Let’s talk about character foils, and how to use them. We begin with a definition of character foils, expertly read by Mary. Then we talk about some archetypes, like the straight-man and the funny-guy, the hero and the sidekick, and offer some examples.

And then it’s nuts-and-bolts time: we talk about how and why to do this. Howard offers the example of Reverend Theo and Kevyn in the Schlock Mercenary books. Mary explains how she used a foil to strengthen her short story “For Want of a Nail,” (which went on to win a Hugo award.) Brandon tells us how adding a foil character was critical to The Way of Kings. Finally, Dan reveals to us (spoiler alert!) how John Cleaver and Mr. Crowley are foils for one another in I Am Not a Serial Killer.

Audiobook Pick-of-the-Week: Late Eclipses: an October Daye Novel, by Seanan McGuire, narrated by Mary Robinette Kowal.

Writing Prompt: Generate a list of five character pairs. Pick the most interesting of the set, and write about them.

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Writing Excuses 6.29: Character Foils [ 15:39 ] Play Now | Play in Popup | Download (13447)

Lou Anders joins Dan, Howard, and Mary for a discussion of endings. We begin by talking about how important it is to “stick your landing” at the end of the book, and then recap the Hollywood Formula to point out how endings work there. We get examples from Mary’s upcoming novel Glamour in Glass, Dan’s upcoming novel Partials, Howard’s work-in-progress short story, and Lou Anders’ award-worthy, dot-matrix printer.

Audiobook Pick-of-the-Week: Blood of Ambrose, by James Enge, narrated by Jay Snyder

Writing Prompt: Using the first fifteen minutes of your least favorite recent movie as a starting point, write a story with a powerful ending.

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Writing Excuses 6.20: Endings [ 18:55 ] Play Now | Play in Popup | Download (13218)

This week’s episode, a day later than usual because of extended eggnogging*, features the submissions of a few brave souls who participated in Brandon’s tagless, unnarrated dialog exercise.

The rules were simple: Write a scene featuring nothing but dialog between two characters. The characters should have distinct voices, and the scene should communicate both setting and conflict. A great example of this is “They’re Made Out of Meat,” by Terry Bisson, which was a Nebula award nominee in 1992 (not a Hugo winner, though Brandon thought it was.) If you haven’t read it before, it’s a right treat and you should click on the story title and go read it right now.

Well… in 20 minutes or so (we ran long.) Listen to the podcast first, and pay attention as Brandon, Dan, and Howard gently dissect and critique the submissions of tagless, unnarrated dialog.

Audiobook Pick-of-the-Week: Dune, by Frank Herbert, narrated by Scott Brick , Orlagh Cassidy , Euan Morton , and Simon Vance

Writing Prompt: You are walking down a back alley, and you meet Jason from DragonMount. He’s getting all uppity about how good his submission was. What do you do to him?

Word That In This Context Is A Euphemism For “Howard Got Sick”: Eggnogging: [egg-nah-ging]

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Writing Excuses 5.17: Dialog Exercises [ 21:29 ] Play Now | Play in Popup | Download (12348)

How do you write the second book? Zombie John Brown joins us for a discussion of that second novel.

(Note: As of this writing, John Brown remains NOT DEAD. Not UNDEAD, mind you. NOT DEAD. John D. Brown, author, is alive and well, and his nose is healing up quite nicely.)

We’ve got three possible approaches to take. The first is “your second unpublished novel.” The second is “your second published book.” The third is “the second book in a series.” All three of these are worth discussing, so of course we give the second one a wide miss.

We start with that second unpublished novel. This is the book where you move past the momentary validation of finishing the first novel, and sit down at the keyboard again. The lessons learned during the first novel are applied quickly. We talk about some of those lessons, and how they applied to each of us.

We then talk about the second book in a series. We look at what works well in sequels, in second acts, and subsequent installments in an ongoing series. We talk about the dangers of sequel-itis, especially as Hollywood suffers from it, and how we can avoid falling into these traps.

Audiobook Pick-of-the-Week: The Good Guy, by Dean Koontz, narrated by Richard Ferrone

Writing Prompt: The growth on your nose… is it an alien, is it occult, or are you going to tell a love story?

This episode of Writing Excuses has been brought to you by Audible.
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Writing Excuses 5.12: Writing the Second Book [ 19:10 ] Play Now | Play in Popup | Download (12676)

When Oscar Hammerstein wrote “Let’s start at the very beginning // A very good place to start” he was talking about teaching children to sing, not writing a novel. Sometimes the beginning is the very worst place to start, so in this ‘cast the Writing Excuses crew starts at the end.

Dan leads with a reminder that we should all watch his five-part lecture on story structure, and then hits a couple of the high points in his process. Brandon points out that he and Dan both start in the same way, even though Dan usually discovery-writes his way to the selected ending, and Brandon typically outlines towards it in advance of putting chapters down. Unsurprisingly, Howard starts in the same place.

So what are the problems with working backwards? How do we prevent those things from happening? What are some great things about working backwards? How can we ensure that those happen every time?

That’s the first half of the ‘cast. The second half is a right treat, as you get to listen to Brandon, Dan, and Howard attempt to brainstorm a great ending from which they can work backwards to a beginning. Producer Jordo provides a pair of headlines as prompts, including programmable matter, Harley Davidson motorcycles, and a thrown puppy.

