Fifteen minutes long, because you&#39;re in a hurry, and we&#39;re not that smart.

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/9/22/22/1becadf8-7967-424a-bcec-b66d4e44996b_21_39_write_what_you_feel.hires.mp3

Your life is probably weirder—and more useful to your writing—than you think. This week, our hosts explore how to turn lived experience into fiction, from borrowing sensory details and emotional reactions to reshaping real people and events. We dive into the feelings wheel, specificity, and the layers of belief, feeling, thought, and action that can make characters feel human. Plus, how journaling can become a surprisingly useful bank of material for your future self. Homework:Journal about a significant emotional moment in your life. Write down the physical sensations, specific feelings, thoughts, conclusions, and choices you made. Then rewrite it as a third-person scene, giving your protagonist different biographical details while keeping the emotional experience.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. Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

21.39: Write What You Feel

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/8/31/15/3b5ffbea-db10-4e4f-a6ff-2b47e5cd7ca5_21_38_rules_tools_and_historys_fools.hires.mp3

Today, we’re celebrating Erin’s birthday by talking about a topic of her choice. Which means we’re flipping “tools, not rules” its head. Our hosts revisit the Turkey City Lexicon, a snarky collection of writing “rules” that circulated widely among speculative fiction writers in 1988, and ask what still holds up—and what happens when useful terminology turns into rigid prescription. From “show, don’t tell” to white room syndrome and TV Tropes, we look at our recurring desire for an easy answer to what makes writing work. Then everyone picks a writing hill they’re willing to die on.Homework:Make a time capsule of who you are as a writer right now. Write down one piece of writing advice that’s working for you, one you disagree with, and one writing hill you’ll die on. Pick a meaningful future date to revisit them and see what’s changed.Liner Notes: <a href="https://sfwa.org/2009/06/18/turkey-city-lexicon-a-primer-for-sf-workshops/" rel="nofollow">Turkey City Lexicon</a>“Crystallization” was correctly attributed to David Gerrold by Mary Robinette 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! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

“Tools, not rules” gets flipped on its head this week. Our hosts revisit the Turkey City Lexicon, a snarky collection of writing “rules” that circulated widely among speculative fiction writers in 1988, and ask what still holds up—and what happens when useful terminology turns into rigid prescription. From “show, don’t tell” to white room syndrome and TV Tropes, we look at our recurring desire for an easy answer to what makes writing work. Then everyone picks a writing hill they’re willing to die on.

Homework:

Make a time capsule of who you are as a writer right now. Write down one piece of writing advice that’s working for you, one you disagree with, and one writing hill you’ll die on. Pick a meaningful future date to revisit them and see what’s changed.

Liner Notes: 

Turkey City Lexicon

“Crystallization” was correctly attributed to David Gerrold by Mary Robinette 

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! 

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* Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com 

Support this podcast at — https://redcircle.com/writing-excuses2130/donations

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21.38: Rules, Tools, and History’s Fools

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/8/31/15/6b765eb6-baa0-4617-8e42-bc3fe69d941d_37_barrier_breaking_the_world_is_on_fire.hires.mp3

How do you keep writing when the world is on fire? This week, our hosts talk about protecting our narrative energy when the news, social media, or our own lives feel overwhelming. We explore boundaries, boredom, intentional information consumption, and why sometimes the most useful thing a writer can do is log off. We also look at how writing can become a place to process what’s happening around us—giving our characters our emotions, interrogating difficult systems through worldbuilding, and making space to imagine something different.Homework:Log off. Put yourself on a strict social media diet (of your choosing) for the week and make the boundaries concrete. When you feel the urge to reach for your phone, sit with the discomfort for at least ten minutes. Let your boredom develop within you, and see what thoughts emerge. 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! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

How do you keep writing when the world is on fire? This week, our hosts talk about protecting our narrative energy when the news, social media, or our own lives feel overwhelming. We explore boundaries, boredom, intentional information consumption, and why sometimes the most useful thing a writer can do is log off. We also look at how writing can become a place to process what’s happening around us—giving our characters our emotions, interrogating difficult systems through worldbuilding, and making space to imagine something different.
Homework:
Log off. Put yourself on a strict social media diet (of your choosing) for the week and make the boundaries concrete. When you feel the urge to reach for your phone, sit with the discomfort for at least ten minutes. Let your boredom develop within you, and see what thoughts emerge. 
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! 
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Our Sponsors:
* Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com 

Support this podcast at — https://redcircle.com/writing-excuses2130/donations

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Privacy & Opt-Out: https://redcircle.com/privacy

21.37: Barrier Breaking: The World Is on Fire

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/8/31/15/5a73e223-f3f5-4c37-9201-15c24ff934f4_21_36_twists.hires.mp3

A great twist shouldn’t just surprise us—it should make us rethink everything that came before. This week, our hosts explore reader expectations, misdirection, and hiding clues in plain sight. We look at twists from The Sixth Sense, The Matrix, Ocean’s Eleven, and O. Henry, and ask why some twists make a story even better on a reread. Homework:If your work in progress has a twist, write out all the logical steps that lead to the reveal. Then start removing details until the twist stops making sense. Play with what’s truly load-bearing and what you can hide or leave out.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! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

A great twist shouldn’t just surprise us—it should make us rethink everything that came before. This week, our hosts explore reader expectations, misdirection, and hiding clues in plain sight. We look at twists from The Sixth Sense, The Matrix, Ocean’s Eleven, and O. Henry, and ask why some twists make a story even better on a reread. 

