concept of Elemental Genre to help you manage sub-plots, character arcs, and genre mashups. We’ve each used the tool in these ways, and we provide examples from our own writing, as well as from works we’ve read or watched.
Here, for your convenience, is the list of the Elemental Genres we’ll be covering during Season 11.
Podcast: Play in new window | Download (Duration: 18:41 — 12.9MB)
Think of an emotion that contrasts, or foils, the primary emotion in the thing you were working on for the homework two weeks ago. Identify that, and begin exploring it as a sub-plot.
This month’s Master Class episodes focus on pacing, and we’re dividing the concept of pacing into two parts: the first is the sense of progress within the story, and the second is the sense of the passage of time. In this episode we tackle that first bit, and discuss how we communicate progress to the readers.
We talk a bit about the concept of “promises made to the reader,” which we covered in more detail during episode 10.14. You may want to refer back to that at some point.
Podcast: Play in new window | Download (Duration: 18:57 — 13.0MB)
The Magnified Moment: write two pages in which someone gets out of bed, walks across the room, and opens the door.
We’re past the middle of the Season 10 Master Class, but we’re still in the middle of our month on middles. Perhaps some spectacular failures will help us all enjoy the middle a bit more as we write our way past it.
(Filed under: “I see what you did there.”)
(Filed also under: “spectacular failure.”)
Character failure is a big part of making the middle of a story work. We talk about why, and we provide some tips about how to make this work well for you.
Podcast: Play in new window | Download (Duration: 17:36 — 12.1MB)
“Yes, but/no, and…” Think of the smartest thing your character can do. Now have them fail with either “yes, but” (they technically succeed, but something else has gone wrong) or “no, and” (they fail, and the failure deepens the mess.)
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!
Podcast: Play in new window | Download (Duration: 18:37 — 12.8MB)
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.