This episode was recorded live at our 2024 Writing Excuses Cruise. (Did you know that we host a writing retreat on a cruise every year!?! You can learn more at https://writingexcuses.com/retreats/)

While on a boat in Mexico, Erin Roberts was joined by Marshall Carr—our incredible recording engineer who is also a teacher during the school year— and author Mark Oshiro—who also teaches both kids and adults! For those who don’t know, our host Erin is a Creative Writing professor at UT Austin.

We wanted to record an episode with these three educators to give them a platform to talk about the art—and complexity and passion—of teaching. They discussed how they came to teaching, what they get from teaching as a writer, and why they continue to teach.

Thing of the Week: All This and More by Peng Shepherd

Homework: This homework is from Marshall! If you’re considering teaching, think of something you’re passionate about (it doesn’t have to be writing). Then, create a lesson for that thing that would work for your younger self.

P.S. Want to come write with us in 2025?! Our retreat registration is open, and we are starting to fill up! We are going to unlock our creative processes in Minnesota and explore Story Refinement as we cruise down the Mexican Riviera! Learn more here.

Credits: Your hosts for this episode were Mark Oshiro, Marshall Carr, and Erin Roberts. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

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This season, we’ve been exploring different approaches to writing through the lens of other crafts and their respective toolkits. We had the pleasure of speaking with furniture-maker, writer, and publisher Christopher Schwarz. Christopher is an incredible artist, writer, and is also the founder of Lost Arts Press, which publishes books on hand tool woodworking.

We talked with Christopher about his creative trajectory, and the intersection of tools, methods, and crafts.

P.S. Want to come write with us in 2025?! Our retreat registration is open, and we are starting to fill up! We are going to unlock our creative processes in Minnesota and explore Story Refinement as we cruise down the Mexican Riviera! Learn more here.

Credits: Your hosts for this episode were DongWon Song and Howard Tayler. Your guest was Christopher Schwarz. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

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People often think of first person POV as the most intimate voice. But in a way, we think second person might be more intimate. With second person, you’re forcing the reader’s subjectivity into the fiction itself. You are integrating the person who is reading the story into the experience of being in the story– in a way that can be a little disorienting (or fun) for the reader.

In the world of POVs, the second person can sometimes feel like a chaotic perspective. There are several different versions, depending on who the “you” is addressing. Is it the reader? Is it another character? What happens when “you” appears in a letter within a story? Second person often appears in conversation and on social media because it’s a way to draw your conversational group into the experience that you personally had. So, when should you use it in your writing, and how can you use it to help advance or deepen your story?

Homework: Write something in the second person, and think of something you’re getting across in the scene. Now, try to convey it with a “you” that’s directed towards another character. Then, as a “you” in a letter. Finally, write it again where the “you” is the reader themselves.

P.S. Want to come write with us in 2025?! Our retreat registration is open, and we are starting to fill up! We are going to unlock our creative processes in Minnesota and explore Story Refinement as we cruise down the Mexican Riviera! Learn more here.

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

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With today’s episode, we are continuing our discussion on proximity by focusing on another POV: third person omniscient. In omniscient POV, the narrator can see all and move into any character's head. It's sometimes seen as old fashioned, like Jane Austen. But writers like John Scalzi and Liza Palmer are using it to good effect as a way of exerting control over exactly what the audience sees in ways that are similar to a filmmaker. So why is it so hard to do well? And what does it allow the writer to do that no other voice does?

Homework: Describe a street scene where your main character is walking down the street. Move us through this scene through the perspective of 5-6 bystanders observing this happening. Focus on sensory details: what is everybody seeing/ smelling/ looking at? And how does this establish where your main character is in the scene?

P.S. Our Writing Excuses cruise is over 60% sold out! Secure your spot today at www.writingexcuses.com/retreats

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

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Third person limited is one of the most popular storytelling lenses. Yet it is often understood differently by various authors and readers. So today we’re diving into the complexities, intricacies, and beautiful constraints of third person limited—don’t worry, we’ll be tackling third person omniscient in our next episode!

With third person limited POV, you get to use some of the tools of first person, while being able to back away from the character a little. We’re going to address the various levels of interiority and proximity that characters are afforded, why this matters, and what it would look like in your own writing.

Homework: Take a scene that you’ve written and write it in the closest third person limited that you can possibly stand. Then, write it again at a slightly more distanced, but still limited, third person. Look at these two scenes side-by-side and ask yourself: what did I do differently in each? What did I emphasize? Then, figure out which perspective you want to use when actually writing this scene.

P.S. Our Writing Excuses cruise is over 50% sold out! Secure your spot today at www.writingexcuses.com/retreats

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

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We’re now going to have a few episodes focusing on the lens of proximity—specifically, how close you are to a character. Today, we’re talking about first person. First person seems like it would be one of the most natural forms of storytelling, because it's the one we use when talking about our own actions. But how do we use first person effectively? How close we are to the character and how much we get to know of their motivation and reaction can be controlled through interiority and embodiment. This often ends up defining the POV that we use in our stories. We'll talk about which tools are specific to first person, as well as flag pitfalls to watch out for.

Homework: Go pick up a book that you love. Find a scene that you think is really great that is not in first person. Then, rewrite that scene in first person from the POV of a character in the scene.

P.S. Our Writing Excuses cruise is over 50% sold out! Secure your spot today at www.writingexcuses.com/retreats

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

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Today, we’re returning to different personal metaphors for how we all think about writing and storytelling. In this episode, we’re talking about how DongWon uses fashion as a helpful metaphor to think about storytelling. For both fashion and writing, whether you know it or not, you are already engaging with it every single day of your life. You are writing emails, you are communicating with the people around you, you’re dressing yourself, you’re wearing certain things and not others, and you’re ordering pizza! But what’s the difference between ordering a pizza and performing a poem? Well, lots of things, but mostly intention and deliberateness.

Note: In this episode, we mention cooking as a metaphor—this episode hasn’t aired yet but will in May!

Homework: Take one article of clothing from your closet and build three different looks around it. One for everyday wear, one for a family function, and one for a night out

P.S. Our Writing Excuses cruise is over 50% sold out! Secure your spot today at www.writingexcuses.com/retreats

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

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This episode was recorded live at our 2024 Writing Excuses Cruise. (Did you know that we host a writing retreat on a cruise every year!?! You can learn more at https://writingexcuses.com/retreats/.)

While on a boat in Mexico, we were joined by author Mark Oshiro and literary agent Kate McKean. In addition to our hosts, they answered questions that were asked by our cruise attendees. Our answers included things such as how much space a character should take up and how to find the balance between plot-focused and character-focused novels. We also tackled questions about worldbuilding, motivation, and deadlines.

Homework: Ask someone a question about writing, either to learn more about what they're working on or to work through a project of your own.

P.S. Our Writing Excuses cruise is over 50% sold out! Secure your spot today at www.writingexcuses.com/retreats

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Credits: Your hosts for this episode were Mary Robinette Kowal, Dan Wells, Sandra Tayler, Mark Oshiro, and Kate McKean. Our guest was Chuck Tingle. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

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