Homework:
If your work in progress has a twist, write out all the logical steps that lead to the reveal. Then start removing details until the twist stops making sense. Play with what’s truly load-bearing and what you can hide or leave out.
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! 
Writing Retreats
Newsletter
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Threads
Bluesky
TikTok
YouTube
Facebook


Our Sponsors:
* Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com 

Support this podcast at — https://redcircle.com/writing-excuses2130/donations

Advertising Inquiries: https://redcircle.com/brands

Privacy & Opt-Out: https://redcircle.com/privacy

21.36: Twists: How to Make the Unexpected Feel Inevitable

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/8/28/17/cba351b4-7431-4cab-8fd2-8b679539bac1_21_35_the_four_acts_of_kishotenketsu.hires.mp3

This week, our hosts explore kishōtenketsu, an Asian story structure that appears under different names in China, Korea, Japan, and Vietnam. Unlike the Western three-act structure, it isn’t built around conflict. Instead, it moves through four stages: introduction, development, twist, and conclusion. We dig into how stories like Parasite and The Tatami Galaxy create tension through discovery, contrast, and changing perspective, rather than direct confrontation. And don’t worry, we find time to get delightfully nerdy about poetry, RPGs, Star Wars, and why a “twist” can be less about surprise and more about seeing the story in a new way.Homework:Take something you’ve already written and map it onto a kishōtenketsu structure. See what opportunities emerge when you group the story into introduction, development, twist, and conclusion.Liner Notes<a href="https://www.youtube.com/watch?v=dBmIkEvEBtA" rel="nofollow">Video explaining the argument that Super Mario follows Kishōtenketsu</a>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! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

This week, our hosts explore kishōtenketsu, an Asian story structure that appears under different names in China, Korea, Japan, and Vietnam. Unlike the Western three-act structure, it isn’t built around conflict. Instead, it moves through four stages: introduction, development, twist, and conclusion. We dig into how stories like Parasite and The Tatami Galaxy create tension through discovery, contrast, and changing perspective, rather than direct confrontation. And don’t worry, we find time to get delightfully nerdy about poetry, RPGs, Star Wars, and why a “twist” can be less about surprise and more about seeing the story in a new way.
Homework:
Take something you’ve already written and map it onto a kishōtenketsu structure. See what opportunities emerge when you group the story into introduction, development, twist, and conclusion.
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! 
Writing Retreats
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Bluesky
TikTok
YouTube
Facebook



Our Sponsors:
* Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com 

Support this podcast at — https://redcircle.com/writing-excuses2130/donations

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Privacy & Opt-Out: https://redcircle.com/privacy

21.35: The Four Acts of Kishōtenketsu

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/8/11/2/b7e0f9d2-1ef5-4cb8-a56e-b7afb63cae22_21_34_knowing_the_distance.hires.mp3

How close is your reader to the story? Should they be closer? Today, our hosts get nerdy about narrative distance: the space between reader, narrator, character, and world. We talk POV, sensory detail, and familiarity—and how each can zoom a reader in or pull them back. From The Lord of the Rings to Severance, we look at what changes when we experience one person’s pain up close versus an entire battle from afar. Homework:Write an action scene where the heroes violently dispatch their enemies. Then rewrite it with a perspective and distance shift so it becomes a horror scene about those enemies being miserably dispatched.WAITLIST for our Final WXR Cruise! Our final WXR cruise is sold out, but you can join our waitlist <a href="https://writingexcuses.com/retreats/" rel="nofollow">here</a>! Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, DongWon Song, and Erin Roberts. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

How close is your reader to the story? Should they be closer? Today, our hosts get nerdy about narrative distance: the space between reader, narrator, character, and world. We talk POV, sensory detail, and familiarity—and how each can zoom a reader in or pull them back. From The Lord of the Rings to Severance, we look at what changes when we experience one person’s pain up close versus an entire battle from afar. 

Homework:

Write an action scene where the heroes violently dispatch their enemies. Then rewrite it with a perspective and distance shift so it becomes a horror scene about those enemies being miserably dispatched.

WAITLIST for our Final WXR Cruise! 

Our final WXR cruise is sold out, but you can join our waitlist here!



Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, DongWon Song, and Erin Roberts. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

Join Our Writing Community! 

Writing Retreats

Newsletter

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Facebook



Our Sponsors:
* Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com 

Support this podcast at — https://redcircle.com/writing-excuses2130/donations

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21.34: Knowing the Distance

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/8/10/17/7227692e-a19d-42b6-b88d-dba360106502_21_33_when_to_shift_gears.hires.mp3

A story doesn’t always need the same tools from beginning to end. In this episode, we talk about recognizing when it’s time to shift gears—and how to make those changes feel intentional rather than abrupt. Our hosts look at transitions between action, dialogue, and tone, while exploring ways to signal those shifts to the reader. We also discuss how to use your own writing environment to help you change modes–  sometimes the right gear is simply the one that makes the story easier to write.Homework:Choose a scene and write down your intention for it. Change something about your physical environment—your music, lighting, chair, etc.—to match that intention, then write the scene. Next, give the scene a different intention, change your environment again, and see how your writing changes.WAITLIST for our Final WXR Cruise! Our final WXR cruise is sold out, but you can join our waitlist <a href="https://writingexcuses.com/retreats/" rel="nofollow">here</a>! Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, DongWon Song, and Erin Roberts. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

