Write On SC

In consuming a ridiculous amount of romance fiction, I (Kasie) have come across my share of absurd body part descriptions. So I thought we haven’t ever really talked about how to talk about body parts on this show. So let’s do that. Let’s talk: Basic biology versus nuanced inference When, where and how to flex that vocabulary Body parts as vehicles for metaphor (i.e. broken heart) What to leave to imagination and what to make explicit. But first, if you haven’t yet registered for the upcoming Women in Publishing event what are you waiting for? This is your chance to bewith dozens of book publishing professionals, authors, writers, designers, publishers, editors, you name it and they’ll be there. Here’s a link to register. From the website:  The Women in Publishing Summit exists to empower, support, and elevate women and nonbinary individuals across the entire publishing industry—from idea to bookshelf and beyond. We provide education, resources, and a dynamic, inclusive community that fosters equity, access, and success for everyone involved in the creation, production, launch, and marketing of books. Whether you’re a writer, editor, designer, marketer, publisher, or service provider, we’re here to help you thrive and make a greater impact through books—all while collaborating with one another. Okay, so that’s said and I recommend attending. Alexa does a GREAT job with events. Let’s talk body parts. I found some other writers who have written about body parts here are some links: How to write better character physical descriptions from The Writing Cooperative Masterlist of physical descriptions from MasterClass Body Build Cheat Sheet for Writers from Kathy Steinemann Because physical description is the first time we use body parts in our work. We want to give the reader a sense of who this person is. We can default to drivers license stats: eye color, hair color, height and weight.  And some people say start early – like as soon as the character is introduced, give the reader a sense of who they are by describing their appearance. But it shouldn’t be an info dump. A couple of well-selected details can give you a good sense of the space a person occupies. Frankenstein’s monster: A massive figure filled my bedroom doorway. He had to angle his shoulders and stoop his head just to fit through… Black, uneven stitches zigzagged across mottled skin… So should you use similes? Like this and as that? Should you include endearing details like a sprinkle of freckles across the nose and cheeks or a crooked sort of smile that looked mischievous? Here’s 15 great character descriptions by famous authors. The risk of not enough detail is that every character looks the same or the person is just kind of faceless or character-less. But the risk of too much detail is that your reader is trying hard to imagine just the person you had in mind instead of letting the character work out his specifics himself. Read more on the blog

The last time we had a show near Valentine’s Day, it was the day after and we did Episode 299 “Love for Love’s Sake” exploring the trappings of a love story. So we’ll start there. Love stories are universal because they are so versatile. In our previous episode, we went through the types of love per This linkwhich explains it this way: “the comprehensive feeling for the entire cosmos.” From the same link, other types of love: Eros – passionate or romantic love Philia – goodwill or friendship Storge – natural love or familial love, that which you feel for those in your proximity and history Ludos – skittish or unreliable love, maybe a crush? Also playful, or those early stages of the fluttering in your belly, giddiness of love Pragma – duty or reason-supported love, as in an arranged marriage, of course I love my sister’s dogs… Philautia – self-love or love within oneself. Mania (from this link) – obsession If it’s a love story, it might also be a non-romantic love that takes center stage. For example: Mother’s love for her child: 1) nurturing and unconditional, 2) fierce and protective, 3) sacrificial, 4) strained or resentful, 5) absent or abandoned – leaving our character wanting more. Father’s love for his child: 1) supportive and nurturing, 2) wise and guiding, 3) demanding or disciplining, 4) abusive or neglectful, 5) stoic or unapproachable, 6) absent or wanting, and 7) replacement fathers like mentors, coaches, etc. Sibling love: 1) loyalty and protection, 2) competition and rivalry, 3) complex or strained – from the shared experience but different perspectives, think the siblings in The Godfather, 4) supportive or teammate-ish Friendship love: 1) deep companionship – shared experiences, mutually supportive, 2) ulterior motives – what can one gain from the other? 3) platonic affection – mutual respect, shared interests and values. But a romance is not a love story and vice versa. So here’s some compare and contrast so we can differentiate between the two: Both love stories and romance explore emotional intimacy and will likely also include physical intimacy. Both can elicit strong emotional reactions from readers. Love stories can be the primary plot, but are more often subplots.  In contrast, romance stories put the love story at the center. It is the plot. How the characters interact with one another, the obstacles they overcome, and how they meet the challenges to come together are the plot. Romance has genre conventions, expectations that writers must meet not only to satisfy readers, but also to be considered a romance at all. For example, romance novels have a Happily Ever After ending. Always. No exceptions. Read more on the blog

So last week Hollie joined us to talk about motifs which turned into a plot device conversation and we decided we could use of more that. So here it is, Part 2 if you will of Plot Devices to get us started this year. Turns out, we haven’t done plot devices before. We’ve done literary devices (Episode 125) but not plot devices. What do we mean by “plot device”? A plot device is any tool used to advance the story. They can be objects, people, secrets, the weather. Anything that disrupts the story as-is and turns it toward where it needs to be. Common examples include the “MacGuffin” (an object everyone wants), the “Red Herring” (a false clue), a “Deus Ex Machina” (a sudden, contrived resolution), or a “Time Bomb” (a ticking clock scenario). (link) What are some “literary” plot devices? Symbolism Foreshadowing Parallelism Here’s a comprehensive list of 50+ plot devices. I figured we could just work the list.   This link has some good takes on plot devices as does this one. The second one actually gets into how to use them. I like this list: Big dumb object – used mostly in science fiction, something mysterious that must be explored and explained Flashback – deliver exposition with a memory surfacing at exactly the right time Love Triangle – what complicates desire? Unrequited love. Ticking clock – create a sense of urgency with an expiration date that draws ever nearer. Last week we gave you these hints for making the plot device work. So here they are again: (link and link): Serve the Story, Not the Other Way Around: The device should enhance your story’s foundation (characters, world) and feel essential, not like a forced gimmick to fix problems. Make it Organic & Logical: Set up Foreshadowing: Introduce elements early (e.g., a skill, an object) that pay off later. Create Logical Circumstances: Have characters meet or find things in believable situations. Motivate Characters: Ensure characters act in ways that lead to the device due to their established personalities and goals. Focus on Character Reaction: How characters respond to a device (a discovery, a setback) often matters more than the device itself, revealing their nature. Build Suspense & Meaning: Use them to create intrigue (flashbacks, foreshadowing, plot twists) or add depth, making the audience ask “how?” and “why?”. Avoid Contrivance: Don’t use pure coincidence to get characters out of trouble; use it to get them into trouble, with proper setup. Read more on the blog

This morning we’re joined by Hollie, a musician and contributor to the show, who had something to add to our conversation on motifs. The idea came from an article explaining how composers use motifs to advance the plot in musical theater. That got me (Kasie) wondering about other plot-advancement devices in literature that function in similar ways. Thanks, as always, to Gemini AI for curating the internet’s vast resources on this topic. A motif is a recurring element in a story—such as an image, object, sound, word, or situation—that holds symbolic significance and points toward a deeper, central theme. Unlike a one-time symbol, a motif must appear multiple times to create a pattern that unites different parts of the narrative. (link) How motifs advance the plot (link and link): Foreshadowing Events: Recurring motifs can hint at future developments, creating suspense and anticipation. For example, a recurring “accident” or “broken” object might prepare the reader for a character’s downfall. Signaling Turning Points: A motif may appear during key moments, such as in scenes of intense conflict or during climactic events, acting as a visual cue for a shift in the story. Driving Character Action: Because a motif often connects to a character’s inner desires or fears, it can motivate them to act. Unifying Plot Threads: In complex narratives, a motif can connect separate, seemingly unrelated plotlines or scenes, giving the story continuity. Escalating Tension: A motif can gain prominence as the story reaches its climax, increasing the pressure and urgency. Other ways it helps in a story (link): Connects to Themes: Motifs act as tangible clues, making abstract themes like love, loss, or freedom more concrete and understandable as they recur, linking disparate scenes and ideas. Builds Mood & Atmosphere: Repetitive imagery, such as dark rooms or intense heat, creates a specific tone (Gothic, oppressive) that influences how the plot unfolds and how characters feel, as seen with the heat in Lord of the Flies. Foreshadows & Symbolizes: A recurring symbol can hint at future events or deeper meanings; for instance, the green light in The Great Gatsby symbolizes Gatsby’s unattainable dream, foreshadowing his ultimate failure. Develops Characters: A motif can highlight character development or internal struggles; Indiana Jones’s father calling him “Junior” reinforces the growing bond and resolution of their strained relationship. Creates Cohesion: By appearing throughout the narrative, motifs act as narrative breadcrumbs, helping readers trace patterns and understand how different parts of the story relate to one another, unifying the work. Read more on the blog

