Writing Excuses

Robison Wells joins us again, this time to help us with a discussion of writing characters with abnormal psychology. What are our resources for describing these characters in compelling, believable ways? What are the tricks, the pitfalls, and the landmines.

Brandon frames the discussion with some terms from his abnormal psych class, but let's lay down a caveat right now: none of us are experts in abnormal psych. We have done lots of research in lots of different fields, we all love learning things, but we're not doctors.

And that's where you need to start -- love learning, and research this heavily. This is an exercise in "writing the other." Dr. Laura Skellchock helps us with this research by describing what's going on with his panic disorder, giving us helpful insight into the sorts of details we'll need to make any mentally ill character believable.

In this episode Brandon, Mary, and Dan help Howard brainstorm a story for a comic!

Howard begins with an uplift-related setting, and a couple of characters, and then the group takes off on a delightful demonstration of brainstorming within very specific constraints. The constraints in this case: existing setting and canon, existing characters, and (Howard's favorite constraint) a limited page-count.

Disappointment of Epic Levels: Howard struggled so much with this story, even after the brainstorming session, that he decided to abandon the Bonus Story option for this book, and instead write a dozen new footnotes for the existing strips. This is no reflection upon the story itself. Brandon, Dan, and Mary did a great job. This story may see life someplace else, but not between the covers of "The Body Politic."

In this episode Howard pitches three story ideas to the group, and they pick one to brainstorm. The selection process is itself educational (which is good, because it runs for a third of the 'cast...)

The story selected is near-future science-fiction with extra-dimensional, magical elements. As the brainstorming continues, we grab some fun secret-history elements, and successfully deepen the conflict. We also learn that there are two stories here, and Howard has to choose which one of them to write.

And For Your Disappointment: As of this time the story laid out in this 'cast remains unwritten, so you can't read it.

But to Make Up For It: Howard got distracted and wrote a horror piece instead! Here is a sample! (Note: this wasn't one of the pitches, but it DOES demonstrate that Howard really, really wanted to get out of his comfort zone.)

Robison Wells joins us again to talk about personal health, and his brother Dan joins us from the couch where (as of this recording session) he's suffering from the recent removal of a body part. Eeew!

We start by talking with Rob about his well-chronicled mental health issues, how he dealt with them, and how he used them to inform his writing. We ask the obvious question -- are there more mental illnesses to be found among creative folk, or are we all under confirmation bias?

Mary and Howard chime in with their own mental wellness struggles, and we talk about the importance of letting other people know how we're feeling, and why we might be feeling that way. We also talk about our physical health, and how important it is for us as writers to keep track of that. Dan, Brandon, and Mary all have standing desks, and Brandon's is affixed to a treadmill (and as a result of this 'cast, Howard tried a standing desk for a month and but then gave up on it.)

This episode doesn't offer much in the way of crunchy, nuts-and-bolts writing advice, but hopefully it helps some of you deal with the issues that you now know some of the professionals suffer from as well.

Those Pictures You Wanted: Howard promised to get pictures of Brandon's tread-desk. He lied, or at least cannot find the pictures anywhere. As a consolation prize, here is a link to Robison's blog post about mental health.

Double the Wells brothers for double the fun! Robison Wells joins us for a discussion of cliffhangers. Rob and Dan can be found together on another podcast called Do I Dare to Eat a Peach.

Rob's first novel, Variant, ends with a bit of a cliffhanger, which is resolved in Feedback, the second novel. Rob confesses to us that he likes leaving readers wondering about portions of the world-building -- that's the 90% of the iceberg invisible beneath the surface of the water. He also withholds lots of information from the reader, and does so without cheating since the POV character has no way to know these things.

We talk at length about how we keep information from the reader, and how the less we tell, the more suspense we can provide.

The Variant cliffhanger is a particularly sharp one. Rob defends it for us, and talks about why he and his editors decided to conclude the first book in the series the way they did. Mary discusses how she handles pacing with internal cliffhangers at chapter breaks. Dan tells us about some interesting reader reaction to Partials.

Retellings are pretty popular right now. Game of Thrones is a retelling the War of the Roses. The Thirteenth Warrior is a retelling of Beowulf, and The Lion King is a retelling of Hamlet. Why do we write these? What do we like about them?

Familiar stories let us explore things in new ways, both because we know what's coming, and because we don't need to be brought up to speed on the story.

The line between retelling and adaptation is a blurry one, though. For writers, a good approach, especially early on, is to grab a great story, peel everything away to the plot and key characters, and start writing something new.

On This Date Five Years Ago: the very first episode of Writing Excuses appeared online. 260 weekly episodes later, here we are.

Oh yeah, it's time to break some rules! We've said that you've got to learn the rules before you break them, but here, eight seasons in, you probably already know them. So let's make with the breaking!

We talk about some of the rules we've broken, and some of our favorite broken rules in other people's work. We also talk about why any of us got away with it.

Who needs a character arc?

Do your side characters, your non-POV characters need some sort of development during the story? We cover what we mean by "arc," and we lay down some guidelines for who might need an arc, who might not, and what you might take into consideration when writing these characters.

We called it "Pets" because it's pithy, but what we're really talking about here is how to give your story's animals -- horses, dogs, cats -- a personality. Why is this important? Why might it be useful? What are the tropes and the common pitfalls? What is the difference between tortoise-shell, calico, and piebald?

(We don't actually answer that last one.)

Whether you're using animals as a sounding board, for raising the stakes, or as an early-warning system (or as all three) you'll want to give this a listen.

Beowulf didn't kill Grendel on a day trip, Luke didn't overthrow Emperor Palpatine in just one season, and here at Writing Excuses, we didn't get around to properly discussing the Hero's Journey until we were well into the second decade of this century.

Sorry about that.

The Campbellian Monomyth, as defined in Joseph Campbell's Hero With a Thousand Faces, is a system of comparative mythology that, for better or for worse, gets used a lot by writers. We talk about some of our favorite examples, and immediately begin arguing over terms. Hopefully this is delightful to you, and educational for everyone. Especially since the monomyth is not a checklist, and it should not be taken that way.