Audiobook Pick-of-the-Week: Furies of Calderon: Codex Alera Book 1, by Jim Butcher — a book that Brandon tells us was written when somebody dared Jim Butcher to build epic fantasy around Pokémon.

Writing Prompt: What’s the character arc for our mathematical analyst biker dude? Yes, you’ll have to listen to the ‘cast in order to figure this prompt out.

Sound Effect of the Week: George Jetson’s Harley

Weekly Feature You Won’t See Every Week: Sound Effect of the Week.

This episode of Writing Excuses has been brought to you by Audible.

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Writing Excuses 4.28: Brainstorming Endings [ 18:26 ] Play Now | Play in Popup | Download (14562)

James Dashner and Julie Wright join Brandon and Dan for an episode about what Lou Anders called “Mating Plumage” back in this 2008 episode of Writing Excuses recorded at Denvention. Lou was just referring to covers, but for this ‘cast Dan has extended the metaphor to include  titles and first lines.

These are the three things that are best positioned to quickly “sell” a book. But to whom? And why?

The crew talks about their experiences with each of these. Yes, we judge books by covers, and no, writers don’t have any control over them. We have a little more control of our titles, and still more over our first lines.  Humorous and tragic anecdotes follow, along with a great example of a first line from Barbara Hambly.

Audiobook Pick-of-the-Week: The Maze Runner, by James Dashner

Writing Prompt: Julie Wright, when offered the chance to use the word” monkey,” came up with “I can’t believe you did this to me.” James suggested “Brandon and Julie go on safari and get attacked by monkeys.” Plenty of material there. PLENTY.

Big Hugs One Last Time: With the absence of Producer Jordo and Former Audio Engineer Howard (neither of whom could make it to CONduit) Revan and Malek of Dungeon Crawlers Radio stepped up and made each of these last FIVE EPISODES of Writing Excuses possible. We owe them big-time, and you should go check out their podcast.

I bet it’s about puppies: I Don’t Want to Kill You, by Dan Wells.

This episode of Writing Excuses has been brought to you by Audible.

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Writing Excuses 4.25: Mating Plumage [ 18:46 ] Play Now | Play in Popup | Download (13425)

Recorded live at CONduit with the inestimably valuable help of our friends at Dungeon Crawlers Radio, here’s an episode full of the randomness that is “questions from the audience.” These include:

• What do people get wrong when they write military science-fiction?
• How do you develop action sequences?
• What makes a good foil character?
• How do you schedule your time as a writer?
• How do you write good, true-to-character dialog for each of your characters?

Our podcasters for this episode were Brandon Sanderson, Dan Wells, L.E. Modessit Jr., and Robison Wells.

Audiobook Pick-of-the-Week: Haze by L.E. Modessit, Jr.

Writing Prompt: Why does she NOT sound like the guy she’s interested in?

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Writing Excuses 4.22: Q&A with L.E. Modesitt, Jr [ 18:44 ] Play Now | Play in Popup | Download (13548)

Jessica Day George joins the Writing Excuses crew again, this time for a discussion of writing for young adults, and maybe for teens, or even middle-grade readers. This isn’t a podcast about rigidly defining the boundary between the YA and middle-grade genres, though. That’s publishing. We’re talking about writing.

If you enjoyed last week’s discussion with the sweeping generalizations and the appropriate application thereof, this ‘cast should be every bit as intriguing. What are teenagers interested in, and how is that different from what interests adults? Do stories need to be simplified for teenagers, or are we underestimating them when we do that? How does the age of your protagonist determine the age-group to whom your publisher will market the book? Why is it genre-appropriate for Dumbledore to repeatedly withhold crucial information from Harry, Hermione, and Ron?

Audiobook Pick-of-the-Week: Dragon’s Blood by Jane Yolen, because a pit-fighting dragon is way cooler than the dragons of Christopher Paolini.

Writing Prompt: Take a protagonist younger than about 16 and put him or her in charge of a group of adults.

This episode of Writing Excuses has been brought to you by Audible.

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Writing Excuses 4.10: Writing for Young Adults [ 18:14 ] Play Now | Play in Popup | Download (13188)

Question: Can you write a good book without a plot twist?

Better question: is it a good book if your readers predicted what was coming?

Best question: is a podcast about predictable prose itself predictable?

No, seriously… the best question is “how can we use predictable, formulaic plotting effectively?” We actually answer that one.

Writing Prompt: “Sense & Sensibility & Terrorists”

Writing Excuses Season 3 Episode 23: How to Write Without Twists [ 15:41 ] Play Now | Play in Popup | Download (13270)

You are going to love this episode. Seriously.

Brandon throws an idea at Dan and Howard, and then we spend 15 minutes expanding on that idea as if we were going to base a story around it.

You people who keep asking where we get our ideas? You’re asking the wrong question. Ideas are easy to come by — everybody has them. The right question is “how do you turn an idea into a story?”

This podcast skips to the important part of answering the question: demonstration. Enjoy!

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Your writing prompt: Bugs are now magical. Ohcrap.

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Writing Excuses Season 3 Episode 22: Idea to Story [ 17:50 ] Play Now | Play in Popup | Download (14618)