Writing Excuses

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.

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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.
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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.

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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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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'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.

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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.
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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.

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.
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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! 
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