Podcasts about mcguffins

Join Tyson McGuffin, K-Mac, and special guest Andrei Daescu in this lively episode of The McGuffin Show, where they tackle everything from chilly Coeur d'Alene weather to intense pickleball tournaments. Get an insider's look at how Tyson and Andrei navigated their recent tournament performances, juggling family life, paddle changes, and the evolving tactics of professional pickleball. From recounting Valentine's Day festivities to dissecting backhand shots and MLP trades, this episode is a must-watch for any pickleball enthusiast.Episode Highlights:0:00 ❄️ Tyson introduces the podcast in brisk Coeur d'Alene, welcoming K-mac and pro player Andrei Daescu.1:20

Welcome back to The McGuffin Show! After a whirlwind of tournaments and pickleball events, Tyson and Meg are back with Kyle Mackenzie to dive deep into the pickleball world as the season wraps up. This episode is packed with insights on MLP team dynamics, the future of pickleball partnerships, playoff predictions, and a glimpse into what's next for the McGuffins. Episode Highlights: 1:00 –

Where the Heroes of Yearth expected danger, they instead found a house of pleasure. But does a hidden danger hide underneath the slippery surroundings? Hosted on Acast. See acast.com/privacy for more information.

Park Chan-wook is a master of movie making. And he's seemingly getting better with age. Leaving the sex and violence of previous hits such as Oldboy, JSA, and The Handmaiden behind him, Decision to Leave / 헤어질 결심 (2022) explores the relationship between a Korean man and a Chinese woman, completely incompatible, seemingly madly in love, and destined to destroy each other. These two roles are played expertly by Tang Wei and Park Hae-il. "The moment you said you loved me, your love ended. And the moment your love ended, my love began.” The movie is a piece of art: a poem. It encourages you to watch it multiple times, with each viewing providing greater insight into the layers constructed: through sound, language, visuals, and mis-en-scene. I sat down with two Korean women, Jimin and Yunsuh, and a Chinese woman, Jessie, to explore this movie from a variety of perspectives: art, beauty, gender, love, and morality. Each of them provided views and insights I would never have found myself. And yet, it still feels like there is so much that went unsaid.   Discussion Outline  0:00 First Impressions 13:40 Park Chan-wook and Gender 18:46 Park Chan-wook's Style 25:45 Is Decision to Leave Romantic? 34:58 Asian Vibes: The Mountains and the Sea 43:06 Tang Wei 1:08:25 Poetry, Yeokbek, and McGuffins 1:19:30 The Ending of the Movie  1:38:50 Haejoon: The Male Lead 1:59:52 Park Chan Wook and the Oscars 2:08:00 A movie, a Book, a Song   Korea Deconstructed by David Tizzard  ▶ Get in touch: datizzard@swu.ac.kr ▶ Support us on Patreon: https://www.patreon.com/user?u=62047873 ▶ Watch us on Youtube: /davidtizzard ▶ Find us on Insta: https://www.instagram.com/koreadeconstructed ▶ Listen on iTunes: https://podcasts.apple.com/kr/podcast/korea-deconstructed/id1587269128 ▶Listen on Spotify: https://open.spotify.com/show/5zdXkG0aAAHnDwOvd0jXEE ▶ Listen on podcasts: https://koreadeconstructed.libsyn.com/ ▶ Music: Rail Gun by Disorientalz