The appeal of the apocalypse. Seems like everyone takes a stab at writing about the end times. What does it look like in your imagination? Let’s remember that a lot, a LOT of what we have now was once imagined by writers. For example, Fahrenheit 451 predicted headphones, Frankenstein imagined transplants, Isaac Asimov predicted the rise of computers (link). Apple watches, self-driving cars, even video chatting were all predicted by writers who imagined a better way of doing everything. They may not have had the science or engineering to make it happen, but writers certainly started the process by envisioning and then describing the technology that would come to be. Okay, so then if writers are imagining dystopia, does that mean it’s inevitable? And why wouldn’t they spend more time focusing on utopia instead? For the truly literary, there’s this list of Booker Prize dystopian fiction, many of which will have gone without your commercial-fiction sniff.  It does crown Margaret Atwood the reigning monarch of dystopian fiction after The Handmaid’s Tale and its sequel, The Testaments, were made into a TV series.  This Wikipedia list probably better matches the ones that come to mind immediately: Gulliver’s Travels The Time Machine Brave New World (Huxley) Anthem (Rand) 1984 (Orwell) Fahrenheit 451 (Bradbury) Lord of the Flies Minority Report A Clockwork Orange The Stand The Handmaid’s Tale The Giver Cloud Atlas The Road The Hunger Games The Maze Runner Ready Player One Read more on the blog

Do you have any New Year’s Resolutions for your writing life? What’s the purpose of it and why should we do it? There are ancient origins for new year’s resolutions including the Babylonians in 2000 b.c. making promises to the gods at the new year to return borrowed items and pay off debts. How many of those promises do you suppose were kept? In medieval times, knights renewed their oaths of loyalty at the new year. They also promised to uphold virtues and values. These days, new year’s resolutions are usually not religious, or related to your employer. They’re usually about secular stuff like health and fitness, wellness and mental clarity. So what makes a good resolution? And is it different from a goal? Yes, new year’s resolutions are typically a change of behavior: drink less, eat less, workout more, read more. And the goal is a measurable plan for how to succeed in that behavior change. So you might resolve to write more short stories in 2026. The goal would be to write at least 30 short stories. Then you might plan to write every day for at least 30 minutes to achieve the goal. Writing every day, as long as you’re focusing on the short stories, will certainly achieve the behavior change to meet your resolution.    So what kinds of resolutions do writers usually make? It’s almost always about productivity. We did this topic last year with a plan we built for ourselves. We used categories for those goals, like I do with my students every semester: family, professional, personal, financial. How did we do?  We also did it back in 2021, so let’s see how far we’ve come since then. That one used the AFI framework, a tool for business planning, to help writers think of their careers as businesses. I also did this goal setting thing with Alexa Bigwarfe, my publisher, back in 2020. Boy did those goals go awry. Read more on the blog

Kasie and Hollie host an old school flashback episode. Inspired by 90s sitcoms that had end of season flashback episodes, Kasie and Hollie decided to use each segment as a flashback to a previous episode of Write on SC to give a new perspective.

What is an anti-hero? This topic is so old, the show notes still introduce who we are to the audience. Wow. Episode 43 way back in 2019 was the only episode we have dedicated to the Anti-Hero. Notes there are not AI-generated, but these notes totally are: An anti-hero is a central character who lacks conventional heroic qualities like altruism, morality, or idealism, often driven by selfish motives, flaws, or questionable methods, yet the audience still roots for them because their goals might be relatable or they’re simply more compelling than traditional heroes, examples include Walter White (Breaking Bad), Deadpool, Han Solo, and Fleabag. They operate in moral gray areas, using dark or brutal tactics for understandable, sometimes even good, ends, creating compelling tension. (link & link & link) Some types of anti-heroes (link & link): Classic Anti-Hero: Lacks traditional heroic traits like bravery or confidence, often due to self-doubt, fear, or social awkwardness, but still acts heroically. Examples: Holden Caulfield (The Catcher in the Rye), Bilbo Baggins (The Hobbit). Knight in Sour Armor: Cynical, sarcastic, and witty but possesses good intentions and a strong moral compass, often with a traumatic past. Examples: Haymitch Abernathy (The Hunger Games), Severus Snape (Harry Potter). Unscrupulous/Pragmatic Anti-Hero: Willing to do questionable or violent things to achieve goals, often driven by personal gain or survival. Examples: Rambo, Jack Sparrow. Hero in Name Only: Actions are very dark or villainous, blurring the line between hero and villain, but they remain the protagonist. Examples: Walter White (Breaking Bad), Dexter Morgan (Dexter). Flawed Hero/Anti-Villain: Good intentions but with extremely questionable or dark methods, sometimes sharing the hero’s goals but being far more ruthless. Examples: John Constantine, some interpretations of Tony Stark (Iron Man). Read more on the blog

It’s been a while since we covered the dozen uses for the Fool (Episode 181) so there are some new notes and updated links for it but the concept remains. Per Gemini AI: the Fool is an archetype, often a jester or simpleton, who uses humor, feigned madness, or childlike simplicity to speak uncomfortable truths, challenge norms, offer wisdom, and provide commentary, acting as a mirror for society and powerful figures, as seen in Shakespeare’s King Lear, where the Fool guides Lear through his downfall by bluntly pointing out his foolishness. They serve as both comedic relief and profound commentators, revealing deeper meanings through their seemingly nonsensical words or actions, and can represent vulnerability, childlike innocence, or a “holy fool” figure who embodies spiritual wisdom. (Link and Link) Key Characteristics: Truth-teller: Given license by their supposed foolishness, they can criticize kings, nobles, and societal conventions without punishment, a role often denied to others. Wise Fool: Appears simple but possesses profound insight, using wit, paradox, and riddles to convey wisdom (e.g., King Lear, Patchface in A Song of Ice and Fire). Vulnerability & Presence: Embodies living in the moment, embracing risk, and showing authentic emotion, contrasting with the controlled, often misguided, actions of the “wise” characters. Catalyst for Change: Their commentary forces others (and the audience) to confront uncomfortable realities, prompting growth or revealing tragic flaws. (Link) Read more on the blog

Heather has been with us before. She visited back on Episode 261: Edit Like a Pro. Here are some details about Heather: Heather Harris-Bergevin is an author whose business, Barrow Editing, is based in Columbia, South Carolina. She, her three children, two cats, and a happy pitbull spend most of their time fighting entropy. Her own poetry books are published with By Common Consent Press, and she has an upcoming children’s picture book with Lucky Rabbit Press, based in Columbia, SC.

