Writing Excuses

Trina Marie Phillips joined us at Phoenix Comic Con to talk about her work as a futurist. Futurism, for those unfamiliar with our use of the term here, is related to science fiction, but it remains rooted in existing technology and trends, then seeks to be predictive in useful ways. Liner Notes: Trina mentioned some online resources (and a four-year educational program!) for those interested in working as futurists: PSFK Labs The Creators Project Singularity Hub ASU's School for the Future of Innovation in Society World Future Society Catch-phrase of the episode: "all we need is a billionaire with a secure facility and a steady supply of monkeys." Credits: This episode was recorded by Jeff Cools, and mastered by Alex Jackson. 

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Trina Marie Phillips joined us at Phoenix Comic Con to talk about her work as a futurist. Futurism, for those unfamiliar with our use of the term here, is related to science fiction, but it remains rooted in existing technology and trends, then seeks to be predictive in useful ways.

Liner Notes: Trina mentioned some online resources (and a four-year educational program!) for those interested in working as futurists:

* PSFK Labs

* The Creators Project

* Singularity Hub

* ASU’s School for the Future of Innovation in Society

* World Future Society

Catch-phrase of the episode: “all we need is a billionaire with a secure facility and a steady supply of monkeys.”

Credits: This episode was recorded by Jeff Cools, and mastered by Alex Jackson. 

We fielded the following questions about the "Thriller" elemental genre from listeners on Facebook and Twitter: How do I build tension consistently through my story? How do you maintain tension during dialog? When do you not use a cliffhanger? Do you ever picture your scenes as if they were in a movie? How much elemental thriller is too much for a book that isn't a thriller? What's the tipping point where you've switched genres? What do you do when the tension in your story peaks too early? Credits: This episode was recorded by Daniel Thompson, and mastered by Alex Jackson. 

Our Sponsors:
* Check out MasterClass and use my code masterclass.com/excuses for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com
* Check out Tin Can and use my code tincan.com/WX for a great deal: https://tincan.kids


Advertising Inquiries: https://redcircle.com/brands

Privacy & Opt-Out: https://redcircle.com/privacy

We fielded the following questions about the “Thriller” elemental genre from listeners on Facebook and Twitter:

* How do I build tension consistently through my story?

* How do you maintain tension during dialog?

* When do you not use a cliffhanger?

* Do you ever picture your scenes as if they were in a movie?

* How much elemental thriller is too much for a book that isn’t a thriller? What’s the tipping point where you’ve switched genres?

* What do you do when the tension in your story peaks too early?

Credits: This episode was recorded by Daniel Thompson, and mastered by Alex Jackson. 

Thrillers are, by their very nature, page-turners. In this episode we look at the thriller element as part of a story whose principal driver is one of the other elemental genres. We consider some examples of blended-with-thrill stories, and then drill down a bit and look at how we can incorporate this in our own work. Credits: This episode was recorded by Daniel Thompson, and mastered by Alex Jackson. 

Our Sponsors:
* Check out MasterClass and use my code masterclass.com/excuses for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com
* Check out Tin Can and use my code tincan.com/WX for a great deal: https://tincan.kids


Advertising Inquiries: https://redcircle.com/brands

Privacy & Opt-Out: https://redcircle.com/privacy

Thrillers are, by their very nature, page-turners. In this episode we look at the thriller element as part of a story whose principal driver is one of the other elemental genres. We consider some examples of blended-with-thrill stories, and then drill down a bit and look at how we can incorporate this in our own work.

Credits: This episode was recorded by Daniel Thompson, and mastered by Alex Jackson. 

Alyssa Wong, Campbell Award nominee and Nebula Award winner, joins us to talk about impostor syndrome. This is the frame of mind that many successful writers suffer from, in which they worry that they're not really good enough at writing to be enjoying their success. Worse, this mindset can prevent us from continuing to create. Many of us suffer from this, and we have some strategies to cope with it. Credits: This episode was recorded by Jeff Cools, and mastered by Alex Jackson. 

Our Sponsors:
* Check out MasterClass and use my code masterclass.com/excuses for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com
* Check out Tin Can and use my code tincan.com/WX for a great deal: https://tincan.kids


Advertising Inquiries: https://redcircle.com/brands

Privacy & Opt-Out: https://redcircle.com/privacy

Alyssa Wong, Campbell Award nominee and Nebula Award winner, joins us to talk about impostor syndrome. This is the frame of mind that many successful writers suffer from, in which they worry that they’re not really good enough at writing to be enjoying their success. Worse, this mindset can prevent us from continuing to create.

Many of us suffer from this, and we have some strategies to cope with it.

Credits: This episode was recorded by Jeff Cools, and mastered by Alex Jackson. 

Let's get this out of the way up front: in the syntax of elemental genres, the phrase "the element of thriller" is clunky. But we'll say it anyway. We discuss the difference between the drivers in thrillers, horror stories, and mysteries, and use the elemental genre tools to assist in the differentiation. We also cover the tools we use to develop and maintain the tension that is so critical in a thriller. Credits: This episode was recorded by Daniel Thompson, and mastered by Alex Jackson. 

Our Sponsors:
* Check out MasterClass and use my code masterclass.com/excuses for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com
* Check out Tin Can and use my code tincan.com/WX for a great deal: https://tincan.kids


Advertising Inquiries: https://redcircle.com/brands

Privacy & Opt-Out: https://redcircle.com/privacy

Let’s get this out of the way up front: in the syntax of elemental genres, the phrase “the element of thriller” is clunky. But we’ll say it anyway.

We discuss the difference between the drivers in thrillers, horror stories, and mysteries, and use the elemental genre tools to assist in the differentiation. We also cover the tools we use to develop and maintain the tension that is so critical in a thriller.

Credits: This episode was recorded by Daniel Thompson, and mastered by Alex Jackson.