Welcome back to the McGuffin Show, Tyson and Meg dive into their life post-vacation and gearing up for the pickleball scene with zest. Tyson's take on his recovery with PRP injections, and their unique experiences, from star-studded Necker Island to the vibrant vibes of New Orleans. Sprinkled with pickleball strategies, personal growth insights, and laughter, this episode is a blend of sportsmanship and adventure. This episode offers a unique window into the blend of high-level competition, personal recovery stories, and unforgettable adventures that define the Tyson's world. From preparing for the prestigious Fanatics Sportsbook North Carolina Cup to the serene beauty of Necker Island, and the cultural richness of New Orleans, this video is a testament to the vibrant life that accompanies the sport of pickleball.  Tyson's Pickleball & Life Adventures Unfold (0:00)  Family Reset and Return to Routine: Dive back into life with the McGuffins as they transition from vacation bliss to the daily grind, setting their sights on upcoming pickleball tournaments and personal milestones.(2:45)  Fanatics Sportsbook North Carolina Cup Prep: Tyson shares his focused preparation for the Cup, emphasizing the strategic approach and physical readiness essential for dominating on the court.(3:27)  Navigating PRP Therapy: Discover Tyson's candid reflections on undergoing PRP injections for injury recovery, including the decision-making process and the anticipated impact on his performance.(5:45)  The Challenge of Plantar Fasciitis: Get an in-depth look at Tyson's battle with plantar fasciitis, exploring the treatment options and the adjustments made to overcome this common athlete's hurdle.(6:50)  Tournament Strategy Overhaul: Learn how Tyson is revolutionizing his approach to tournament play and preparation to minimize injury downtime and maximize court dominance.(8:20)  Pickleball in Paradise - Necker Island Recap: Join Meg and Tyson for a recount of their extraordinary time on Necker Island, blending top-tier pickleball with luxury relaxation.(9:00)  Meeting the Stars: Experience Tyson's genuine reactions to encountering celebrities and fellow athletes, revealing the humility and excitement behind the professional façade.(11:30)  Jet-Setting with Jonathan: Climb aboard a private jet with the McGuffins for a first-class adventure, offering a glimpse into the perks and experiences of their travel lifestyle.(13:20)  Pickleball Forum Insights: Tyson takes part in the inaugural Pickleball Forum, sharing valuable networking moments and lessons learned from a panel of esteemed professionals.(14:30)  McGuffin Vlog Highlights: Don't miss out on the extended adventures and behind-the-scenes content available on our vlog, where the pickleball journey continues off the court.(16:45)  Spotlight on Abaco Club & New Orleans: From teaching pickleball in the Bahamas to embracing the vibrant culture of New Orleans, the McGuffins share their experiences of blending work, play, and exploration.(25:38)  From Mats to Courts: Tyson reflects on his transition from wrestling to tennis and eventually pickleball, highlighting the mental and physical discipline carried over from his wrestling days.(39:59)  Celebrating Aundre's Pickleball Success: The episode closes with a heartfelt shoutout to Aundre, acknowledging his remarkable achievements on the pickleball court.This episode is a deep dive into the world of professional pickleball, personal growth, and the vibrant life journeys of Tyson and Meg McGuffin. From intense court action to serene island escapes and cultural explorations, join us as we navigate the blend of competition, recovery, and adventure.#PickleballLife #McGuffinAdventures #SportsFamily #FanaticsCupPrep #PRPRecovery #NeckerIslandPickleball #PickleballForum #WrestlingToTennisTransition #PickleballTraining

Fede Frittelli nos habla de recursos narrativos y de los Mcguffins de Michael Jordan

Ed and Evan are joined by the amazing Jayhoo this week for "The Autobot Run." Jayhoo thought this was "The Trans-Europe Express," which is a much better episode, but he got to suffer with the Guys, so its all downhill from there. Oh, and Chip can stand! Wrasslin and Johnny Quest, flying Autobots and stupid McGuffins! Its The Autobot Run!As always, thanks for being there for us and please reach out if you like what you hear!If you'd like to contact the guys, they'd love to hear from you!Edhatestransformers@gmail.comMorethanmeetstheseguys@gmail.com@mtmtgpod on Twitterhttps://www.facebook.com/MoreThanMeetsTheseGuys/https://discord.gg/sKr8jwaAvhAlso, check out the new youtube channel!https://www.youtube.com/@MoreThanMeetsTheseGuysPODIf you'd like to toss a buck or more per episode, we'd adore and say nice things about you. You don't have to, as we'll still gladly hang out with you guys and gals every week, but we appreciate any help! patreon.com/user?u=69144181