What is Retroactive Continuity? Retroactive continuity (often called retcon) is a storytelling device used in fiction when authors or creators deliberately change, add to, or contradict facts that were previously established in a story’s “official past.” In essence, the story’s “history” gets rewritten, sometimes subtly and sometimes quite dramatically. (Wikipedia) According to one definition: “Retroactive continuity is a literary device in which previously established information in a work of fiction is changed, ignored, or contradicted to suit the current story.” (TCK Publishing) The motivations for retconning can vary: To correct continuity errors or inconsistencies that arose in earlier installments. (Wikipedia) To expand or deepen a story by adding new layers—backstories, motivations, relationships—that simply weren’t there before. (Language & Humanities) To reboot or reimagine a story, more in line with new creative direction, audience expectations, or modern sensibilities. (Language & Humanities) To revive characters (e.g., bring back a “dead” character) or reset aspects of the fictional universe to allow new plots. (Wikipedia) In long-running franchises — comics, film series, TV shows — retcons are especially common because over time, multiple writers or creators may contribute, or earlier plot points simply don’t hold up to new storytelling ambitions. (FourWeekMBA) Read more on the blog

Crymsyn Hart is a multi-genre author from Horror, Urban Fantasy, and Romance. Her years of experience at Boston’s oldest psychic salon doing readings and her encounters with the supernatural have inspired many novels. She’s a lover of all things dark and goth. Vampires, grim reapers, and other paranormal creatures tend to end up in her books no matter how hard she tries to keep them away. She currently resides in Charlotte, NC with her hubby and their dog. By day she is conquering the world of Commercial Insurance, but by night she listens to the voices in her head telling her which rabbit hole to go down to find the perfect plot bunny. Visit her website at: http://www.crymsynhart.com

A child of the 80's, SL Harby grew up playing Dungeons & Dragons and classic video games. An only child, he was bitten early by the reading bug, cutting his teeth on the masters of modern fantasy. His days were spent inside the worlds created by Howard and Lieber, Moorcock and Tolkien.A perpetual Jersey boy, SL Harby lives in northwestern New Jersey with his wife and muse, Jessica and their bad ass rescue dog, Tellulah.Visit www.ReadSLHarby.com for fiction, reviews, creator interviews and more!

Nick Roberts is the award-winning author of Anathema, The Exorcist's House series, Mean Spirited, and several others. His works have been translated into multiple languages, becoming international bestsellers and garnering the attention of Hollywood. He’s a member of the Horror Writers Association, a doctoral graduate from Marshall University, and currently resides in South Carolina with his wife and three children.  He talks with Rex about his career. 

The last time we did this topic was way back in 2021 here’s the link to Episode 130. We think maybe we’ve learned something since then. Born out of the “be mean to your characters” necessity, “what could be meaner than making your characters make decisions, do something, take responsibility, and live with consequences of their actions?”According to this link by Meg LaTorre at Savvy Authors, “agency” means the character is more proactive than reactive in the story. The character does stuff instead of stuff just happening to him/her.To give characters agency, ensure they drive the plot through active choices and pursuit of clear, motivated goals, rather than passively reacting to events. This involves providing meaningful choices, showing consequences for their actions, creating internal and external conflicts that require decisive action, and allowing for character growth based on their decisions. (thanks, AI and this link)How do you do it? Check out this link (summary below):Active, Not Passive: Your protagonist should be the driver of the plot, making decisions that shape the story, not just having things happen to them.Clear Goals: Give characters specific, achievable goals rooted in their desires and motivations.Strong Motivations: Explain why a character takes action, linking their choices to their values, beliefs, and internal struggles.Meaningful Choices: Present dilemmas where characters must make difficult decisions that reflect their personality.Consequences: Show the tangible positive and negative outcomes of their decisions, reinforcing their impact on the story.Conflict as a Catalyst: Use obstacles and conflicts to force characters to act and make choices.Show, Don't Tell: Reveal agency through actions and dialogue, not just narration of thoughts or feelings.Character Arc: Allow characters to change and develop as a result of their experiences and choices.Avoid Deus Ex Machina: Don't resolve conflicts randomly or through external forces beyond the character's control.Read more on the blog

Finding the right event, getting the vendor license, and packing all your stuff to go over there and sell is all part of the prep. The South Carolina Artisan license can be found at the SC Department of Revenue (link).Some expected costs: Table ($50-200), vendor license (maybe), travel -- if you have an LLC, you can consider all of these business expenses.Some preparation consideration: Table aesthetics - what will get people's attention? How can you display your logos and branding? What props will you use to lure people? Rex has foam boards of the book covers, Kasie has QR code displays. Rex has a foam baby eating a rat, it was a Halloween store buy. What giveaways will you have? We've used candy and we've used stickers. Match the stickers to the event. Book display stands are available at Amazon and the foam board displays will have theirs in the purchase price.Some of the vendors we mentioned for giveaways: DiscountMugs.com, VistaPrint, 24HourWristBands.comTote bags - people walk around with the bags and advertise for you. This is a good onsite investment.Book pricing can and should be related to the people at the event. Consider charging what you think the people will pay. All the authors charging the same thing may not sell anything. But when Rex charges what he thinks the people will pay, he undercuts the other authors. Volume is what matters here, he says, so the more books you can put out in the world the better.How to present yourself at the table: look professional, a jacket and a nice shirt, something relevant for the event, put out a select number of books so that people can peruse them individually. Engage with people, talk to them, don't be nervous. Know something about the subject.Read more on the blog

Heather has been with us before. She visited back on Episode 261: Edit Like a Pro. Here are some details about Heather: Heather Harris-Bergevin is an author whose business, Barrow Editing, is based in Columbia, South Carolina. She, her three children, two cats, and a happy pitbull spend most of their time fighting entropy. Her own poetry books are published with By Common Consent Press, and she has an upcoming children’s picture book with Lucky Rabbit Press, based in Columbia, SC.

We always talk about how to promote your book and this week I attended (as a speaker) the Business Boot Camp for the Women in Publishing Summit team where all we talked about was authorprenuership. But there’s more to this literary life than just self-promotion. There’s a give-back element that we call literary citizenship and if you can learn to enjoy it, you can really profit from it.Five years ago, we talked about this as taking the easy way out by doing anything but writing. In 2021, we touched on the topic as it related to Paying Your Writerly Dues. And last week in our quest for inspiration, we suggested some of these activities to channel your creative vibes. This time we’re taking a list from the Executive Director of the Pat Conroy Literary Center, Jonathan Haupt, who presented on the topic at last week’s Joy of Writing conference for the SCWA. We’re going to expound upon each of these topics on the air. No segments today, just working the list:Join a writers’ groupGo to a writers’ conferenceBe a loyal customer to your local indy bookstoreWrite reviews for your favorite indy bookstoresAttend author talks and book signingsSend than you letters, notes, and messages to authorsLike, comment, share, subscribe to authors’ digital contentPost reviews for books you enjoyGo to book festivalsBe the “in conversation with” hostBe a library patron, better yet, a Friend of the LiberarySupport literary journals and magazinesBe a literacy volunteer at your local schoolsDonate books to the Little Free LiberariesJoin the Authors GuildJoin a book clubJoin Authors Against Book BandsAdvocate for the rights to read and write freelyChronicle the times in which you liveSupport the arts and your fellow creativesBe a literary touristRead.Read more on the blog

We always talk about how to promote your book and this week I attended (as a speaker) the Business Boot Camp for the Women in Publishing Summit team where all we talked about was authorprenuership. But there’s more to this literary life than just self-promotion. There’s a give-back element that we call literary citizenship and if you can learn to enjoy it, you can really profit from it.Five years ago, we talked about this as taking the easy way out by doing anything but writing. In 2021, we touched on the topic as it related to Paying Your Writerly Dues. And last week in our quest for inspiration, we suggested some of these activities to channel your creative vibes. This time we’re taking a list from the Executive Director of the Pat Conroy Literary Center, Jonathan Haupt, who presented on the topic at last week’s Joy of Writing conference for the SCWA. We’re going to expound upon each of these topics on the air. No segments today, just working the list:Join a writers’ groupGo to a writers’ conferenceBe a loyal customer to your local indy bookstoreWrite reviews for your favorite indy bookstoresAttend author talks and book signingsSend than you letters, notes, and messages to authorsLike, comment, share, subscribe to authors’ digital contentPost reviews for books you enjoyGo to book festivalsBe the “in conversation with” hostBe a library patron, better yet, a Friend of the LiberarySupport literary journals and magazinesBe a literacy volunteer at your local schoolsDonate books to the Little Free LiberariesJoin the Authors GuildJoin a book clubJoin Authors Against Book BandsAdvocate for the rights to read and write freelyChronicle the times in which you liveSupport the arts and your fellow creativesBe a literary touristRead.Read more on the blog

