Writing Excuses

If you still want to read All the Birds in the Sky by Charlie Jane Anders, you can purchase it here!Today we’re talking about places and place-moments. We’re looking at how Anders uses context, details, and relationships to create a deep, familiar, and authentic reading experience for us, even if we’ve never been to the locations in the story. In this episode we’re  also analyzing how Anders creates lived-in locations by including non-essential sensory details that imply the rest of the world. Homework: List all the locations in your WIP (work in progress). Next to each one, describe its story functions: grounding, wondrous, plot-logical, and/or worldbuilding. P.S. Want to come write with us in September 2025 (we know that’s soon)?! Our retreat registration is open, and we are starting to fill up! We are going to unlock our creative processes in Minnesota and explore Story Refinement as we cruise down the Mexican Riviera! Learn more here. Credits: Your hosts for this episode were Mary Robinette Kowal, DongWon

Last season we took different works to represent different concepts. But this season, we’re looking at a single work— All the Birds in the Sky by Charlie Jane Anders. So, for the next five episodes, we’re going to look at how Anders’ novel is deploying all of the lenses we’ve talked about this season—who, where, why, and when. And for our fifth episode, we’ll have Anders on the podcast to talk about her novel! We recommend that you read this book before listening to these episodes, as they will include spoilers! So, without further ado, today we’ll dive into the lens of who. We’ll be analyzing tools such as history, community, motivation, stakes, fears, and reactions.Homework: Who does your character envy and why? What action can they take to act on that desire?You can purchase a copy of All the Birds in the Sky by Charlie Jane Anders here!P.S. Want to come write with us in September 2025 (we know that’s soon)?! Our retreat registration is open, and we are starting to fill up! We are going to unlock our creat

Throughout this season, we have been doing a series of episodes that feature different metaphors for writing. Today, we’re talking about raising children and what it can teach us about our own writing practice. It’s common knowledge that parents want their children to grow up to be happy and successful. But the real joy in raising children, Dan and Howard tell us, is watching them express their individuality, and meet these goals (of success and happiness) in very different ways. We talk about the importance of being open to shifts in intention, relationship, and understanding— regarding both people (and kids), but also your own writing.  Homework: If you have a person in your life that you’re mentoring or are friends with, imagine that they are doing something you don’t like. Take a moment to consider: is this actually better than what I had planned or assumed? Try to give them—and your writing— some grace. P.S. Our 2025 writing retreat (on a cruise! In Mexico!) is over 50% sold out! Learn more and sign up h

Téa Obreht is a short story writer and novelist. Her debut novel, The Tiger’s Wife, won the 2011 Orange Prize for Fiction, and was a 2011 National Book Award finalist and an international bestseller. In our conversation, we focused on revision and character consciousness. Téa talked to us about the difficulty of the idea-generation stage of writing, how to cultivate layered characters, and how she writes event-first. You can learn more about Téa Obreht here. Thing of the Week from Téa: Deadwood (TV Show)Homework from Téa: Write an opening paragraph (roughly 3-6 lines). It could be something new, or an opener that you had already written. The paragraph should introduce some key pieces of information to your readers. Consider the information that's contained in your paragraph and then rewrite the whole thing two more times, ultimately conveying the same information, but in three different ways. How you do this is completely up to you! Maybe it’s in a different voice, maybe it’s from a different perspective,

This year, we’ve been looking at writing through various different lenses. In two weeks, on August 24th, we’ll begin a 5-part deep dive into these lenses through a specific book: All the Birds in the Sky by Charlie Jane Anders. There will be many spoilers in these episodes, so please read the book if you haven’t already! Now, we’re talking about choosing what your lens is focused on. How do you choose what’s in your story—and what’s not? In this episode, we talk about how to make this choice, and how this informs all the other choices you’ll make. After we talk about how to decide where to draw the box around your story, we dive into the exterior framing of your story (AKA stories may exist in their own world, but they still have to be read in ours).Homework: Take a story you’re working on and think about what happens if you shift the frame just a little. The easiest way to do this is to ask yourself, is there a scene I could take out that would change the way that the lens or the story is focused? What new s