Facts:  Bassists are the most qualified people in the world to talk about film, which is why Ross and Ian are talking about one of the only things worth talking about: William Friedkin movies...  From "Sorcerer" to "Killer Joe".  PLUS we do a mixtape of movies featuring Monkey Paws, McGuffins, Wishes Gone Wrong, and more. When it comes to cinema, we are probably the only people you should listen to, and we are stoked to share this info with you Rad things: If you are in a band and are looking to cut shortcuts in developing a website, no company can help you more than SUPERTAPE.com.  It is the easiest way to streamline your entire online presence from merch sales to video, press, and beyond... ALL done with only a few clicks.   Ross put out an album under the name COGENTS. It's available wherever you listen to music and highly recommended for those looking to scratch their weird ambient-score itch. Ian has some MUST LISTEN TO MUSIC over at the Interesting Times Gang Bandcamp Page. Ian and Ross will both be opening up for Botch this coming winter.  Be sure to check out those dates if you can find tickets. The Rigs of Dad Patreon Page is bumping with the extended version of this conversation, PLUS a new, round 2, unedited interview with Jordan Buckley of Better Lovers and Every Time I Die fame is now up on patreon. Getting ANYWHERE in life is ten times more fun if you are doing it in style, and the best way to do that is through the ONLY method of transportation worth booking:  GILLIBUS. Big shout out to the homies at www.shearrevival.com Take care of yourself.  Look good, smell good, and feel good.  Treat your body and neighbor's nose with love using Shear Revival!  Use the code CLEANTONE10 to get 10% off your next order!   Huge loves to the incredible Sacha Dunable from Dunable Guitars.  The guys is building the absolute BEST axes in the game and I am a firm believer that EVERYONE needs to own one.  Check out www.dunableguitars.com if you need some real tone in your life. Much love to the fine folks at Custom District Pedalboards for allowing me to pack the heaviest tones on the lightest boards.  Get yours over at www.customdistrictpedalboards.com Do you have a ton of guitars?  Does the show not go on unless you have at least three guitars with you?  Then you need to check out Quantum Industries.  These dudes are putting out true tanks of guitar cases.  Check out https://www.quantumindustries.jp/ BE SURE to enter ROD10 for a discount on your order!!!

Taz complains about movie McGuffins in new Transformers and Couples who post about their love online are less happy.

Nachdem er sich mit grimmigen Geistern aus der Bundeslade und einem kranken Voodoo-Kult herumärgern musste, steht Indiana Jones vor seiner bislang größten Herausforderung: Die Liebe und den Respekt des eignen Vaters zu gewinnen. Denn genau den hat der Hunde-namige Grabjäger in seinem dritten Abenteuer unfreiwillig im Schlepptau. Henry Jones Jr. und sein alter Herr machen sich auf die Suche nach dem heiligen Gral der McGuffins - nämlich… dem heiligen Gral. Und während sich die Jones' durch die Weltgeschichte kabbeln, bekundet ein gewisser Adolf Hitler ebenfalls Interesse am Gefäß der Unsterblichkeit. Der letzte Kreuzzug kann beginnen… und wie DER qualitativ ausfällt und wo sich „The Last Crusade“ auf dem Treppchen der Indiana-Jones-Reihe befindet, das erfahrt Ihr im dritten Teil unserer grandiosen Indiana-Jones-Retrospektive!

They made a better movie about Dungeons & Dragons! Can you really go wrong with Chris Pine and Hugh Grant? Two expert DMs and a roleplaying novice break it all down! Jason Snell with Tony Sindelar, Scott McNulty and Moisés Chiullán.

They made a better movie about Dungeons & Dragons! Can you really go wrong with Chris Pine and Hugh Grant? Two expert DMs and a roleplaying novice break it all down! Jason Snell with Tony Sindelar, Scott McNulty and Moisés Chiullán.

On the twenty-sixth episode of Blockbuster Rewatch, Andy Atherton is joined by Keith Langston to do a live watch of 2021's Eternals continuing his MCU rewatch. Originally broadcasted live on Stream Lounge, the guys talks about the world building the film has to do off the bat; the large team of heroes; the lack of real star power in the main cast; whether or not the story would've been better served as a Disney+ show; keeping your powers hidden; LEGO sets; what animal would you be?; Mork & Mindy; technical evolutions; sex scenes in superhero movies; actors wanting to have their characters killed off; lookalike celebrities; the true purpose of the Eternals; Peter Pan; Hamish the dedicated cameraman; Twinkies; “The Exposition Scene”; McGuffins; Disney villains; plot holes; heel turns of superheros and where the MCU will go from this point.   To watch the Stream Lounge Broadcast, click on the link below: https://www.streamlounge.io/watch/1453e327-41ad-498b-8b6c-13ca25d2ed85

What is a MacGuffin? The guys get into examples and their favorite McGuffins such as the one in Pulp Fiction. --- Support this podcast: https://podcasters.spotify.com/pod/show/then-and-now8/support

