Your Hosts: Brandon, Mary, Mary Anne, and Wesley
We’re speaking again, at least in part, to discovery writers. In this case, we’re talking about how to take a non-outlined work and apply a structure to it in revisions.
Credits: This episode was recorded by Andrew Twiss, and mastered by Alex Jackson.
Podcast: Play in new window | Download (Duration: 21:23 — 14.7MB)
Identify the promises you made in the first 10% of your story. Color-code them. Now color code your chapters and/or scenes, mapping them to the promises made early on.
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.
Podcast: Play in new window | Download (Duration: 18:37 — 12.8MB)
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!
Any discussion of story structure must necessarily take a look at that big, long bit between the beginning and the end, that piece where almost everything actually happens. In this episode we talk about the middles of stories, and how formulaic structures will help you get them to do all of the things that you need for them to do, and this can be done without the story feeling formulaic.
We got things a bit out of order here — this was supposed to be the SECOND episode of March, rather than the fifth. When Brandon says “two weeks ago” he means “four weeks ago.” Sorry for the confusion.
Podcast: Play in new window | Download (Duration: 18:05 — 12.4MB)
Your writing exercise: Take the reverse engineered outline from a month ago, and move a side plot to the main plot.
Wes Chu joins us again for a Q&A about this month’s topic: story structure! Here are the questions:
- Do you make a conscious decision about how to structure your story before you begin writing?
- Is it necessary to use multiple structures (three-act, Hollywood formula, etc) in order to ensure that your story works?
- What tools do you use to view your story’s structure?
- What do you think about cliffhangers?
- How do you come up with plot twists for your stories? (Answer: A blast from the past with Michael Stackpole! Season 1, Episode 19!)
- What structures should I use to add variety to my writing?
- Is there a specific amount of time you should spend on your introduction before getting to the inciting incident?
- What do you do when you’re halfway through with a story before you realize the structure is wrong?
Podcast: Play in new window | Download (Duration: 22:07 — 15.2MB)
Make a list of all the awesome things you want your story to accomplish. Then put them in the order in which you want them to happen.
If you haven’t yet read “Parallel Perspectives,” from Schlock Mercenary: Massively Parallel, we have a PDF for you to download and read before you start listening to this episode. It’s a 33mb file in a public DropBox folder.
Parallel Perspectives PDF for Writing Excuses listeners
Got the file? Done reading? Okay, let’s go…
This week is a Project in Depth episode focusing on a 13-page graphic story (“comic book”) found at the end of Schlock Mercenary: Massively Parallel, and our focus this week will be story structure. It’s fun, because the process of structuring a bonus story begins much differently than most projects, and the structure was laid in support of a four-creator collaboration.
The creators? Howard Tayler, Brenda Hickey, Travis Walton, and Keliana Tayler.
(If you’d like your own hard-copy of Schlock Mercenary: Massively Parallel, you can get it from Amazon.com or directly from the publisher.)
Podcast: Play in new window | Download (Duration: 20:23 — 14.0MB)
Next month we’re going to talk Beginnings: decide on the promises you want to make to your readers in your story. Then outline according to those promises.
Microcasting! It’s our high-speed Q&A! Here are the Q’s, listen to the ‘cast for the A’s.
- Is it still safe to go the commercial publishing route?
- How do you find the balance when writing serious stories with silliness in them?
- What are the alternatives to three-act structure?
- Do you ever lose your drive, and what re-inspires you when you do?
- How does your writing life affect your non-writing life?
- What was the defining moment in your life where you decided to become a writer?
- How effective are book trailers?
Audiobook Pick-of-the-Week: 1421: The Year China Discovered America, by Gavin Menzies, narrated by Simon Vance
Writing Prompt: Give us a story in which writers are using actual fantastic creatures in the process of writing fantasy — ink from unicorn horns, elf-skin parchment, etc.
Promised Liner Note Links: Dan’s 7-point Story Structure,
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Podcast: Play in new window | Download (Duration: 19:10 — 13.2MB)