21.33: When To Shift Gears

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/7/16/18/1d3a8afb-7933-49db-85d7-0f074bb46065_32_barrier_breaking_time_constraints.hires.mp3

There never seems to be enough time to write—but is time really the problem? Our hosts explore the reality of working within limited hours, changing life circumstances, and competing priorities. We share practical strategies like time blocking, micro writing sessions, and the Pomodoro Technique that do and don’t work for us. We hope this conversation helps you build systems that support your writing instead of relying on motivation alone. Homework:Track how you actually spend your time for a week without judging yourself or trying to be aspirational. Then review your schedule and identify one or two realistic systems you can put in place to better support your writing goals.WAITLIST for our Final WXR Cruise! Our final WXR cruise is sold out, but you can join our waitlist <a href="https://writingexcuses.com/retreats/" rel="nofollow">here</a>!Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, DongWon Song, and Erin Roberts. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

There never seems to be enough time to write—but is time really the problem? Our hosts explore the reality of working within limited hours, changing life circumstances, and competing priorities. We share practical strategies like time blocking, micro writing sessions, and the Pomodoro Technique that do and don’t work for us. We hope this conversation helps you build systems that support your writing instead of relying on motivation alone. 

Homework:

Track how you actually spend your time for a week without judging yourself or trying to be aspirational. Then review your schedule and identify one or two realistic systems you can put in place to better support your writing goals.

WAITLIST for our Final WXR Cruise! 

Our final WXR cruise is sold out, but you can join our waitlist here!

Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, DongWon Song, and Erin Roberts. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

Join Our Writing Community! 

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21.32: Barrier Breaking- Time Constraints

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/7/16/18/7af6db0d-3adc-4577-b894-9777f1d884b8_wx21_31_deconstructing_save_the_cat.hires.mp3

Save the Cat! The Last Book on Screenwriting You&#39;ll Ever Need by Blake Snyder was published in 2005 and is widely popular because it offers a reliable, repeatable storytelling framework. Today we are joined by guest Margaret Dunlap as we attempt to answer: why Save the Cat is such an influential story structure and why so many writers have strong opinions about it. Our hosts break down Blake Snyder&#39;s 15-beat framework, exploring where it overlaps with the Hero&#39;s Journey, Three-Act Structure, and Seven-Point Plot Structure. We also highlight why tools like Save the Cat can help diagnose problems in a draft instead of dictating every story beat. Homework:Take a classic fairy tale (ideally the same one you used for the Three-Act Structure exercise, which was assigned at the end of 21.18) and map it onto the <a href="https://savethecat.com/tips-and-tactics/a-writers-guide-to-beats-and-beat-sheets" rel="nofollow">Save the Cat beat sheet</a>. Identify where each major beat falls, including moments like the catalyst, midpoint, dark night of the soul, and finale.Show Notes<a href="https://savethecat.com/tips-and-tactics/a-writers-guide-to-beats-and-beat-sheets" rel="nofollow">Save the Cat beat sheet</a><a href="https://www.rothwrites.com/story-structure-comparison" rel="nofollow">Spreadsheet of Different Story/ Plot Structures </a>(created by Christina Boekeloo and Michael Roth with contributions from SiWC/WRX attendees and members of the Potted Plant)  WAITLIST for our Final WXR Cruise! Our final WXR cruise is sold out, but you can join our waitlist <a href="https://writingexcuses.com/retreats/" rel="nofollow">here</a>!Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, DongWon Song, and Erin Roberts. Our guest was Margaret Dunlap. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

Save the Cat! The Last Book on Screenwriting You&#39;ll Ever Need by Blake Snyder was published in 2005 and is widely popular because it offers a reliable, repeatable storytelling framework. Today we are joined by guest Margaret Dunlap as we attempt to answer: why Save the Cat is such an influential story structure and why so many writers have strong opinions about it. Our hosts break down Blake Snyder&#39;s 15-beat framework, exploring where it overlaps with the Hero&#39;s Journey, Three-Act Structure, and Seven-Point Plot Structure. We also highlight why tools like Save the Cat can help diagnose problems in a draft instead of dictating every story beat. 

Homework:

Take a classic fairy tale (ideally the same one you used for the Three-Act Structure exercise, which was assigned at the end of 21.18) and map it onto the Save the Cat beat sheet. Identify where each major beat falls, including moments like the catalyst, midpoint, dark night of the soul, and finale.

Show Notes

Save the Cat beat sheet

Spreadsheet of Different Plot Structures 

WAITLIST for our Final WXR Cruise! 

Our final WXR cruise is sold out, but you can join our waitlist here!

Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, DongWon Song, and Erin Roberts. Our guest was Margaret Dunlap. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

Join Our Writing Community! 