We’re in the dog days of summer which can lead to a slow, reluctance to turn to the screen or the page and get new stories generated. Why do we feel this?What can we do about it?This writer offered a few tips and tricks:Read, read and read again – other writers can gently or violently shake something free in usSurround yourself with other writers – group, conferences, readings, book stores, go where the writers areBe open to conversation – you might avoid too much socializing when you’re focused, but right now you need conversation, so seek it outSpend time elsewhere – travel or retreat, get into a new space to shake yourself out of mundaneityOur AI answers also suggest immersing yourself in the world. But being intentional about it is what matters. Don’t just move through the world, observe and record what you’re seeing and let those observations light the fuse to new stories.Segment 2Let’s talk about creativity as an inspiration. Do you watch other stories? Veer into nonfiction books? See concerts or artwork? Some image or phrase might inspire you to write the backstory or the what-happened-next. Sometimes movies can have a side character that makes you want to write what that character might be doing otherwise.Can you be spontaneously inspired? What are the results of such experiences? Novels? Short stories?Segment 3Planned writing exercises? Yes, please. Some prompts might start a new story or inspire a character or longer work.I like a writing prompt exercise but sometimes others’ prompts are dumb. Where do you get writing prompts?Google AI. For real. Just ask it for writing prompts for adult writers. Otherwise you’ll get a bunch of elementary school prompts like “how was your summer vacation?”Read more on the blog

It’s been a while since we did the grab bag thing. Here are some place to start but we’re sure to wander off and just riff a bit. I asked Gemini “What are Writers asking AI?”How can AI assist with research and brainstorming? AI can help writers research topics, generate outlines, and brainstorm ideas for stories or articles.Can AI help with editing and proofreading? Yes, AI writing assistants can offer real-time suggestions for grammar, style, and structure, improving the overall quality of writing.How can AI be used to enhance creativity? AI can generate prompts, scenarios, and alternative perspectives to help writers overcome creative blocks or explore new ideas.Can AI tools be used to tailor content for different audiences? AI can assist in analyzing audience demographics and preferences to customize the tone, style, and content to specific segments.Some writers are worried about AI. They ask:Will AI replace human writers and artists? This is a significant concern, especially in fields like scriptwriting and content creation, where AI could automate tasks traditionally performed by humans.How will AI affect writers' income and compensation? Writers worry about the potential for downward pressure on wages due to the increased competition and automation offered by AI.What are the ethical implications of using AI in content creation? This includes questions about copyright infringement, plagiarism, biases in AI models, and the transparency of AI-generated content.How can intellectual property be protected in an AI-driven world? Concerns exist about AI systems being trained on copyrighted material without compensation or permission, leading to legal challenges and uncertainty about ownership of AI-generated content.How can the uniqueness and value of human-written work be preserved? Writers and industry professionals are exploring ways to differentiate human creativity from AI's capabilities and ensure fair compensation for human artists.On X:One writer asked, what are you writing that no one seems to want? – i.e. the MSWL for agents and publishers may not include your WIP.Read more on the blog

It’s been the summer of the Seven Deadly Sins series. This blog gives a quick summary of all seven sins and some examples of how to use them. The Seven Deadly Sins (this link) in Roman Catholic theology, are the seven vices that spur other sins and further immoral behavior. First enumerated by Pope Gregory I (the Great) in the 6th century and elaborated in the 13th century by St. Thomas Aquinas.The sins are:PrideGreedLustEnvyGluttonyWrathSlothWhat is wrath? Anger? Hate? Straight to the source, Christianity.com says this about wrath: Wrath can be summarized as strong vengeful hatred or resentment. The warnings of wrath in Christianity arise from the consequences of vengeance in human relations. We can become consumed by rage and revenge to the point of acting irrationally and immorally. This is the wickedness of wrath and why it is included as a deadly sin.Some books where wrath plays a critical role (link):Lord of the Rings - Sauron - “evil scourge of Middle Earth” says enoughThe Wonderful World of Oz - the Wicked Witch of the West sends all the things to kill DorothyThe War of the Roses - a couple’s failed marriage turns into spite and wrathThe Godfather - Michael’s almost entirely motivated by wrath of the vengeance varietyHarry Potter - certainly Voldemort (Tom Riddle) but also Bellatrix Lestrange, Sirius Black, and Severus Snape all act out of wrathBond books - specifically supervillain SPECTRE leader Ernst Stavro Blofeld (featured in three Bond novels and six films) is one wrathful guy—and arguably the most diabolical of all of Bond’s nemesesMoby Dick - personifying wrath as vengeful God (i.e. nature) and Ahab’s tireless questOthello - we know the revenge, the manipulation but Iago’s actions come from a place of deep hatred for Othello, he weaponizes his hateStephen King gives us It and Carrie, both wrath-driven title charactersWrath is a “sneaky” sin because it can simmer for years before a character takes action. It can also fuel microaggressions and show itself only in a slow drip, not a tornado invasion.ProWriting Aid’s series on character traits is useful (we’ve used it the last two episodes). They list these as possible causes of anger or wrath (link):Chronic stress or anxietyGenetics or family history of anger issuesFeelings of injustice or unfair treatmentInability to manage emotions effectivelyLearned behavior from family or peersPersonality disorders such as borderline personality disorder or antisocial personality disorderFrustration with life circumstances or feeling powerlessTraumatic experiences such as abuse or neglectSubstance abuse or addictionRead more on the blog

The Seven Deadly Sins (this link) in Roman Catholic theology, are the seven vices that spur other sins and further immoral behavior. First enumerated by Pope Gregory I (the Great) in the 6th century and elaborated in the 13th century by St. Thomas Aquinas.The sins are:PrideGreedLustEnvyGluttonyWrathSlothWe’ve done these before (episodes 151–157), but it’s been a while and this time we’re going to sharpen the focus on the sins as potential stakes-raising behaviors.DeadlySins.com gives us this definition: “Envy is the desire for others’ traits, status, abilities, or situation.” It happens when one is convinced others are smarter, luckier, more attractive, or better than themselves. The punishment is to be put in freezing water in the afterlife.  Also according to DeadlySins.com, “medieval theologian Thomas Aquinas said of Envy: “Envy according to the aspect of its object is contrary to charity, whence the soul derives its spiritual life… Charity rejoices in our neighbor’s good, while envy grieves over it.” (2, 36, ad 3)”What kinds of characters are envious? What kinds of envy are there?What famous characters have acted on envy to upend a protagonist’s efforts?Read more on the blog

We took last week off for the holiday weekend but we’re back this week to finish the Seven Deadly Sins series. Remember we did this one before, but it’s been a couple of years. This blog gives a quick summary of all seven sins and some examples of how to use them. The Seven Deadly Sins (this link) in Roman Catholic theology, are the seven vices that spur other sins and further immoral behavior. First enumerated by Pope Gregory I (the Great) in the 6th century and elaborated in the 13th century by St. Thomas Aquinas.The sins are:PrideGreedLustEnvyGluttonyWrathSlothLike I said, we’ve done these before (episodes 151-157), but it’s been a while and this time we’re going to sharpen the focus on the sins as potential stakes-raising behaviors.This week’s focus is Gluttony. What do we know about gluttony? Let’s ask AI.Gluttony is often associated with overeating, but it can also refer to overconsumption, such as drinking too much or bingeing on Netflix. A gluttonous character may prioritize their own pleasure and satisfaction over their health or responsibilities, and may struggle with self-control and moderation. A primary goal for the gluttonous is comfort, and they may seek an overabundance of any item that's pleasurable to achieve constant pampering. Some examples of gluttony in literature include:Beauty and the Beast: Gaston eats five dozen eggs every morningCloudy with a Chance of Meatballs: The mayor, Bruce Campbell, keeps getting fatter as he gets more corruptJabba the Hut from Star WarsFalstaff from Henry VRead more on the blog