Tone is one of those words people use in many different ways when talking about fiction. On today’s episode, our hosts break down what it means, how we use it, and how it can be a tool in the writer’s toolbox. We dive into the myriad emotional shades of tone, and how you can use this to deepen your story’s themes. Homework: Write a vignette in which one of your characters is pouring tea for a beloved partner. First, try for a joyful tone. Then, write it again but with a tone of terror. P.S. Our 2025 writing retreat (on a cruise! In Mexico!) is over 50% sold out! Learn more and sign up here. Credits: Your hosts for this episode were Mary Robinette Kowal, Dan Wells, and Howard Tayler. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! Writing RetreatsNewsletterPatreonInstagramThreadsBlueskyTikTokYouTubeFacebookSupport this podcast at — https://redcircle.com/writing-excuses2130/donationsAdvertising Inquiries: https://redcircle.com/brandsPriv

What the heck is authorial intent? Does it matter? And how do intentions end up on the page without cluttering or overwhelming the story? Today, our hosts dive into message versus content, and how to wrap your intention and narrative structure into your story’s execution.Homework: Take your work in progress, and in two sentences, describe to yourself why you are writing this (could be a scene, a chapter, or the whole book). Then, write one sentence explaining why that is the reason that you’re writing this. P.S. Our 2025 writing retreat (on a cruise! In Mexico!) is over 50% sold out! Learn more and sign up here. Credits: Your hosts for this episode were Mary Robinette Kowal, Dan Wells, and Howard Tayler. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! Writing RetreatsNewsletterPatreonInstagramThreadsBlueskyTikTokYouTubeFacebookSupport this podcast at — https://redcircle.com/writing-excuses2130/donationsAdvertising Inquiries: https://re

Every story has been told. Okay, maybe not, but most stories have a tradition/ influence/ history/ genre/ style that they draw upon, even if only slightly. How do you know what traditions you're bringing to your work, and how can you use them to make your story both resonant and unique?We’re exploring the lens of “why” right now. Why do we write the stories that we write? And what did we read that influenced us to write our work— that is, what are our narrative traditions? Homework: Make a list of five narratives of any type—a ghost story, a barber shop tale, a game, a movie—that form part of your storytelling tradition. Write them down, look at them, and then think: how is your current work influenced by the list? And is there one that you would like to bring even more to bear on the current story you’re working on? P.S. Our 2025 writing retreat (on a cruise! In Mexico!) is over 50% sold out! Learn more and sign up here. Credits: Your hosts for this episode were Mary Robinette Kowal, DongWon Song, Erin R

We are joined by author Mark Oshiro, who primarily writes YA and middle grade books and was a guest teacher aboard our 2024 cruise! (Our 2025 cruise is over 50% sold out! Learn more and sign up here.) We ask the question, “Why did you write this book?” while focusing specifically on theme and meaning. We discuss how authors ask questions through their work while readers bring their own answers and interpretations. The hosts and Mark emphasize the value of leaving space for readers to engage and find their own meaning in your work.This conversation also highlights how discovering a story’s true theme mid-draft can lead to major rewrites that strengthen the narrative. Homework: Take a popular book-to-film or book-to-TV adaptation and ask yourself if the film changed the meaning or themes of the book. Then, ask yourself in what ways it did it.P.S. Our 2025 writing retreat (on a cruise! In Mexico!) is over 50% sold out! Learn more and sign up here. Credits: Your hosts for this episode were Mary Robinette Kowal, D

What separates the way we experience a game versus the way we experience a prose narrative? Erin Roberts has written for many games, and she loves games particularly because they give the person experiencing the narrative more choice and more direct agency over what happens. This changes the way that we experience story. When you’re writing a game, the main thing you have to figure out is the actions: what are the potential things that could happen—and therefore, what are the verbs? We dive into decision, audience buy in, and ultimately try to answer the question: what does gaming teach us about making and finding meaning? Homework: Take a project you’re working on and imagine that someone is making a game of it. What would that game be? What would be the actions that the characters would be doing? What would be the part of the world that the game would be focused on? Feel free to look at examples of this (like the games that were made based on Lord of the Rings.) P.S. Our 2025 writing retreat (on a cruise! I