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Our Sponsors:
* Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com 

Support this podcast at — https://redcircle.com/writing-excuses2130/donations

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21.31: Deconstructing Save the Cat

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/7/16/17/60f9a0d2-9c8f-492d-b065-4b0a40c5e4b5_21_30_chapter_break_soon.hires.mp3

A lot of times people want to know what the &#34;ideal length&#34; is for a chapter. But chapters can range from one sentence, to a single scene, all the way up to Terry Pratchett who doesn&#39;t use chapters at all. Our hosts explore chapters as a pacing tool rather than a fixed unit of length, discussing how chapter breaks shape reader momentum, create natural pauses, and influence the experience of reading. Along the way, we look at how chapters have evolved throughout publishing history—and why they&#39;re still such a powerful storytelling tool. We also talk about genre expectations and how to avoid common pitfalls when moving from scenes to chapters. Homework:Look up Chapter: A Segmented History from Antiquity to the 21st Century by Nicholas Dames. You don&#39;t have to read the whole book—just explore its history of chapters and how they developed across different cultures and forms of storytelling.Writing Excuses at Gen Con! At GenCon this year, we’re hosting <a href="https://writingexcuses.com/writing-excuses-at-gen-con/" rel="nofollow">“Network the Gathering”</a> along with the Ray Bradbury Center and Maurice Broaddus on Thursday, July 30th at 8pm at Ballroom 4 in the Marriot. You can get a ticket <a href="https://www.gencon.com/events/327124" rel="nofollow">here</a>!WAITLIST for our Final WXR Cruise! Our final WXR cruise is sold out, but you can join our waitlist <a href="https://writingexcuses.com/retreats/" rel="nofollow">here</a>!Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, DongWon Song, and Erin Roberts. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

A lot of times people want to know what the &#34;ideal length&#34; is for a chapter. But chapters can range from one sentence, to a single scene, all the way up to Terry Pratchett who doesn&#39;t use chapters at all. Our hosts explore chapters as a pacing tool rather than a fixed unit of length, discussing how chapter breaks shape reader momentum, create natural pauses, and influence the experience of reading. Along the way, we look at how chapters have evolved throughout publishing history—and why they&#39;re still such a powerful storytelling tool. We also talk about genre expectations and how to avoid common pitfalls when moving from scenes to chapters. 

Homework:

Look up Chapter: A Segmented History from Antiquity to the 21st Century by Nicholas Dames. You don&#39;t have to read the whole book—just explore its history of chapters and how they developed across different cultures and forms of storytelling.

Writing Excuses at Gen Con! 

At GenCon this year, we’re hosting “Network the Gathering” along with the Ray Bradbury Center and Maurice Broaddus on Thursday, July 30th at 8pm at Ballroom 4 in the Marriot. You can get a ticket here!

WAITLIST for our Final WXR Cruise! 

Our final WXR cruise is sold out, but you can join our waitlist here!

Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, DongWon Song, and Erin Roberts. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

Join Our Writing Community! 

Writing Retreats

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Our Sponsors:
* Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com 

Support this podcast at — https://redcircle.com/writing-excuses2130/donations

Advertising Inquiries: https://redcircle.com/brands

Privacy & Opt-Out: https://redcircle.com/privacy

21.30: Chapter Breaks Soon

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/7/16/16/8f33ecbb-07d5-4a0c-9d64-1b1c2fd1406b_21.29_with_gen_con_ad_.mp3

What makes a scene feel like a scene? This week, we unpack one of storytelling&#39;s most basic building blocks. Our hosts explore where scenes begin and end, how they differ from beats, and why framing and narrative purpose matter more than rigid definitions. We also explore practical prompts for troubleshooting scenes that aren&#39;t working and discuss how structure and instinct can work together. Homework:Take one or two scenes from something you&#39;ve written. Using whatever scene framework works for you, identify the who, what, where, when, why, how, and the vibe of each scene. Then change one element and rewrite the scene to see how that change affects it. WAITLIST for our Final WXR Cruise! Our final WXR cruise is sold out, but you can join our waitlist <a href="https://writingexcuses.com/retreats/" rel="nofollow">here</a>!Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, DongWon Song, and Erin Roberts. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

What makes a scene feel like a scene? This week, we unpack one of storytelling&#39;s most basic building blocks. Our hosts explore where scenes begin and end, how they differ from beats, and why framing and narrative purpose matter more than rigid definitions. We also explore practical prompts for troubleshooting scenes that aren&#39;t working and discuss how structure and instinct can work together. 

Homework:

Take one or two scenes from something you&#39;ve written. Using whatever scene framework works for you, identify the who, what, where, when, why, how, and the vibe of each scene. Then change one element and rewrite the scene to see how that change affects it.



WAITLIST for our Final WXR Cruise! 

Our final WXR cruise is sold out, but you can join our waitlist here!

Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, DongWon Song, and Erin Roberts. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

Join Our Writing Community! 

