In the last episode of the season before a long hiatus, Tim and Art discuss Tim's first 10,000 words of Draft 2, which Art has read and provided comments on. The conversation works through a range of author choices that Tim is still considering, specifically how the book is organized, the pros and cons of writing it in sequence, even down to the intentionality of the offbeat names Tim has chosen for many of his characters.

Art discusses his reasons for pivoting to screenwriting, largely as a way of learning how to do dialogue and plotting more effectively, as those have always been weaknesses. Lastly, Tim and Art make their new chapter resolutions, pledging what work they will have completed by the end of the hiatus.

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Tim reveals how some of his bad writing habits have started to creep back into his process...and what he's doing to conquer them.

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Tim discusses his experience at Theater Camp for Writers as well as a stint in a secluded home of a friend where he could live out his fantasy of being a professional writer for a week. Art explores strategies for expanding character in rewrites, especially in how supplying specific detail from real people in your life can trigger prompting questions that can help turn chracter sketches into fully realized people.

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As always, feel free to email us at [email protected].

Friend of the show Cat Hammons returns to share wisdom about the narrative hook of your work, comparing novels and screeplays in the audience's level of patience. Faster is better in screenplays, Cat asserts, laying out a compelling argument with examples from Christopher Nolan's script for "Oppenheimer."

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As always, feel free to email us at [email protected].

Tim and Art work through how to find your endings, discussing some helpful tips to prevent writing past your best ending, how to spot the best entry point into the story to maximize your payoff for the reader, and how novel endings differ in scope from short story endings.

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As always, feel free to email us at [email protected].

Art walks through a process to Organize your existing work, Cull drafts or versions that are cluttering your workspace, and Submit stories for publication. He calls it "Spring Cleaning" and swears it helps make the publishing side of being a writer easier and more productive.

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As always, feel free to email us at [email protected].

Tim and Art wrestle with the concept of finding your writing "voice," which is different from your "style." Tim asserts that voice is more subconscious expression and that style is your conscious or intentional effort. Art remains mystified how elusive voice has been for him at times, and how obvious it is when a story misses the mark.

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As always, feel free to email us at [email protected].

Art recaps his recent experience with the micro fiction workshop, then explores how the process of providing feedback to other writers can be applied to our own work.

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As always, feel free to email us at [email protected].

Tim and Art reveal the benefits of participating in the SmokeLong Quarterly March Micro Madness workshop, specifically in how it has impacted the style and quality of their feedback. Then Art poses three questions to consider when giving feedback to ensure the feedback is useful both for the receiver and the giver. Finally, the guys discuss three "dualities" that work well together for ready-made feedback topics:

• Quality of Writing vs Quality of Story
• Idea vs Execution
• Intent vs Result (to spark a dialogue with the writer)

Check us out on Linktree to connect with us or with friends of the show: https://linktr.ee/tiffininnwritingworkshop

As always, feel free to email us at [email protected].

Art explores a recent epiphany and how it can apply to your work in narrative distance at the sentence level.

Check us out on Linktree to connect with us or with friends of the show: https://linktr.ee/tiffininnwritingworkshop

As always, feel free to email us at [email protected].