January 19, 2023The Daily Mojo is 2 hours of news, commentary, comedy, and auditory deliciousness."Death, Drugs, & Excuses"Shoplifting is a much bigger issue in the United States these days and for whatever reason, the MSM isn't really takling about it. Go figure. Was George Santos (the Repub Rep from NYC who lied on his resume) once a drag queen? Hmmmm. Should the ATF be abolished? Matt Gaetz thinks so and has introduced a bill to do just that. And what's up with Steven Crowder? Let's talk. Please support the Mojo50 platform if you can. We stand for the Constitution and individual responsibility. We especially love 1A & 2A. Join us and help take our country back! Purchase official merch:https://www.mojo50.com/shopJeff Fisher - aka Jeffy - host of Chewing The Fat Podcast, was off getting implants today.Links:https://podcasts.apple.com/us/podcast/chewing-the-fat-with-jeff-fisher/id904652321https://linktr.ee/JeffFisherRadiohttps://twitter.com/JeffyJFRhttps://www.facebook.com/JeffFisherRadioBrandon Morse returns to discuss McGuffins and Netlfix's Wednesday. Oh, and we bring up the Night Nanny. Links:https://redstate.com/author/brandon_morsehttps://twitter.com/TheBrandonMorsehttps://www.youtube.com/channel/UC5qtJeio-Hb3Fh9P2fNi7CAhttps://twitter.com/againstgrmrs All things in one place: https://linktr.ee/realbradstaggs All things in one place: https://linktr.ee/realronphillips WATCH The Daily Mojo LIVE 7-9a CT:Rumble: https://rumble.com/c/DailyMojoFacebook: https://www.facebook.com/MoJo50Radio Mojo 5-0 TV: https://www.mojo50.com/mojo50tvOr just LISTEN:https://www.mojo50.com/Please support our advertising partners, if you're able. American Pride Roasters Coffee:https://americanprideroasters.com/Custom Laser Engraving:MojoLaserPros.comMy Pillow Promo Code: Mojo50https://www.mypillow.com/radiospecialsEmergency Food Supply & Tools:PrepareWithMojo50.com

Our heroes move ever closer to their ultimate destination, of travelling to the Far Realm to destroy the Far Gear. But first, a visit to an old cog in Rex's machine is in order, along with a just a little peek at a bathing Luxodon. And, on your way to Al McGuffin's office, might as well stop by the (normal, company) archives to pick up a scroll or two. But when you're dealing with McGuffins, when is a trip to the library ever just a trip to the library? Marcus Stusek (he/him) as the Dungeon Master Craig Chapman (he/him) as Salem Brennan Harder (he/him) as Rathmus Rex Elliot White (they/them) as Lisette Audio Production by Liam Catarina (it/its) https://www.liamcatarina.com/ Music provided courtesy of the YouTube Audio Library Our website: www.dirtytwentiespodcast.com Contact us: dirtytwentiespodcast@gmail.com

Review of Star Trek DS9: Season 1 Episode 14 "Progress" This week: The origin story of Self-Sealing Stem Bolts! Jake and Nog have a grand old time swapping out McGuffins, but the heart of the story is Kira's journey trying to convince an old farmer to leave his home for the good of Bajor. *This is an audio-only feed of K&M's Video Podcast found here: https://youtube.com/playlist?list=PLidGSKPjKhVLDXW-9SDCdmYZR7rvMCIfp Support K&M's Patron & get lots of bonus content here: https://www.patreon.com/KandM

Welcome to Parallel Quest! In this week's episode Cody and Zach talk about one of their favorite adventure movies ever made: Raiders of the Lost Ark. Between Star Wars and Indiana Jones, Lucasfilm delivered some of the most fun filled films for the better part of a decade. Currently the film studio seems a bit lost in their identity as they have tried to bring Star Wars back, but in 1981 with the first film in the Indiana Jones franchise, we got to witness Lucasfilm when it was at its best. In this episode the guys discuss their first experiences with Dr. Jones, point out the parts in the film that are exceptional, examine why McGuffins work for the entirety of the series, and share a unique perspective on what they believe to be the narrative tone of the film. We hope you enjoy this episode and be sure to let us know what you think!Listen to the audio podcast of the show here: https://www.steellakestudio.com/parallelquestBuy Zach's newest book, Beast of Big Bear Forest: https://www.steellakestudio.com/booksSign up for our E-MAIL LIST: https://www.steellakestudio.com/emailThank you so much for checking out Parallel Quest. This is a production of Steel Lake Studio. We don't just have one podcast though, we are a team of storytellers trying to use a variety of different mediums to tell stories that we have been working on our whole lives. If you would like to check out more of what we do, check out https://www.steellakestudio.com/If you REALLY like the show, consider rocking some Parallel Quest themed MERCHANDISE:https://www.steellakestudio.com/merchPodcast Edited by Jake Butler***Song: Electro-Light - Symbolism [NCS Release]Music provided by NoCopyrightSoundsFree Download/Stream: http://ncs.io/symbolismWatch: http://youtu.be/__CRWE-L45k