Writing Retreats

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Our Sponsors:
* Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com 

Support this podcast at — https://redcircle.com/writing-excuses2130/donations

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21.29: How to Make a Scene

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/7/12/2/e875de85-da95-4f61-9ac2-3451ec3b091a_21_28_with_gen_con_event_ad.mp3

How do you move readers from one scene to the next without losing momentum? Our hosts dig into different types of transitions—from scene breaks and interruptions to brief “through scenes” that bridge time and space. Along the way, we compare prose techniques to music, film editing, and game design, exploring how transitions can carry emotion, maintain tension, and signal intention. We also discuss why transitions are often easier to solve during revision than during drafting. Sometimes all you need is a placeholder and permission to keep writing.Homework:Take two scenes from a work in progress and connect them three different ways: with a through scene, a scene break, and an interruption. Compare the results and note how each version changes pacing, tension, and reader experience.Writing Excuses at Gen Con! At GenCon this year, we’re hosting <a href="https://writingexcuses.com/writing-excuses-at-gen-con/" rel="nofollow">“Network the Gathering”</a> along with the Ray Bradbury Center and Maurice Broaddus on Thursday, July 30th at 8pm at Ballroom 4 in the Marriot. You can get a ticket <a href="https://www.gencon.com/events/327124" rel="nofollow">here</a>!WAITLIST for our Final WXR Cruise! Our final WXR cruise is sold out, but you can join our waitlist <a href="https://writingexcuses.com/retreats/" rel="nofollow">here</a>!Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, DongWon Song, and Erin Roberts. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

How do you move readers from one scene to the next without losing momentum? Our hosts dig into different types of transitions—from scene breaks and interruptions to brief “through scenes” that bridge time and space. Along the way, we compare prose techniques to music, film editing, and game design, exploring how transitions can carry emotion, maintain tension, and signal intention. We also discuss why transitions are often easier to solve during revision than during drafting. Sometimes all you need is a placeholder and permission to keep writing.

Homework:

Take two scenes from a work in progress and connect them three different ways: with a through scene, a scene break, and an interruption. Compare the results and note how each version changes pacing, tension, and reader experience.

WAITLIST for our Final WXR Cruise! 

Our final WXR cruise is sold out, but you can join our waitlist here!

Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, DongWon Song, and Erin Roberts. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

Join Our Writing Community! 

Writing Retreats

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Facebook



Our Sponsors:
* Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com 

Support this podcast at — https://redcircle.com/writing-excuses2130/donations

Advertising Inquiries: https://redcircle.com/brands

Privacy & Opt-Out: https://redcircle.com/privacy

21.28: Narrative Transitions

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/6/19/17/da6f6cd6-25c4-4b02-81e2-c4819821d8b8_21_27_the_expository_throttle.hires.mp3

How can exposition be used as a pacing tool, and not just a way to convey information? We attempt to answer this question on today’s episode! Our hosts discuss how exposition naturally slows a story down, creating space for readers to process events, build tension, and deepen their understanding of the world. We give specific examples for successful exposition (i.e. that won’t bore your reader). We also give you practical tools to add to your exposition toolkit– such as emotional context and POV—which can help your expository writing feel engaging instead of interruptive.  Homework:Find a complicated recipe and write an expository description of preparing it. Use the exposition deliberately to frustrate or annoy the reader, paying attention to how pacing and information delivery create that emotional effect. WAITLIST for our Final WXR Cruise! Our final WXR cruise is sold out, but you can join our waitlist <a href="https://writingexcuses.com/retreats/" rel="nofollow">here</a>! Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, and Erin Roberts. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

How can exposition be used as a pacing tool, and not just a way to convey information? We attempt to answer this question on today’s episode! Our hosts discuss how exposition naturally slows a story down, creating space for readers to process events, build tension, and deepen their understanding of the world. We give specific examples for successful exposition (i.e. that won’t bore your reader). We also give you practical tools to add to your exposition toolkit– such as emotional context and POV—which can help your expository writing feel engaging instead of interruptive. 

Homework:
Find a complicated recipe and write an expository description of preparing it. Use the exposition deliberately to frustrate or annoy the reader, paying attention to how pacing and information delivery create that emotional effect.

WAITLIST for our Final WXR Cruise! 
Our final WXR cruise is sold out, but you can join our waitlist here!

Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, and Erin Roberts. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.
Join Our Writing Community! 
Writing Retreats
Newsletter
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Our Sponsors:
* Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com 

Support this podcast at — https://redcircle.com/writing-excuses2130/donations

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Privacy & Opt-Out: https://redcircle.com/privacy

21.27: The Expository Throttle

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/6/19/16/969c6975-f2f6-4d31-a061-0ac39c08e1ac_21_26_setting_the_pace.hires.mp3

Our hosts explore the many tools writers can use to control pacing. We discuss how cadence, transitions, tone, sentence structure, and white space can all speed up or slow down a reader’s experience. And remember, fast is not inherently better than slow! This conversation highlights the importance of contrast—pairing fast and slow moments, tension and calm, or different emotional states—to make pacing more effective. Along the way, we examine examples from fiction, personal experiences, and neuroscience to better understand how readers process time and information.  Homework:Take a single event and write it two ways: first so the reading time roughly matches the amount of time the event takes, and then again so the reading time is much longer than the event itself. Compare how the different pacing changes the reader’s experience. Final WXR Cruise! Our final WXR cruise is sold out, but you can join our waitlist <a href="https://writingexcuses.com/retreats/" rel="nofollow">here</a>! Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, and Erin Roberts. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

Our hosts explore the many tools writers can use to control pacing. We discuss how cadence, transitions, tone, sentence structure, and white space can all speed up or slow down a reader’s experience. And remember, fast is not inherently better than slow! This conversation highlights the importance of contrast—pairing fast and slow moments, tension and calm, or different emotional states—to make pacing more effective. Along the way, we examine examples from fiction, personal experiences, and neuroscience to better understand how readers process time and information. 

