Your Hosts: Mary Robinette Kowal, Dan Wells, Brandon Sanderson, and Howard Tayler, with special guest Peng Shepherd
Peng Shepherd joined us aboard Liberty of the Seas for WXR 2022, and returned with us to the topic of story structures. In this episode we answer questions from our live audience. The questions include:
- How do you make sure you’ve got the right number of plot threads?
- How do you spread the structure of a given plot line across multiple books?
- How do you avoiding having subplots distract readers from the main plot?
- What are some strategies you can use to better align character goals with the overall problem of the story?
- Are there clear dos and don’ts with regard to story structure?
- How do you prepare or color-code bits for running a role-playing game? More broadly: what organizational tools do you use for story structure?
For the answers, you’ll have to give the episode a listen…
Credits: This episode was recorded live by Marshall Carr, Jr., and mastered by Alex Jackson
Podcast: Play in new window | Download (Duration: 24:28 — 17.7MB)
Write a piece of fiction (or an outline) outside your usual length. See how that changes your structural choices.
The Spare Man, by Mary Robinette Kowal
(pre-order now! It releases on October 11th!)
Your Hosts: Brandon, Mary, Mary Anne, and Wesley
What makes a plot a subplot? Must subplots and main plots be linked by something more binding than the actual binding of the book?
In this episode we answer these questions, and ask and answer plenty more.
Credits: This episode was recorded in Chicago by Andrew Twiss, and mastered by Alex Jackson
Podcast: Play in new window | Download (Duration: 20:32 — 14.1MB)
Consider the following four things – environment, characters, disruptions of status quo, and questions, and which one of these is driving your main plot. Now ask which of the remaining three can contain a disaster that drives a subplot. Write that bit.
Survivor edited by Mary Anne Mohanraj and JJ Pionke (coming soon from Lethe Press)
In this episode we field some questions about elemental mystery. Here they are!
- How do you balance between two mysteries in the same story?
- What types of mysteries can fit well as sub-plots?
- What do you do when beta readers figure out the mystery really early?
- In the MICE quotient, are mysteries all “Idea” stories?
- How do you write a protagonist who is smarter than you are?
- How do you make sure your genius protagonist is still experiencing an interesting struggle?
- How do you make a kidnap victim more than just a MacGuffin?
- How “literary” can you make your mystery?
Liner Notes: The movie Howard referred to is Cellular, with Kim Basinger, Chris Evans, and Jason Statham.
Credits: This episode was recorded by Daniel Thompson, and mastered by Alex Jackson.
Podcast: Play in new window | Download (Duration: 19:19 — 13.4MB)
Take a book or film that you enjoy, and write down every mystery you see.
If the Element of Wonder is the driving force behind “sense of wonder” science fiction and fantasy, then that same element can be used to give wondrous flavor to stories whose driving force lies among the other elemental genres. We talk about how to use wonder at smaller scales, how to create it with context, and how you might use it in support of the other themes of your story.
Podcast: Play in new window | Download (Duration: 18:32 — 12.8MB)
Take a story you’re working on, a story in which Elemental Wonder isn’t a driving force, and add that wonder to some aspect of it.