It’s been the summer of the Seven Deadly Sins series. This blog gives a quick summary of all seven sins and some examples of how to use them. The Seven Deadly Sins (this link) in Roman Catholictheology, are the seven vices that spur other sins and further immoral behavior. First enumerated by Pope Gregory I (the Great) in the 6th century and elaborated in the 13th century by St. Thomas Aquinas.The sins are:PrideGreedLustEnvyGluttonyWrathSlothWhat is sloth? This link is “What is sloth and why is it worse than laziness?” and here’s what the author says: “The sin of sloth is a bit deeper than laziness, and that subtlety is found in the thing that keeps us bound up: fear.”How does fear affect sloth? The dark side here is the lack of motivation or a person’s choice to accept the easy way, the lowest risk, by doing nothing. The Bible calls out idleness or failure to think toward the future and plan for it. SlothfRead more on the blog

The Seven Deadly Sins (this link) in Roman Catholictheology, are the seven vices that spur other sins and further immoral behavior. First enumerated by Pope Gregory I (the Great) in the 6th century and elaborated in the 13th century by St. Thomas Aquinas.The sins are:PrideGreedLustEnvyGluttonyWrathSlothWe’ve done these before (episodes 151–157), but it’s been a while and this time we’re going to sharpen the focus on the sins as potential stakes-raising behaviors.According to DeadlySins.com Pride is excessive belief in one’s own abilities. It interferes with the acceptance of God’s grace and is the sin from which all others are born. It’s also called vanity. So let’s unpack that.Read more on the blog

This blog gives a quick summary of all seven sins and some examples of how to use them. So reading it might mean you don’t need our seven episodes but how about come along for the ride anyway?The Seven Deadly Sins (this link) in Roman Catholic theology, are the seven vices that spur other sins and further immoral behavior. First enumerated by Pope Gregory I (the Great) in the 6th century and elaborated in the 13th century by St. Thomas Aquinas.The sins are:PrideGreedLustEnvyGluttonyWrathSlothWe’ve done these before (episodes 151–157), but it’s been a while and this time we’re going to sharpen the focus on the sins as potential stakes-raising behaviors.This week’s focus is Greed. According to deadlysins.com “Greed is the desire for material wealth or gain, ignoring the realm of the spiritual. It is also called Avarice or Covetousness.”In the Summa Theologiae, Medieval theologian Thomas Aquinas said Greed: “it is a sin directly against one’s neighbor, since one man cannot over-abound in external riches, without another man lacking them… it is a sin against God, just as all mortal sins, inasmuch as man contemns things eternal for the sake of temporal things.” (2, 118, ad 1)According to SimplyCatholic.com: Greed: the desire for and love of possessions. “Sin … is a failure in genuine love for God and neighbor caused by a perverse attachment to certain goods” (No. 1849).The literary trope is the miser and some of the most well-known misers are (link) Silas Marner, Ebenezar Scrooge, and Shylock.BUT, greed isn’t always about miserliness. Sometimes it’s about the accumulation of wealth or power (link).Read more on the blog

This blog gives a quick summary of all seven sins and some examples of how to use them. So reading it might mean you don’t need our seven episodes but how about come along for the ride anyway?The Seven Deadly Sins (this link) in Roman Catholic theology, are the seven vices that spur other sins and further immoral behavior. First enumerated by Pope Gregory I (the Great) in the 6th century and elaborated in the 13th century by St. Thomas Aquinas.The sins are:PrideGreedLustEnvyGluttonyWrathSlothWe’ve done these before (episodes 151-157), but it’s been a while and this time we’re going to sharpen the focus on the sins as potential stakes-raising behaviors.This week’s focus is Lust. When we did this in Episode 155, I was writing novels with a good bit of sex in them. Weirdly, that hasn’t changed. In fact, the motivation of Lust is even more relevant to my vampires who are equally motivated by thirst.Last time we started here:What is lust? According to Wikipedia:Lust is a psychological force producing intense desire for an object, or circumstance while already having a significant other or amount of the desired object.[1] Lust can take any form such as the lust for sexuality (see libido), money, or power. It can take such mundane forms as the lust for food (see gluttony) as distinct from the need for food. It is similar to but distinguished from passion, in that passion propels individuals to achieve benevolent goals whilst lust does not.Going straight to the source, Christianity.com gives us this:Lust is essentially to crave something, usually associated with worldly desires of sexual intent or material possessions. Lust has as its focus gratifying oneself, which often leads to toxic actions to fulfill one’s desires without consideration of the consequences. Lust springs forth from selfishness and greed.Lust is considered a sin because it puts physical, human impulses above Godly or spiritual pursuits. Not unlike greed, lust is insatiable and similar to pride, is focused on the individual, not the betterment of family or community. Are there any benefits to lust?Read more on the blog

We once did an episode on the character’s core wound and what’s occurred to me lately in my reading is that the core wound makes a really good secret. Something the character isn’t willing to admit to himself.Charlie started watching Ted Lasso and in a recent episode he told his wife she didn’t need to keep trying to be happy with him. He let her go. I think the secret he was keeping – and something that made him a really compelling character – is that he knew he couldn’t optimism his way out of that situation. He couldn’t believe his way through it. His core value – the power of positive thinking – doesn’t always work.So, today’s topic: What secrets are your characters keeping? Which ones are really dangerous? Which ones aren’t?Let’s start with why your character should be hiding something. This article suggests secrets can add tension to the story, can give your characters a chance to grow, and add depth and complexity to the story. Where does the depth and complexity come from? The secret should be connected to the character’s goal. The depth comes in secondary and third-layer reasons for what they’re trying to do. Does the secret make it harder to achieve the goal? It can also add complexity to the mission if the secret affects the character in a certain way – does thinking of it make them sick? Make them sad?When will the character come clean? Choosing the time to reveal the secret is critical. It should be a choice the character has to make – revealing the secret will move the plot in a specific direction. Read more on the blog

We’ve seen non-linear storytelling sometimes without knowing it. This article does a great job explaining what linear stories are:In a linear narrative structure, the viewer finds it facile to comprehend the way the narrative is moving. This is mostly because the viewer is naturally fed with all the information required to process whatever is happening on screen.And then explaining what non-linear stories do:However in a non-linear narrative structure, the viewer has to use his head in order to connect the dots. Non linear narrative structures are usually adopted to build suspense, to create tension or generally to create a sense of mystery within the spectator. The most crucial aspect of a non-linear narrative structure is that the narrative does not adhere to the norms of a generalized method of storytelling. In other words, in a non-linear narrative structure, there is no hard and fast rule to strictly follow a chronology.Some types of non-linear narratives:Analepsis or a flashback – used to establish critical backstory, probably only used once or twice.Zigzag – alternating between two different timelines, often for the compare/contrast (like The Godfather II) and sometimes to provide answers in one narrative with the exposition of another (like in Memento)Prolepsis – or a flash forward, showing things that will happen in the futureSyllepsis – or grouping multiple characters or stories to tell parallel stories that eventually interconnect (think Love Actually) or have some adjacent ideas or charactersRetrograde – chronological storytelling in reverse chronological order – Mulholland Drive is an example, as is one story of The Last Five YearsAchrony – disconnected, disjointed, disorganized (like Inception) with no real connection between the order in which events occur and the order in which they’re toldChronicle – events occur simultaneously but are told in no specific order (like Pulp Fiction) popular in disaster moviesRead more on the blog