Our hosts explore how to write compelling confrontations—whether physical fights or emotional arguments—in a live episode recorded on the Writing Excuses Cruise. Building off Dan Wells' class Why Your Fight Scene Is Boring, our hosts break down reactions into four elements: focus, physicality, thought, and action. The discussion dives into how newness, character history, and anticipation shape these moments, and how effective confrontations reveal both character and motivation. Plus: sword fighting, puppetry, and driving on black ice. Thing of the Week: Death and Other Details (on Hulu)Homework: Watch an action scene in a movie—something that you really like. Then, to underline how different books are as a medium, transcribe it— blow for blow, step for step, and see how long you can get into that before you tear your own hair out because it becomes incredibly boring. Then, after you've proven that the blocking and the blow-by-blow doesn't work, rewrite that scene in a way that does, in a way that

How can listening inform the way you write? We decided to ask Charles Duhigg is a Pulitzer Prize–winning journalist and bestselling author—best known for The Power of Habit and most recently released Supercommunicators: How to Unlock the Secret Language of Connection, a compelling guide that explores the art and science of meaningful conversation. We talked with Charles about myriad elements of writing, speaking, and listening—that is, communication in all its forms! We explored how passion and clarity are key parts of both pitching and book proposals. Charles also introduced us to active listening techniques, such as "looping for understanding," which can foster stronger connection in conversations. These effective and meaningful exchanges can help you showcase your project’s vision and voice. Thing of the Week: Supercommunicators by Charles Duhigg Homework: Charles has two pieces of homework for us! 1. First, tomorrow, ask someone a deep question that you might not usually ask a deep question of. In

How does a room sound? Does your childhood have a taste? What is the smell of summer? In this episode, we dive into the sensory layers that anchor worldbuilding, character, and perspective. We explore how invoking smell, sound, touch, and taste can transport readers more powerfully than sight alone. What makes a setting feel real and lived in on the page? How do the where and the when hit our reader's and character's senses— and how real is too real?Thing of the Week: Darkfield  Homework: 5, 4, 3, 2, 1 exercise from C. L. Polk: list five things your character can see, 4 things they can hear, 3 things they can touch, 2 things they can smell, and 1 thing they can taste. P.S. Our 2025 writing retreat (on a cruise! In mexico!) is over 50% sold out! Learn more and sign up here. Credits: Your hosts for this episode were Mary Robinette Kowal, DongWon Song, Erin Roberts, and Howard Tayler. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community

Time isn't just a backdrop—it’s a powerful tool in storytelling. In this episode, we explore how time shapes narratives, beyond just plot structure. From magnifying moments in a fight scene to revealing a character’s morals through temporal shifts, we unpack how timing, pacing, and the passage of time can deepen emotional impact, build tension, and elevate a scene's resonance. We discuss practical techniques like character memory, flashbacks, and sensory shifts, while also considering how time reveals inner worlds—through fear, anticipation, or even a late-night zoomie session with a talkative cat. Whether you're writing action scenes or quiet reflections, this episode offers practical insights for using time as a dynamic storytelling tool.Homework: Change the time at which a scene takes place. Try to move something from day to night, or spring to fall. What do you notice? P.S. Our 2025 writing retreat (on a cruise! In mexico!) is over 50% sold out! Learn more and sign up here. Credits: Your hosts

This week, we’re digging into context—what it is, why it matters, and how it can totally transform your storytelling. Whether you're working in fantasy, sci-fi, or anything in between, the details you choose to include (or leave out) can make your world feel rich, real, and emotionally resonant.We talk about using context to deepen conflict, sharpen stakes, and land those emotional beats. And yes, we also get into puppets, geology, and the perils of overbuilding your world. (Spoiler: nobody needs to know how many toes your goblins have. . . unless it really matters.)Homework: Take a context, some piece of world building that you've done, and come up with three different narratives that you could write that use that context. Then separately, make a narrative that you have written and come up with three new contexts in which that narrative would succeed. Show Notes: Learn more about how Campfire can help you outline your novel, organize your world building, and publish your story! P.S. Want to come writ

