Category Archives: Live Audience

12.21: Narrative Bumper Pool, with Bill Fawcett and Carrie Patel

Your Hosts: Howard and Dan, with special guests Bill Fawcett and Carrie Patel

Bill and Carrie both have extensive experience writing for games, and they joined us at GenCon Indy to talk about writing for an interactive story, like a tabletop RPG, or a video game.

Narrative Bumper Pool: This term comes to us from Tracy Hickman’s XDM: X-Treme Dungeon Mastery

Narrative Bumper Pool from X-TREME DUNGEON MASTERY, used with permission
Narrative Bumper Pool from X-TREME DUNGEON MASTERY, used with permission

 

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Look at a “great mistake” in history, and speculate about how that mistake could have been avoided, and how the world would be different had that mistake not been

The Buried Life, by Carrie Patel

12.18: Gendered Dialect, with J.R. Johansson

Your Hosts: Howard, Mary, and Dan, with guest-host Susan Chang, and special guest J.R. Johannsen

J.R. Johannson joined Howard, Mary, Dan, and guest-host Susan Chang at LTUE 2017 for a discussion of gendered dialect.

We lead with a quick introduction to the Genderlect theory, by Deborah Tannen, which uses a very broad brush to describe key differences between the ways men and women in western societies communicate. We then explore the way some of the individual voices we’re familiar with have been influenced through gender role, cultural socialization, and even neuroatypicality.

Our goal in this discussion is to learn to write dialog which serves our stories and our characters, and  to do so in a way that both leverages and defies the existing stereotypes.

Liner Notes:

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Use the concepts of  gendered dialect to write a scene set among members of a matriarchy.

The Row, by J.R. Johannsen

12.8 Short Stories as Exploration, with Tananarive Due

Your Hosts: Brandon, Mary, Dan, and Howard

Tananrive Due, whose short-fiction expertise is exemplified in her collection, Ghost Summer, joined us on the Oasis of the Seas to talk about how to use short stories to explore aspects of the craft. We discuss the importance of allowing ourselves to fail, and how we can learn from those failures, and continue to push our own limits. We also talk about how we go about pushing those limits, and what we do in order to most effectively explore new techniques.

 

Credits: This episode was recorded aboard Oasis of the Seas by Bert Grimm, and mastered by Alex Jackson.

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Take something larger that you’ve written  and find a short story in it. Write that story.

Summer“, by Tananarive Due, which you can find in the Ghost Summer collection.

12.6: Variations on Third Person

Your Hosts: Brandon, Mary, Dan, and Howard

This episode focuses on the third person POV, and some variations on them, like omniscient and limited, and some sub-variants like cinematic and head-hopping.

Credits: This episode was recorded aboard Oasis of the Seas by Bert Grimm, and mastered by Alex Jackson.

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Write a passage, and then re-write it in limited, omniscient narrator, head-hopping, and cinematic POVs.

Sorcerer to the Crown, by Zen Cho, narrated by Jenny Sterlin

12.3: Project in Depth, “Risk Assessment,” by Sandra Tayler

Your Hosts: Brandon, Mary, Dan, and Howard, with Sandra Tayler

This Project in Depth episode contains spoilers for “Risk Assessment,” which is included in Force Multiplication: Schlock Mercenary Book 12The story was written by Sandra Tayler, and illustrated by Natalie Barahona. Howard handled the writing and illustrating for the framing story, but this episode isn’t about that part.

Risk Assessment is a romance wrapped up in an adventure, and is very different from most of the rest of Schlock Mercenary. Have a listen, and Sandra will tell you about it.

Credits: This episode was recorded aboard Oasis of the Seas by Bert Grimm, and mastered by Alex Jackson.

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Write a “meet cute,” that scene in which our romantic leads meet, and we get to have crushes with, or perhaps on them.

In the Cube, by David Alexander Smith (out of print, but available used)

11.52: Elemental Ensemble Q&A, With Claudia Gray

Claudia Gray joined us aboard Oasis of the Seas to answer our attendees questions about the Elemental Ensemble. Here are the questions:

  • Can you fit an ensemble into a short story?
  • What the minimum size for an ensemble? Is there a perfect length?
  • Can you put a traitor into an ensemble story?
  • How do I give my ensemble characters equal emotional weight if I only tell the story from a single POV?
  • How do you introduce your ensemble without infodumping?
  • If an ensemble is about falling in love with a group of friends, how does killing a character work?
  • How do you give every character a role in the climax without making it seem like the plot was cut to fit the team?

Credits: This episode was recorded aboard Oasis of the Seas by Bert Grimm, and mastered by Alex Jackson.

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A Million Worlds With You, by Claudia Gray, narrated by Tavia Gilbert