Since last episode we worked on non-linear, this week we’re on the linear conversation.Linear Storytelling (from this link)Linear storytelling, the conventional and time-tested approach, follows a chronological sequence. It presents events in a straightforward manner, adhering to a clear cause-and-effect progression. This structure provides a sense of order, enabling audiences to follow the narrative with ease. A classic example of linear storytelling is the hero’s journey, where the protagonist embarks on a transformative adventure that unfolds in a linear fashion, from initiation to resolution.Advantages of Linear Storytelling (from this link)1. Clarity: Linear storytelling offers a straightforward and easy-to-follow narrative structure. It provides clarity to the audience, allowing them to comprehend the story’s progression without confusion.2. Emotional Buildup: The chronological sequence allows for a natural buildup of tension, emotion, and suspense. This gradual development creates a powerful emotional impact on the audience, drawing them deeper into the story.3. Traditional Appeal: Linear storytelling aligns with the traditional storytelling format, making it a familiar and comforting experience for many audiences. It caters to a sense of expectation and satisfaction derived from a well-structured narrative.Read more on the blog

Have we ever done a show on May the 4th? Yes. Way back in 2019 we were 41 episodes into this journey and working through the hero’s journey (perfect timing) so we did a little May the Fourth be With You in that episode (link here).So today we’re going to focus on Star Wars, not just sidebar it, and talk about worldbuilding (like this episode) and apprentice-mentor relationships (like this one) and writing in existing lore (like this episode).So what is Star Wars? Here’s an entire YouTube channel dedicated to explaining Star Wars to you. With 4,028 videos. Yep.The basics are - there’s a sith lord that wants to take over the galaxy and does and builds a strict and evil empire. What’s a sith? Someone extra powerful with the darkside of the force. What’s the Force? It’s an energy that lives in and all living things in the galaxy and it’s wielded like magic by the Jedi. Who are the Jedi? They’re knights meant to protect the galactic senate (the rule making body of a democratic republic) - a body of equal representation for every star system that is thrown over by the sith lord.The story began for all of us in 1977 with Episode IV: A New Hope. In this movie, we meet Luke Skywalker, son of a deceased Jedi knight thrust into a hero’s journey.We have a special guest in the studio this week, Hollie Whitener. They don’t give PhDs in Star Wars but if they did, this kid would be halfway there.We’ll see where the conversation takes us. Everything is fair game.Read more on the blog

It’s the end of the term for me (Kasie) and so that time of year when I’m ruing the way I set up my class and how labor intensive all the grading is. I’m also fielding emails from students looking for a few more points and begging for higher grades. Sigh.As such, I’ve had very little time for anything else although I did manage to take six more pages in the vampire rewrite to our writers’ group meeting on Wednesday. Slow progress there.Didn’t have a topic for today. So I took to the internet to see if any writers were asking something magical we could unpack for a full hour. There’s a few here but mostly it’s one shot and done. So it’s a GRAB BAG week.Read more on the blog

So Rex has been hired to help someone build a new Dungeons & Dragons game. As Gamemaster, he has some specific responsibilities. Maybe he can tell us about them? The game’s owner needs to organize himself and his resources and this is an experience we’re all familiar with.So today we’re talking about some major projects and the general (and specific) tools and techniques for organizing them.Examples of major projects that we’ve worked on:A novelA short story collectionA podcastAn anthologyA websiteA book launchSome common themes and questions to ask:What is the purpose of the project?Who is the target audience?How will I reach that audience?What resources do I need to accomplish this?What resources do I already have?Some common barriers:What do I not know about the work I’ll have to do?How much time do I have available to allocate to this project?What are my deadlines?What do I need to get from others and how long will they have to complete their parts?Read more on the blog

After we fully explained beginnings last week and kept coming up with the benign suggestions of “make it interesting” and “show don’t tell” we figured we ought to dive deeper into the bricks of the “show” universe. Those bricks are adjectives and they’re used to describe nouns and pronouns.Adjectives are modifiers. They modify a noun to make it more specific. House becomes tiny house. Cat becomes lazy cat. Grandfather becomes grumpy old man. Full explanation here.So when should a writer use them? Like all things, there’s a blog about that. Find it here. But in general, here’s the suggested guidelines:Brevity - don’t over do it. In drafts sometimes we’ll have two adjectives and then revise it to one or none. If the noun can get the job done, it doesn’t need the adjective.Specificity – be specific about what you’re describing. The adjective should do the work of narrowing the reader’s WIDE imagination into the very specific image you want to impart.Types of adjectives:Telly – informing or surmising such as “She was angry.” in which case, we see the summation of her emotion as ‘angry’ instead of the symptoms of that emotion like a glare, narrowed eyes, or some other indicator of rage.Showy – dramatize or activate the noun such as “The drink was fizzy and cheerful.” You might just say “The drink fizzed cheerfully.” to replace the weak “to be” verb, but either way “fizzy” is a pretty descriptive word.Overwriting – applying multiple adjectives like “he London bus was big, red, and smelled of lentils.” We know it’s big and red, it’s London. The interesting part is its smell but if the sentence read “big, red, and smelly” we wouldn’t really know what it smelled of, would we?Read more on the blog

It’s been a couple of years since we dealt with first lines and opening pages and in our revision efforts, we only just touched on where the story should begin and how many times we’ve rewritten Page 1.So today we’ll look at what makes a strong opening page, how to work through the opening scene in revision, and whether you need to revisit that opening scene in subsequent pages or at the end (kiss the beginning as they say).We’ve done this topic before, as mentioned, in Episode 94 way back in 2020 and again in Episode 171 but that was in January 2022. So we’ve learned a lot since then. Right?This time, we’re going deeper in the rabbit hole. I’ve taken the links from our blog and clicked through their links. It’s very meta.Let’s start with this “How to Start a Story: 10 Tips from Literary Editors” (we should have run these by Heather last week):Start with something unexpected (they gave the 1984 example - clocks striking thirteen)Start with a compelling image (leverage the 5 senses - what does it smell like here?)Start in media res (we did a whole show on this) – get right to the action, just make sure your reader isn’t untethered from the character so much so they don’t care what’s happening no matter how exciting it isStart with something short. An observation that makes us curious enough to read further.Start with a question. But not a question, really, except that it makes the reader question or maybe the main character is questioning something.Start with curiosity. Give enough to make the reader curious but don’t make it so cryptic they’re frustrated by it.Start with building the world and the setting. If that setting is dynamic - a storm coming in, the coast after the storm has receded, the busy terminal of a train depot, etc. Or could a peaceful stroll through a quiet town interest a reader enough to keep reading?Start with something new. So this is that insipid “be creative!” advice that we loathe, but the example of it: I write this sitting in the kitchen sink. Is actually more explanatory. It means to use your writing to say something that hasn’t often been said or to pose an unpopular opinion.Start with tension that has room to grow. So, rather than the literal explosion, something intense that leaves room for the scene to grow or be revisited.Start with something that will intoxicate your reader (I know, I know, ‘how?’). Remember your POV, put yourself in that position, share his/her experience in a way that draws the reader in.Read more on the blog

You’re on what version of this vampire novel? Tenth? Yikes. It’s called revision and it lasts an indeterminate amount of time. What to google to prepare for this conversation:How many revisions does a novel need?How long does revising a novel take?What is a reasonable revision schedule?What is a good revision process?Where should someone begin when revising a novel?Why does revision get such a bad rep?The answers, of course, are 10, two weeks, every waking minute until it’s done, and beginning-to-end, repeat.Only joking. Mostly. In truth, revision is as personal as writing and every writer does it differently. Show’s over. Joking again. We’ll unpack a few approaches and set some expectations and also explain what these different levels of revision actually are.Revision - this is a holistic look at the story, characters, plot, etc. You’re re-visioning, seeing it again. This requires distance on the original creation of the thing.Editing – this is the scene-by-scene paring down or pillowing out of the novel. Where do we get too much description of 17th century modes of travel and where could we use more description of the murder’s collared shirt?Proofreading – this is grammar, punctuation, and if you’re a true stickler, it’s where youRead more on the blog