Homework:
Take a single event and write it two ways: first so the reading time roughly matches the amount of time the event takes, and then again so the reading time is much longer than the event itself. Compare how the different pacing changes the reader’s experience.

Final WXR Cruise! 
Our final WXR cruise is sold out, but you can join our waitlist here!

Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, and Erin Roberts. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.
Join Our Writing Community! 
Writing Retreats
Newsletter
Patreon
Instagram
Threads
Bluesky
TikTok
YouTube
Facebook



Our Sponsors:
* Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com 

Support this podcast at — https://redcircle.com/writing-excuses2130/donations

Advertising Inquiries: https://redcircle.com/brands

Privacy & Opt-Out: https://redcircle.com/privacy

21.26: Setting the Pace

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/6/12/16/9dc43d60-f6c1-48b4-a6ee-f7408d323ba8_21.25_with_waitlist_ad_version_2.mp3

In this episode, our hosts explore how writers control their readers’ attention with the metaphor of a bouncing ball. We break down techniques for guiding focus on the page, including POV choice, selective description, rhythm, and where details appear within sentences and paragraphs. The discussion highlights how structure often matters more than individual word choice, with emphasis on primacy/recency effects, white space, and pattern recognition like the rule of threes. Each host shares their thoughts on how to sharpen reader focus or intentionally diffuse it to help you with your current work in progress!  Homework: Write a mundane scene three times: once straightforwardly, once where you deliberately hide a major event by shifting focus away from it, and once ending with “and that was the day everything changed.” Then compare how attention and emphasis shift between the three versions. Final WXR Cruise! Our final WXR cruise is sold out, but you can join our waitlist <a href="https://writingexcuses.com/retreats/" rel="nofollow">here</a>! Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, Erin Roberts, and DongWon Song. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

In this episode, our hosts explore how writers control their readers’ attention with the metaphor of a bouncing ball. We break down techniques for guiding focus on the page, including POV choice, selective description, rhythm, and where details appear within sentences and paragraphs. The discussion highlights how structure often matters more than individual word choice, with emphasis on primacy/recency effects, white space, and pattern recognition like the rule of threes. Each host shares their thoughts on how to sharpen reader focus or intentionally diffuse it to help you with your current work in progress! 



Homework: 

Write a mundane scene three times: once straightforwardly, once where you deliberately hide a major event by shifting focus away from it, and once ending with “and that was the day everything changed.” Then compare how attention and emphasis shift between the three versions.



Final WXR Cruise! 

Our final WXR cruise is sold out, but you can join our waitlist here!



Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, Erin Roberts, and DongWon Song. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

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* Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com
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21.25: Follow the Bouncing Ball

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/6/10/19/d0b16f70-b13a-4e11-8b74-f790c28f5960_21.24_with_waitlist_only_ad.mp3

Dan Wells joins our conversation as we break down the seven-point plot structure! Using examples from Star Wars, Toy Story, and other films, we discuss how each point creates conflict, drives character growth, and moves a story forward. We explore the difference between plot points that move characters toward their goals and pinch points that place obstacles in their way. We also examine how the midpoint shifts a protagonist from reacting to events to taking action. And remember– seven-point structure is a flexible tool that can be adapted to many different kinds of stories!  Homework:Take a subplot from a story you&#39;re working on and map it onto the seven-point plot structure. Start with the resolution, identify the opposite starting state for the hook, then sketch out the plot points, pinch points, and midpoint to see how the subplot develops from beginning to end. Final WXR Cruise! Our final WXR cruise is sold out, but you can join our waitlist <a href="https://writingexcuses.com/retreats/" rel="nofollow">here</a>! Credits: Your hosts for this episode were Dan Wells, Mary Robinette Kowal, Howard Tayler, Erin Roberts, and DongWon Song. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

Dan Wells joins our conversation as we break down the seven-point plot structure! Using examples from Star Wars, Toy Story, and other films, we discuss how each point creates conflict, drives character growth, and moves a story forward. We explore the difference between plot points that move characters toward their goals and pinch points that place obstacles in their way. We also examine how the midpoint shifts a protagonist from reacting to events to taking action. And remember– seven-point structure is a flexible tool that can be adapted to many different kinds of stories! 



Homework:

Take a subplot from a story you&#39;re working on and map it onto the seven-point plot structure. Start with the resolution, identify the opposite starting state for the hook, then sketch out the plot points, pinch points, and midpoint to see how the subplot develops from beginning to end.



Final WXR Cruise! 

Our final WXR cruise is sold out, but you can join our waitlist here!



Credits: Your hosts for this episode were Dan Wells, Mary Robinette Kowal, Howard Tayler, Erin Roberts, and DongWon Song. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

Join Our Writing Community! 