- What did you think of Spider-Man: No Way Home? - This episode touches on key problems with big Marvel films that you need to know: bathos, McGuffins, pathos, guilt, villains, and much much more. - The guys devote a whole episode to this as Spiderman is one of their favorite superheroes... - ...so Brian quizzes Nate about this 1.5 BILLION dollar movie to find out why it's so poor. #SASF #Spiderman #Storiesaresoulfood Check out the Canonball Kids channel on Canon Plus: https://mycanonplus.com/tabs/discover/pages/canonball-kids 

- What did you think of Spider-Man: No Way Home? - This episode touches on key problems with big Marvel films that you need to know: bathos, McGuffins, pathos, guilt, villains, and much much more. - The guys devote a whole episode to this as Spiderman is one of their favorite superheroes... - ...so Brian quizzes Nate about this 1.5 BILLION dollar movie to find out why it's so poor. #SASF #Spiderman #Storiesaresoulfood Check out the Canonball Kids channel on Canon Plus: https://mycanonplus.com/tabs/discover/pages/canonball-kids 

This week, Dylan and Chris dive into a discussion of McGuffins; what they are, how they're used, and how adding them to game stories can be a little more complicated than it first seems! Backstage Gaming is a proud member of the HP Video Game Podcast Network (@hpvgpodnetwork on Twitter) Enjoy our show? Consider supporting us on Patreon! (patreon.com/bsgpod) Learn more about your ad choices. Visit podcastchoices.com/adchoices

The story of Jason and the Argonauts is one of the oldest stories still being told in the Western canon. It features the Golden Fleece, which is one of the oldest McGuffins in the Western canon. Hold on to your film studies degree, kids; Leo Garcia (he/him) (AKA GeekScorpio/Gaming Theater Presents) joins us to talk myths, MacGuffins, and Alfred Hitchcock. Other topics include sports Greek would heroes letter in, animated children's programming from the last 90s, botched series finales, and cosmic baked goods. Check out Leo's amazing videos at https://www.youtube.com/c/GamingTheaterPresentsSpoilers for Assassins Creed Series, Age of Mythology, DuckTales, Hercules: The Animated Series, Supa Land, Pulp Fiction, Psycho, The Lord of the Rings, Titanic, How I Met Your Mother, Saving Private Ryan, Warehouse 13, Jackie Chan Adventures, Scott Pilgrim, Pokemon, Invader Zim, The Adventure Zone, Justice League, Guardians of the Galaxy, Avengers: Endgame, and Fairly Odd Parents. Content Warning: This episode contains mentions of and conversations about infidelity, attempted murder, death, drowning, animal sacrifice, murder, dismemberment, religion, Nazis, and Nazis getting their faces melted off. Halloween Special 2021 Bonus Episode up at Bunker 9: Patreon.com/musesofmythologyAbout UsPodcast of Poseidon was created and co-hosted by Darien and DJ Smartt.Our music is Athens Festival by Martin Haene. Our cover art is by Audrey Miller. Find her on Instagram @bombshellnutshellartLike the show? Ready for more? Support us on Patreon and get instant access to bloopers, outtakes, and bonus episodes! Patreon.com/musesofmythologyFind us @PoscastOfPoseidon on Instagram, Twitter, and Facebook. Find all of our episodes and episode transcripts at PodcastOfPoseidon.comSupport the show

In this episode, Andy and Patrick present their listicles for their top MacGuffins (or is it McGuffins?).  But that's only after trying to figure out what exactly a MacGuffin is in the first place.

