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Marie Brennan joins us again, this time for a discussion about writing combat. She's studied fencing, combat choreography, and is *this close* to having a black belt in shotokan karate, bringing a valuable perspective to the discussion. Also, she's written an ebook called Writing Fight Scenes, so she knows how to talk about this stuff. We discuss some of our favorite fight scenes in movies and in books, why they work well, and how we can go about creating those sorts of things ourselves. That Scene We Couldn't Stop Gushing About: Here's a no-Netflix-membership-required version of the Daredevil fight scene. It's a teaser from Netflix, but it's unabridged. For context, Daredevil is looking for a kidnapped child, and has tracked the boy's captors to this hallway.
Words take time to read, but that's not the same amount of time that the words communicate...
Are we making progress? How do we communicate that to the reader?
Marie Brennan joins us again, this time to help us field your questions about middles. Here are the questions we collected from the various social media feeds: How do you maintain interest without having something explode every other chapter? In short fiction, how do you prevent try-fail cycles from bloating the story? How do you prevent the introduction of POVs during the middle of the story from being jarring? How do you keep subplots from turning into side quests? In longer stories, how important are "breather" chapters that ease the tension? Do you have methods for weaving plot and subplot threads together? Do you outline this, or keep it in your head? Fifty-Cent Word: Proprioception, which serves as an excellent metaphor for what expertise with a set of tools feels like. Thank you, Marie, for simplifying the whole "the tool should be an extension of your hand" thing.
Character failure is a big part of making the middle of a story work. We talk about why, and offer tips about how to make this work well for you.
Marie Brennan joins us for a discussion of polytheism (and really any belief system) in our fiction.
Lots of people struggle with the middles of their books. One way to look at the middle is that it's the point where you're no longer working on that new project that has you excited, but haven't yet gotten to the cool ending that has you excited. We talk about why the middle is important, and how you can make it enjoyable not just for the reader, but for you.
How do you "show, don't tell" a character's thoughts? We answer this question, and more!
We talk about how we define and structure scenes in our writing, and we make reference to Scene/Sequel format, the MICE quotient, and pacing.
Media Specialist Kiley Snyder joins us to talk about hooking young readers.
From the publisher's feed
Fifteen minutes long, because you're in a hurry, and we're not that smart.
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