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Our Sponsors:
* Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com 

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21.24: Deconstructing the Seven Point Plot Structure

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/5/16/15/40a91b7b-4efd-4445-a667-c2c5a340ead7_21_23_barrier_breaking_interruptions.hires.mp3

In this episode, our hosts explore one of the most persistent barriers to writing: interruptions. From family members and pets to emails, meetings, fatigue, and neurodivergence, they discuss how disruptions can derail creative focus—and how writers can build systems to work with them instead of against them. The conversation touches on hyperfocus, ADHD, task-switching, and the emotional cost of being pulled out of the zone. Practical strategies include leaving “breadcrumbs” to re-enter a project, using phone settings and routines to protect writing time, and adjusting expectations around productivity. Rather than trying to eliminate interruptions entirely, we encourage writers to understand their habits and create sustainable ways to return to the work. HomeworkPractice handling interruptions in a low-stakes environment by setting a series of alarms for 5, 7, 9, and 15 minutes while you write. Each time an alarm goes off, leave yourself a quick “breadcrumb” note about what you were working on, take a short break, and then return to writing when the next timer starts. The goal is to get better at re-entering your work after interruptions so everyday disruptions feel less frustrating. Final WXR Cruise! Our final WXR cruise is almost sold out, grab your spot before June 4th, 2026 <a href="https://writingexcuses.com/retreats/" rel="nofollow">here</a>! Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, Erin Roberts, and DongWon Song. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

In this episode, our hosts explore one of the most persistent barriers to writing: interruptions. From family members and pets to emails, meetings, fatigue, and neurodivergence, they discuss how disruptions can derail creative focus—and how writers can build systems to work with them instead of against them. The conversation touches on hyperfocus, ADHD, task-switching, and the emotional cost of being pulled out of the zone. Practical strategies include leaving “breadcrumbs” to re-enter a project, using phone settings and routines to protect writing time, and adjusting expectations around productivity. Rather than trying to eliminate interruptions entirely, the episode encourages writers to understand their habits and create sustainable ways to return to the work.

Homework
Practice handling interruptions in a low-stakes environment by setting a series of alarms for 5, 7, 9, and 15 minutes while you write. Each time an alarm goes off, leave yourself a quick “breadcrumb” note about what you were working on, take a short break, and then return to writing when the next timer starts. The goal is to get better at re-entering your work after interruptions so everyday disruptions feel less frustrating.

Final WXR Cruise! 
Our final WXR cruise is almost sold out, grab your spot before June 4th, 2026 here!

Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, Erin Roberts, and DongWon Song. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.
Join Our Writing Community! 
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* Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com 

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21.23: Barrier Breaking: Interruptions

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/5/16/15/a45524e7-f49a-4fc1-b89a-232f78002944_21_22_the_order_of_the_telling.hires.mp3

*Time-Sensitive*Our final WXR cruise is almost sold out, grab your spot before June 4th, 2026 <a href="https://writingexcuses.com/retreats/" rel="nofollow">here</a>! This week, we are talking about the order in which we present information to the reader as contrasted with the order in which events actually progressed in the universe of this story and why those things might be completely different. We are joined by Margaret Dunlap as we explore nonlinear timelines with examples from novels, television, film, anime, and interactive fiction. We discuss how non-chronological storytelling can build tension, reveal character, and control the flow of information. The conversation highlights how writers can use flashbacks, parallel timelines, and carefully placed revelations to reshape a reader’s understanding of events. Our hosts also talk about the emotional power of structure, noting that nonlinear storytelling can shift a story from “what happens next?” to “how did we get here?” or “what does this mean now?” Margaret and our hosts share practical strategies for keeping timelines organized, including notes, spreadsheets, and tracking information arcs.  Homework: Find a story—a TV episode, movie, or book—that experiments with nonlinear storytelling. After experiencing it once, revisit it and map where information shifts: what characters know, what the audience knows, and how those changes affect your understanding of what comes next. Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, Erin Roberts, and DongWon Song. Our guest was Margaret Dunlap. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

*Time-Sensitive*

Our final WXR cruise is almost sold out, grab your spot before June 4th, 2026 here!

This week, we are talking about the order in which we present information to the reader as contrasted with the order, in which events chronologically actually progressed in the universe of this story and why those things might be completely different. We are joined by Margaret Dunlap as we explore non-linear timelines through examples from novels, television, film, anime, and interactive fiction. We discuss how nonlinear storytelling can build tension, reveal character, and control the flow of information. The conversation highlights how writers can use flashbacks, parallel timelines, and carefully placed revelations to reshape a reader’s understanding of events. Our hosts also talk about the emotional power of structure, noting that nonlinear storytelling can shift a story from “what happens next?” to “how did we get here?” or “what does this mean now?” Margaret and our hosts share practical strategies for keeping timelines organized, including notes, spreadsheets, and tracking information arcs. 



Homework: 

Find a story—a TV episode, movie, or book—that experiments with nonlinear storytelling. After experiencing it once, revisit it and map where information shifts: what characters know, what the audience knows, and how those changes affect your understanding of what comes next.



Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, Erin Roberts, and DongWon Song. Our guest was Margaret Dunlap. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

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21.22: The Order of the Telling

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/5/16/14/5c971e8d-f040-4e50-8c19-097c4bf4963b_21.21_with_cruise_ad_in_middle.mp3

*Time-Sensitive*Our final WXR cruise is almost sold out, grab your spot before June 4th, 2026 <a href="https://writingexcuses.com/retreats/" rel="nofollow">here</a>!Today, we’re continuing the conversation on sequencing by focusing on rhythm—how the musicality of language shapes pacing, emphasis, and emotional impact. Our hosts explore how sentence length, stress patterns, sound, negative space, repetition, and even page layout influence the way readers move through a story. They discuss poetic meter (iambs, trochees, spondees), examples from Shakespeare, hip-hop, comics, and modernist literature. They posit that rhythm is not just for poetry: it’s a powerful storytelling tool that can create emotion, draw attention, and increase readability. Homework:Choose a piece of music you love and pay close attention to its rhythm: where does it speed up or slow down? What gets emphasized, and how does the pattern shape emotion? Then take a piece of your own writing and experiment with using that same rhythmic structure in a descriptive passage to see how it changes the feel and movement of the prose.Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, Erin Roberts, and DongWon Song. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

*Time-Sensitive*

Our final WXR cruise is almost sold out, grab your spot before June 4th, 2026 here!