Most of us have heard the term 'McGuffin' applied to an aspect of a film or book, often with a tone of derision. A similar reaction is often prompted by the term 'plot device'. But are these storytelling accessories actually bad or, if used correctly, are they essential pieces of plot driving furniture? What's the differences between them? And just what is a choosey magical object? This week the dragons detangle the threads and explain the flaws and features of each. On the slab this week: The Lord of the Rings, Arthurian Myth, Infinity War and many more.   Title music: Ecstasy by Smiling Cynic

As our heroes journey through the mazelike warren of tunnels between dimensions back to New Republica, the Far Gear refuses to be carried quietly, and puts the life of one of our adventurers in grave danger. Secrets are revealed, tensions rise, and a Slaad is tasked with bringing a flying ship back to McGuffins – what could possibly go wrong? And at the end of it all, one of the party considers walking away. Dungeon Master: Marcus Stusek (he/him) Cast: Craig Chapman (he/him) as Salem Richard Chapman (he/him) as Cricket Tobi McGowan (they/them) as Lonlin Elliot White (they/them) as Lisette Music provided courtesy of the YouTube Audio Library Our website: www.dirtytwentiespodcast.com Contact us: dirtytwentiespodcast@gmail.com

Murray has a fight with his wife and moves in with Felix and Oscar in the season three finale The Murray Who Came For Dinner.  We discuss the fact this episode was the third filmed for the season but the last to air and speculate about why this was.  We also cover in-depth that the actress who plays Murray's wife also played Oscar's mother this season.  Other topics include: McGuffins vs red herrings; how good Al Molinaro is in the episode; rollerderbys; and the unnecessary use of recycled outdoor footage and establishing shots.