Let's talk about Dragon Boat racing first. What is this sport? Who does it? How does it work?Why was Dragon Boat racing the right occupation for Tripp Avery? What is it about the challenge of Dragon Boat racing that requires more of Tripp than anything else he's done? He worked his way up from poverty to prosperity, became a 'someone' out of 'no one' roots, so how is Dragon Boat racing a different kind of challenge?We all write what we know. Some of Tripp is some of Roger -- just as some of Brian Listo from After December is part of Kasie -- so how protective are you of Tripp as a character? I am fierce about Brian (flaws and all) so I imagine you're especially attached to Tripp. What made you decide to go first-person narrator with Tripp and put us in his head for the entire book?Some of the book takes place in Charleston. A city you know well. What opportunities did setting the book there give you to celebrate (or maybe question?) Charleston as you know it? How important is setting to the story?There are some great characters and relationships in this book. Among them are Amy, Tripp's wife, with whom he has a special bond celebrated through their mutual love of flowers. Amy is the one who encourages Tripp to coach the Dragon Boat in Beaufort. It's a devastating loss in a previous coaching life that makes Tripp reluctant to compete with such fragile athletes. How important is Amy's encouragement to get Tripp to take another risk like coaching the Dragon Boat? What does she know about Tripp that he doesn't know (or believe) about himself?Tripp questions (in Chapter 12) if his commitment to the Dragon Boat work is his own love of turning underdogs into champions. There's a kind of selfishness to the undertaking, which he seems acutely aware of, and which he battles with throughout. In his "pep talk" he reminds the athletes that cancer is not an excuse and warns we will not allow them to humiliate themselves or each other by not giving all they have to the undertaking. What is it about a cancer diagnosis that brings this kind of determination to the front of any character?The Final Victory is a difficult book, one that looks at mortality with eyes wide open and challenges readers to make the best of every minute they've been given in this life. Said one reader, "I had to put it down for a while." The journey for Tripp and his boat mates may hit a little close to home. But through its grief and triumph, the spirit of the novel is to be encouraging, to be certain good things can come from bad circumstances. Buy it local here.Read more on the blog

So two weeks ago, we talked about basic outlines and discussed the turning point method versus the beats method for figuring out the structure of the story. Then last week we went into the 3 Act Structure and basically whined about Aristotle.In searching for 3 Act Structure resources, I found this link gives us 11 basic structures:The Fichtean CurveThe Three Act StructureThe Hero's JourneyFreytag's PyramidThe Five Act StructureSave the Cat BeatsThe Snowflake MethodDan Harmon's Story CircleThe Seven Point Story StructureThe Story SpineIn Media Resand OMG there’s some NAMED types here. So we’re doing that today.I guess if you make the shit up, you get to name it. So let’s unpack Fichtean, Freytag, and San Harmon this week.Read more on the blog

We’ve spent a few weeks on the various plot structures available and basically been working off this resource that gives us 11 basic structures:The Fichtean CurveThe Three Act StructureThe Hero's JourneyFreytag's PyramidThe Five Act StructureSave the Cat BeatsThe Snowflake MethodDan Harmon's Story CircleThe Seven Point Story StructureThe Story SpineIn Media ResWe’re now down to numbers 5, 7, 9 and 10, leaving out 11 because we covered it here and three because that deserves a point-by-point breakdown which we gave here and here and here. Though it’s been a few years, so we might go back to it..Read more on the blog

We did some revision work last week and didn't get to this part of the show notes. So here we go, a whole episode on what would have been one segment last week. ::wideeyedemoji::So how is it actually done? Well, here’s the link explaining what Six Pass Plan among others:The Framework PassThe Story PassThe Plot/Scene PassThe Feedback PassThe Writing PassThe Tweaking PassThese aren’t really after-the-fact at all. They’re in fact a process for drafting and revising. The Framework Pass is actually the discovery of the novel, your first pass at it where you build in the basics of the plot, characters, setting, etc. You might try different points of view how the story will be told, distance from the narrator, that kind of stuff here.The Story Pass is still big-picture stuff, only it’s not writing stuff (like POV), it’s story stuff like character motivation and plot holes.The Scene Pass is where you examine each and every scene for its impact on the novel and its fitness or rightness for the overall book. Don’t skip this step, this is where you really tighten up your writing and find those lackluster or lagging places.The Feedback Pass is where you give the novel to others to respond. This is usually after the beta readers have rendered their mark ups and you are incorporating their feedback or making their suggested changes. Did you notice how the first draft wasn’t given to readers yet?The last two passes – Writing Pass and Tweaking Pass – are you going through to edit the writing. Sentence structure, repetition, phrasing and length of paragraph and chapter. The tweaking pass may be spellcheck, grammar, and punctuation, too.Next week, we have areal editor joining us to talk abRead more on the blog

It’s been more than a year since we studied plot arcs and even then we didn’t grab the recordings and add them to our podcast service. So we’re reviving those conversations for a few weeks to get some good episodes for the podcast.Missed a week of Write On SC? Nostalgic for those oldy-but-goody topics? Check out our podcast library on Apple, Google, and Amazon.ProWritingAid’s take on this story arc conversation can be found here. But here are some notable highlights:Stasis. This is the current situation you find your main character in.Trigger. This is an inciting event that changes the course for your main character.Quest. The trigger results in a quest for your main character to achieve a goal.Surprise. These are complications that prevent your main character from achieving his goal.Critical Choice. This is when your main character chooses what path to take and confronts the obstacles.Climax. The critical choice results in the climax, the peak of tension in your story.Reversal. Your character is changed in some way.Resolution. The story ends with a satisfactory closure.These are high-level plot points. The Save the Cat beat sheet is more detailed:(15-beat structure of Save the Cat!)Opening image – catapult your audience into the storyTheme stated – what is this story about?Set-up – includes the “old” world or the regular world, how things are before the disruption; establish place, characters, and hint at conflictCatalyst or inciting incident – disrupt the status quo, but protagonist isn’t in it quite yetDebate – will they or won’t they? What’s at stake? Should the protagonist get in this fight?Break into two – the clear choice between the protagonist’s options and the choice gets madeB story – whatever subplot you have planned should commence hereFun and games – protagonist learns new tricks, advances in new skills, starts to figure stuff outMidpoint – this may be a realization, may be a complication, may be the end of the escape hatchBad guys close in – something has happened that brings the danger closerAll is lost – the inevitable moment where the protagonist realizes this is just too hard (impossible!)Dark night of the soul – protagonist has actually lost hopeBreak into three – character claws around looking for options and trying to salvage the mission, possibly having to overcome some deep fear or damning beliefFinale – character synthesizes what they’ve learned and applies the solution to the problemFinal image – leave the reader/audience seeing/feeling the theme of the storyRead more on the blog

So last week we talked about basic outlines and discussed the turning point method versus the beats method for figuring out the structure of the story.We debated whether or not to write from a detailed outline in the initial draft – it provides direction, it stifles creativity – the age-old debate of planner vs. pantser. In any case, we agreed the outline is useful for knowing the trajectory of the characters and the plot.Which brings us to the common structures for a piece. This link gives us 11 basic structures:The Fichtean CurveThe Three Act StructureThe Hero's JourneyFreytag's PyramidThe Five Act StructureSave the Cat BeatsThe Snowflake MethodDan Harmon's Story CircleThe Seven Point Story StructureThe Story SpineIn Media ResWe covered the Save the Cat beats last week and the Seven Point Story Structure is basically the turning point structure. So this week we’ll look at the 3 and 5 act structures and then tackle some of the others next week.Read more on the blog

So we’ve been working on perspectives of the narrator the last few weeks and at the end of each episode we talked about how to choose. But today I thought we’d do something fun by imagining some pretty famous (well known) stories from someone else’s perspective.Segment 1But first! We have two very special guests in the studio this morning. Let’s introduce them and talk about how they’ve supported us and the show.Segment 2/3What is perspective? It’s the lens through which we view the story. Most of us are the hero in our own story and that’s true for fiction, too. Many of our villains don’t think they’re bad, they’re just doing what they need to do, what they feel called to do. Think of the retelling of The Karate Kid from Johnny’s perspective – this punk kid moves in from out of town and starts challenging everything. Ruining his senior year.So, what about some of these stories:Star Wars from the perspective of the Empire, or from Leia’s perspectiveGone With the Wind from Melanie’s point of view, or from Ashley’s perspectiveHarry Potter as told by Neville Longbottom – this is actually a fan ficGoonies and Home Alone from the villains’ perspectivesThe Incredibles from Frozone’s perspectiveRocky from Adrienne’s perspectiveOr these Christmas stories:A Christmas Story from the mom’s perspectiveHow the Grinch Stole Christmas from the perspective of the Whos in Whoville or Max the dogA Christmas Carol from Tiny Tim’s perspectiveRead more on the blog