Today, we’re continuing the conversation on sequencing by focusing on rhythm—how the musicality of language shapes pacing, emphasis, and emotional impact. Our hosts explore how sentence length, stress patterns, sound, negative space, repetition, and even page layout influence the way readers move through a story. They discuss poetic meter (iambs, trochees, spondees), examples from Shakespeare, hip-hop, comics, and modernist literature. They posit that rhythm is not just for poetry: it’s a powerful storytelling tool that can create emotion, draw attention, and increase readability. 

Homework:

Choose a piece of music you love and pay close attention to its rhythm: where does it speed up or slow down? What gets emphasized, and how does the pattern shape emotion? Then take a piece of your own writing and experiment with using that same rhythmic structure in a descriptive passage to see how it changes the feel and movement of the prose.

Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, Erin Roberts, and DongWon Song. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

Join Our Writing Community! 

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Our Sponsors:
* Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com 

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21.21: Rhythm and Words

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/5/15/18/94b28171-4ef1-4e52-a453-956e81202473_21.20_with_3_ads.mp3

Today, we explore why writers place information in the order they do. From broad-to-narrow framing and cause-and-effect to repetition, rhythm, and surprise, we discuss how sequencing shapes the pacing, emotion, and clarity of your story. We discuss everything from “windowpane prose” and garden path sentences to recency-primacy effects and the ways readers naturally recognize patterns. Along the way, our hosts highlight how sequencing can guide a reader’s attention, create tension, and reinforce themes.  Homework:Take something you’ve written—or a story someone recently told you—and write it down in its current order. Then rewrite it two different ways: first by completely reversing the sequence of information, and then by arranging it in the most unexpected or “wrong” order you can imagine. Compare how each version changes the reader’s experience. Final WXR Cruise! Our final WXR cruise is almost sold out, grab your spot before June 4th, 2026 <a href="https://writingexcuses.com/retreats/" rel="nofollow">here</a>! Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, Erin Roberts, and DongWon Song. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.Join Our Writing Community! <a href="https://writingexcuses.com/retreats/" rel="nofollow">Writing Retreats</a><a href="https://writingexcuses.com/#newsletter" rel="nofollow">Newsletter</a><a href="https://www.patreon.com/WritingExcuses" rel="nofollow">Patreon</a><a href="https://www.instagram.com/writing_excuses/" rel="nofollow">Instagram</a><a href="https://www.threads.net/@writing_excuses" rel="nofollow">Threads</a><a href="https://bsky.app/profile/writingexcuses.bsky.social" rel="nofollow">Bluesky</a><a href="https://www.tiktok.com/@writingexcuses" rel="nofollow">TikTok</a><a href="https://www.youtube.com/@WritingExcusesPodcast" rel="nofollow">YouTube</a><a href="https://www.facebook.com/WritingExcuses" rel="nofollow">Facebook</a> Our Sponsors: * Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com * Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — <a rel='payment' href='https://redcircle.com/writing-excuses2130/donations'>https://redcircle.com/writing-excuses2130/donations</a> Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a> Privacy & Opt-Out: <a href='https://redcircle.com/privacy'>https://redcircle.com/privacy</a>

Today, we explore why writers place information in the order they do. From broad-to-narrow framing and cause-and-effect to repetition, rhythm, and surprise, we discuss how sequencing shapes the pacing, emotion, and clarity of your story. We discuss everything from “windowpane prose” and garden path sentences to recency-primacy effects and the ways readers naturally recognize patterns. Along the way, our hosts highlight how sequencing can guide a reader’s attention, create tension, and reinforce themes. 



Homework:

Take something you’ve written—or a story someone recently told you—and write it down in its current order. Then rewrite it two different ways: first by completely reversing the sequence of information, and then by arranging it in the most unexpected or “wrong” order you can imagine. Compare how each version changes the reader’s experience.



Final WXR Cruise! 

Our final WXR cruise is almost sold out, grab your spot before June 4th, 2026 here!



Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, Erin Roberts, and DongWon Song. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

Join Our Writing Community! 

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Our Sponsors:
* Check out MasterClass and use my code masterclass.com/EXCUSES for a great deal: https://MasterClass.com
* Check out Talkiatry and use my code talkiatry.com/WX for a great deal: https://www.talkiatry.com 

Support this podcast at — https://redcircle.com/writing-excuses2130/donations

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21.20: Sequencing from Mega to Micro

Subscribers get access to our entire catalogue of ad-free episodes! 

Fifteen minutes long, because you're in a hurry, and we're not that smart.

Mary Robinette Kowal, DongWon Song, Erin Roberts, Dan Wells, and Howard Tayler discuss writing techniques in a fast-paced format. A weekly podcast about the craft and business of writing.