Today we’re talking about setting, which in speculative fiction is often called worldbuilding. But once you’ve finished building the world, how do you convey that world on the page? That is, how do time and place shape your story—and your characters? In this episode, we’re talking about the power of setting through the lens of “where and when.” From daily life details like transportation and sanitation to larger societal pressures like war or peace, we explore how characters are shaped by their environment. Whether you’re building a brand new world or writing alternate history, setting isn't just a backdrop—it’s a driving force in your storytelling.P.S. Want to come write with us in 2025?! Our retreat registration is open, and we are starting to fill up! We are going to unlock our creative processes in Minnesota and explore Story Refinement as we cruise down the Mexican Riviera! Learn more here. Credits: Your hosts for this episode were Mary Robinette Kowal, Dan Wells, and Erin Roberts. It was produced by

What does cooking have to do with writing? In this episode, we explore how the creative choices we make in the kitchen—whether it’s improvising with missing ingredients or following a beloved recipe—mirror the choices we make on the page. From frozen dinners to fine dining, we discuss how all forms of creativity have value, how skills can be learned, and how the act of making—food or fiction—is, at its core, an act of nourishment.P.S. Want to come write with us in 2025?! Our retreat registration is open, and we are starting to fill up! We are going to unlock our creative processes in Minnesota and explore Story Refinement as we cruise down the Mexican Riviera! Learn more here. Credits: Your hosts for this episode were Mary Robinette Kowal, DongWon Song, Dan Wells, and Howard Tayler. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! Writing RetreatsNewsletterPatreonInstagramThreadsBlueskyTikTokYouTubeFacebookSupport this podcast at — http

This episode was recorded live at our 2024 Writing Excuses Cruise. (Did you know that we host a writing retreat on a cruise every year!?! You can learn more at https://writingexcuses.com/retreats/) While on a boat in Mexico, Erin Roberts was joined by Marshall Carr—our incredible recording engineer who is also a teacher during the school year— and author Mark Oshiro—who also teaches both kids and adults! For those who don’t know, our host Erin is a Creative Writing professor at UT Austin.  We wanted to record an episode with these three educators to give them a platform to talk about the art—and complexity and passion—of teaching. They discussed how they came to teaching, what they get from teaching as a writer, and why they continue to teach. Thing of the Week: All This and More by Peng Shepherd Homework: This homework is from Marshall! If you’re considering teaching, think of something you’re passionate about (it doesn’t have to be writing). Then, create a lesson for that thing that would work for your youn

This season, we’ve been exploring different approaches to writing through the lens of other crafts and their respective toolkits. We had the pleasure of speaking with furniture-maker, writer, and publisher Christopher Schwarz. Christopher is an incredible artist, writer, and is also the founder of Lost Arts Press, which publishes books on hand tool woodworking. We talked with Christopher about his creative trajectory, and the intersection of tools, methods, and crafts. P.S. Want to come write with us in 2025?! Our retreat registration is open, and we are starting to fill up! We are going to unlock our creative processes in Minnesota and explore Story Refinement as we cruise down the Mexican Riviera! Learn more here. Credits: Your hosts for this episode were DongWon Song and Howard Tayler. Your guest was Christopher Schwarz. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! Writing RetreatsNewsletterPatreonInstagramThreadsBlueskyTikTokYou

People often think of first person POV as the most intimate voice. But in a way, we think second person might be more intimate. With second person, you’re forcing the reader’s subjectivity into the fiction itself. You are integrating the person who is reading the story into the experience of being in the story– in a way that can be a little disorienting (or fun) for the reader. In the world of POVs, the second person can sometimes feel like a chaotic perspective. There are several different versions, depending on who the “you” is addressing. Is it the reader? Is it another character? What happens when “you” appears in a letter within a story? Second person often appears in conversation and on social media because it’s a way to draw your conversational group into the experience that you personally had. So, when should you use it in your writing, and how can you use it to help advance or deepen your story?  Homework: Write something in the second person, and think of something you’re getting across in the scene