We Make Books is a podcast for writers and publishers, by writers and publishers and we want to hear from our listeners! Hit us up on our social media, linked below, and send us your questions, comments, and concerns for us to address in future episodes. We hope you enjoy We Make Books! Twitter: @WMBCast  |  @KindofKaelyn  |  @BittyBittyZap Instagram: @WMBCast  Patreon.com/WMBCast   Episode Transcript (by Tori P) [Upbeat Ukulele Intro Music] This is We Make Books, a podcast about writing publishing and everything in between. Rekka is a published Science Fiction and Fantasy author, and Kaelyn is a professional genre fiction editor. Together, they'll tackle the things you never knew you never knew about getting a book from concept to finished product, with explanations, examples, and a lot of laughter. Get your moleskin notebook ready. It's time for We Make Books. Kaelyn: Did you get your second shot yet?   Rekka: We get it on Saturday.   K [mumbling]: Okay.   R: ‘Cause cool people get the vaccination.   K: You hear that kids? Be cool, get vaccinated.   R: Be Extremely cool. Be cool like me. [laughing] I don't know if that’s selling it but-   K: [laughing]    R: -that’s what i’m gonna go with.   K: I get mine May second. I got the moderna one so I had to wait four weeks and -   R: Mhm. Yeah, I get two weeks between mine [loudly] it depends on your publisher.   K: [laughing]    K: Speaking of things that come in part two-   R: Yep, speaking of duologies-   K: The covid duology, oh there we go.   R [overlapping]: Yes, well the vaccine duology, not the covid itself-   K [overlapping]: Yeah.   R: Because you don't wanna get covid and then long covid, that’s one duology. The duology I’m all about is the mRNA duology, let’s do that one.   K: We’ve got shots part two coming up here.   R: Mhm.   K: And you know, in many ways the vaccine is kind of similar to a duology. The first one’s the build up, the first one’s to get you a little bit of a taste there, get your immune system going like “hey, what is this? What's going on? What's happening?” and then the second one, that’s BAM, you know? like-   R: That’s when it all happens   K: - fully immune. Yeah and that’s [laughing] that’s why everyone’s getting sick from the second one.   R: Ugh yeah, I don’t think this metaphor’s gonna last us too much longer. But, we are talking today about duologies.   K: As promised.   R: Yes, we are following through on the promise, the commitment we made, to follow last episode’s trilogy discussion with a discussion of duologies, and why they are harder than the thing we made sound really hard.   K: Yeah, so. You know, last episode we talked about trilogies, and how trilogies can be really challenging, and one of the things we touched on was: if you’re really having a hard time with this, maybe you don’t have a trilogy. Maybe you have a duology. So, a duology, obviously, is a series of two books rather than a trilogy being three, although quadrilogies are becoming a thing now. Four books is getting super common. So, just to clarify some things here. If you’re going “I did not hear the word duology ever, until about a year ago, or so,” you’re right, you didn’t. [laughing] This wasn’t really a very common thing.    R: This wasn’t a thing, there was a book and a sequel but there wasn't a thing called a duology.   K: Yeah and by the way, let’s clarify this real quickly here, the difference between a book and a sequel, and a duology. A duology is a story split up into two books. A book and a sequel is, presumably, one complete story and then another complete story.   R: In the same world, usually featuring the same characters, spun off somehow.   K: Yes.   K: Contractual finite book series are kind of a relatively recent thing. You know, for those of you who have been reading science fiction and fantasy for a long time - especially, you know, when it first started, you know, the trade paperbacks and the pulp and everything was really popular - will know that series, especially genre series - and not just science fiction and fantasy: mystery, murder, thrillers, spy novels, war novels -   R: Mhm.   K: - they tended to go on infinitely. Each book would be a standalone story, sometimes encompassing a bigger arc. Fantasy, this was very common, I mean, look at the Wheel of Time -   R: You could start a series, see success, and the publisher would just keep printing it because they felt like they were printing money.   K: Yeah, and a lot of times what they would do is: you’d get a book published, and you’d establish a, typically a main character or a world, or - maybe something like an overarching story plot -   R : or a concept at least. K: Yeah, in fantasy that was a lot more common in this sort of epic quest that was just gonna keep going and going. Lord of the Rings is actually kind of unique, in that it was a specific trilogy published at that time. That wasn’t very common.   R: Right.   K: You know, these epic fantasies tended to just, they just kept writing and writing, and that's why so many of them have such complicated character family histories, a lot of world building, a lot of different races and imagined and created history in them. But anyway. Then you have some of these other series that, each book was its own individual story, and they just keep going.   R: Mhm.   K: That is not a trilogy or even a duology, even if it ended up being only two books. Trilogies and duologies have an overarching story that it’s gonna take three, two, four, however many books to tell. But with a duology - there’s a reason there aren’t a lot of these: they’re really hard to write. A lot of times when you have a duology on your hands, you’re deciding either: do I have a standalone, single book, or do I have a duology, OR, do I have this whole trilogy, or do I have a duology.   R: How much of this ends up being up to the author, and how much of it ends up being a way to market the story? Like, trilogy in general, I would imagine that an author comes in thinking: okay, I have this story and then I can see where it’s going from there and I can wrap it up in three, versus I have this story, is it too big for a book?   K: You kind of hit on something interesting there and something we talked about in the trilogies episodes, is: I have this story, is it three books? Remember what we said in the trilogies episodes, a lot of them - a lot of contracts are: “we’re buying the first book of your trilogy, and then the next two are contingent on sales.”    R: Mhm.   K: So the first book, typically, is somewhat a self contained story. It’s enticing you to the second and third books, but if that’s it, it's a satisfactory ending.   R: Mhm.   K: That does not happen with a duology. Duology -   R: You will not have a satisfying ending, got it. [giggles]   K: You are not gonna have a satisfying ending in the middle of a duology. There is an appeal in marketing for duologyies. Some people don’t want to commit years to waiting for the next book to come out. They just want two books to be done and come out and, by the way, that tends to happen with duologies. Because it’s one big story, you probably get it out faster. Duologies, when someone sits down to write them, you tend to write the entire thing, or at least do really good draft work on the entire story, because at some point you gotta decide where to stop the first book.    