Our first conversation about film adaptations of books happened way back in August 2019 with episodes 54 & 55 – we talked so much we had to continue it out the next week. But yesterday was National Screenwriters’ Day and so I delivered my five inimitable screenwriters on the morning show:Tina Fey — Mean Girls, 30 Rock, Saturday Night LiveThe Coen brothers — The Big Lebowski, Raising Arizona, o Brother Where Art Thou, and FargoJulius J. And Philip G. Epstein and Howard Koch — CasablancaGreta Gerwig — The Barbie Movie, LadybirdAaron Sorkin — The West Wing, The NewsroomOnly the Casablanca crew was working from source material, and that was a play. The others were written for the screen, specifically.So what about that category at the Oscars of “best adaptation” – what makes adapting harder (is it?) than creating for the screen?Last April we visited specifically the adaptations process with Episode 228 with the focus on the origin of the story. And today we’re going to expound upon that with the craft of bringing the book alive with some great ones and some terrible ones.For example, what’s the difference between Wonka as played by Gene Wilder and Johnny Depp? They both have the same source material. So why are these interpretations so different?I just watched Are You There, God? It’s Me, Margaret. which was a Judy Blume novel in the 70s and became a cool retro look at teenage-ish girls 50 years later.There’s a great line in Entourage (I think) where Jeremy Piven’s character says something to the effect of, “if screenwriting is hard, why do Matt Damon and Ben Affleck have Oscars?”Read more on the blog

So we’re in the middle of the “Must Read” challenge and Rex has completed 50% of the recommended texts and Kasie has completed 0%. How should we punish her for not doing her homework?But really, why we’re here this week is to celebrate the new version of Road House being advertised. Haven’t seen the trailer? Here it is.So, should old(er) movies be “rebooted” or remade into modern versions? Today we’ll take on the debate.Assigned talking points:Rex – the classics: what old movies have been re-made that are better in their original form? (mostly Kasie and Hollie will listen and nod because we won’t have seen most of these)Hollie – the animated/live action travesty – why does every story need at least two versions?Kasie – why is it okay to try to re-vise (re-vision) the same story - Shakespearean upgrades, etc.Feels like we won’t need much more than these prompts, but if you’re interested in links to th relevant arguments, we’ll add those after the show.Read more on the blog

Is there any more arbitrary experience than Groundhog Day? It’s a day when an entire town lets a rodent predict the future. Or the weather anyway. Several questions:Is there any other profession besides weatherman insulted by the insinuation that an animal could do it as well or better than them?Is there any other animal with psycho abilities equal to the groundhog (who, by the way, is wrong like 80% of the time)?Is there any other tradition that is so meaningless and yet has persisted this long?The answer to all of these questions is yes. Because humans are not always very smart.Let’s start with animals who predict the future: before meteorologists we humans needed to know if it would rain and stuff and we relied on the animals’ superior senses (this link):Cows lie down and dogs eat grass before it rainsWoolly bear caterpillars have less color before a cold spellOak leaves reach a certain size (a squirrel’s ear) and that’s when it’s time to plant cornMigrant birds can hear the undetectable to humans infrasound that indicates a storm on the wayCows, sheep, and dogs have all been recorded as having hyperactivity before an earthquake.But it’s not just the weather, animals have senses about other things, too:Oscar the nursing home cat predicts the imminent death of patients and he’s persistent - he’ll scratch at a door to be let in and stay with the ailing—dying—until they're gone.Paul the octopus has predicted eight world cup champions from his aquarium in Germany (link) then he diedSonny Wool the sheep took up where he left off and predicted all of his home team’s matches in the 2011 Rugby World CupJim the dog, though, is even more impressive: identifying hickory trees, identifying cars by color and license plate, predict the sex of unborn children, and pick individuals from a crowd. The Missouri state legislature even tested Jim to prove his abilities and he passed. (link)Here’s an article of 20 other predictor animals (link)Read more on the blog

Couple of paired episodes last week and this one. Last week we took on first person narrators. Some good discussion (if I do say so myself) on collective first person (we, us) and the limitations of the first person narrator, including the establishment of unreliability.This week we take on the other point of view (POV) – third person. This is all those stories with the “he she they” characters. Increasingly we see a desire for “close” third so we’ll unpack that and help you identify third person when you see it.BUT FIRST! Next week is listener appreciation week and we’ll be joined in studio by a couple of fans of us and the show. Our moms! Well, it’s Rex’s mom and my mother-in-law but she’s been my Mama for 20+ years so we’ll call her mom, too. If you want to weigh in on the show, complete this feedback form.As always, Write On SC is grateful for the support of the South Carolina Writers Association. We have accepted the organization’s patronage this year and it’s helped us pay our bills and keep the lights on as they say. Thank you, SCWA for supporting the show and promoting our efforts to make better writers (and readers!) out of the audience on 100.7 The Point and our podcast audience, too.Let’s get to it: What is a 3rd person narrator?The narrator is the one telling the story and while sometimes the story is through the character’s eyes (1st person), a LOT of times, it’s more like a camera perched on one (or more) character’s shoulder observing what’s happening.Back in Episode 83: Who’s Story is this Anyway? We talked about the different POVs. So we’ll borrow some from that. That was during COVID so we mighta been a little kooky. But then, before that, in Episode 56, way back in 2019, we also talked about this POV thing. So we’ll borrow some from then, too. I even did this was back on Episode 3 with my cousin Preston, who, not for nothin, now has a PhD in Literature and teaches out at Stanford. Back then I think he was still an undergrad.So the primary advantage of third person is distance. Imagine reading all of Harry Potter’s books living in that kid’s head. Yikes. Third person lets the narrator tell the story, follow the character, but keep enough distance that we’re not bogged down with the internal monologue of our (likely) troubled protagonist.What are some books that do a good third person?Read more on the blog

We’ve had the last three weeks to do something other than this on Saturday mornings and I gotta say, this is a better use of my time (laughing emoji). November 4th was Storyfest and that was awesome.November 11th was the SC Libertarian Party state convention and that was interesting.November 18th Kasie went Clemsoning.So we’re back here, live on November 25th and we’ve decided to challenge one another to read better books. Really we just want to have read some of the same books. Longtime listeners know we have a few go-tos: Gone With the Wind, The Great Gatsby, Star Wars. But other references are a little one-sided.So we’ve decided in 2024 to get on the same page with at least 12 books. So I’ll challenge Rex to 6 and he’ll challenge me to 6. Today’s show we reveal what those books will be. Should be fun.Read more on the blog

Segment 1So we have a couple of things to catch up on first. Two weeks ago was HorrorCON. How did that go?Our dear friend and writing group lead, Ginny Padgett passed away on September 11th. So we’d like to take a moment to honor Ginny and talk about her influence on us.Segment 2In August, we talked about antagonists and their impact on the protagonist’s pursuit of his own objectives. Check episodes 241 and 242 for details. In thinking about all the elements of a successful plot, I considered taking us down the “plot arcs” road again since our shows from last December on those topics do not have recordings available for them. But I wanted to make sure we do those one after the next and since it’s football season, we’re on an every-other-week rhythm here right now.So, that said, we’ll keep looking at plot elements until we can get back to the plot types and arcs. Today’s element is conflict. Primary conflictSecondary conflictAdjacent conflicts.We did conflict about a year ago. Check out that episode here.Read more on the blog