R: Can’t you just, like, divide the page number in half?   K: What I would do usually is drop it on the floor, pick up one page, and that was the end of the first book. [pause] Sometimes it was the fifth page into the book, it was really awkward. [laughing] but you know-   R [overlapping]: I was gonna say like, if I just picked up a stack of papers of a printed manuscript and dropped it on the floor, I think the cover page would be the first one I pick up.   K: Well, you have to throw it down the stairs so that it gets a nice -   R: Oh, you have to be specific about your method -   K: Yeah, yeah I’m sorry, you’re right.   R: - we’re supposed to be providing usable advice.   K: Stand at the top of the stairs, face backwards with the stair behind you. You take the unbound pages, throw them over your head, walk halfway down the stairs and pick up a page from the middle stair. And then that’s the end of the first book.   R: What if nothing settles on the middle stair?   K: You gotta get all the pages and do it again.   [both laughing]   R: But you have to put them back in order first- K [laughing]: Yeah, exactly.   R: - because otherwise it’s not authentic. Okay but joking aside, I think you were about to give us very good advice on how you do choose that moment.   K: Okay so, this goes to why duologies are so difficult to write because stories, traditionally, have a beginning, middle, and end. Anything that you’re telling somebody, be it what you ordered for lunch, or your epic road trip doing the Cannonball Run, is going to have a beginning, middle, and end. Granted, in one of them you end up in Los Angeles, exhausted and smelling funny, and in the other, maybe you have a disappointing sandwich from Subway.   K: But there is - so, in a duology, you’re not breaking this up into three pieces, you're taking something that is three segments and doing it in two. This is why they’re hard to write, because  where does the “middle” of the story go? There’s some different schools of thought on this. One of the less popular, if you will, is that the first book of a duology is actually setting up the main story of the second. I don’t buy this. [chuckles] I don’t go along with that because -   R: Yeah, ‘cause that’s what you were sort of saying the trilogy does.   K: Exactly, yes. But also because it’s only two books, you've gotta get going here a little bit. You can’t make the reader think that they just read however many hundred pages of world building. The middle of a duology, in my estimation, should be at the of the first book. This is where everything should really pick up, and the plot and the stakes should be clear. If you finish the first book in a duology and do not have clear, compelling stakes, motivation, and reasoning behind the characters and what they were doing, that’s probably not a good place to end the duology. And if you’re going “well I don't get to that until this point,” maybe you don’t have a duology. Maybe you have a single book and it’s really long and you’ve gotta trim some stuff down.   R [laughing]: I thought you were gonna say “maybe you have a trilogy” and I was like wait a minute!   K [laughing]: No, no.   R: I feel like I’m stuck in an infinite loop!   K: No, but at that point, you may have a single book. And this is hard to - it’s hard to make that distinction of: “Is this a standalone single book or is this a duology?” So, what might make something a duology, why might you want to write a duology rather than a single book?   R: This is sort of what you're describing to me is that I’ve got like a 225,000 word story -   K: Mhm.   R: - and there are, as you described, as a failpoint in choosing where to split them, that there’s a lot of world building.   K: Yes.   R: So what you seem to be describing to me is a book where the author really takes their time developing a world and developing concepts and digging deep into whatever the story elements are.   K: Yes, nailed it.   R: So where I break that is, I assume, where a smaller plot point that maybe had some big stakes is resolved but the overall story is not resolved.   K: I’ll give you the opposite of that, what about a point at which it’s escalated?   R: Well, of course by solving a thing, you’ve fucked up and made it worse.   K: [laughing]   K: Of course, of course.   R: Of course, so that’s - that’s the solve point, is that you didn't solve anything by completing the action you thought was going to solve things. K: Yeah, so duologies have this weird balancing act where you can't backload the end of the first book and you can't front load the beginning of the second. The way these kind of work, and you have to remember that coming at this from the perspective of a reader, there are absolutely very successful books that the next in a series picks up and it’s just chaos and you get thrown right back into it. But frequently you've gotta build the story up again, you’ve gotta ease the reader back into what was going on, remind them of what was happening here, and then, typically reassess and recenter your story and characters. Because at the end of the first book, something should have happened that’s gonna require that they do that.   K: So, duologies are really great for when authors wanna take their time and give a lot of attention and detail to characters, to worldbuilding, to story arcs, to history. It’s taking a long story and breaking it up into two. And so if you’re wondering: well how come there's like 700 page books in the world, why -   R [chuckling]: Right.    K: Yeah, “why isn’t everything just one really long book?” There’s a few answers for that. One is that some publishers are going: “No one is going to just pick up your 700 page book and read this. We need to break this up into two books.” But the other is that in some cases, those giant 700 page books, they’re really just one story. And even though I keep saying a duology is one story, you’re telling it in two parts. So they each have to have their own story elements to them.   R: So there’s an intermission, the curtain drops, you feel like that could have been a mini play but it’s not over yet, you know, let’s come back to see where that cliffhanger leads us.   K: An intermission’s actually a really good way to describe it. You know, think of most plays that you’ve seen or even old movies like Gone With the Wind where there was an intermission. The intermissions are not typically dead smack in the middle of the story.   R: No, when you come back the story has changed -   K: Yes.   R: - something has shifted. I think an example of this that everyone is probably fairly familiar with, at least from Spotify, is Act I vs. Act II of Hamilton.   K: Yes.   R: Very very different experiences. Act I is energy, it’s building up, it’s all this hope, and then Act II is all this grief, and all this loss, and all this settling, and rediscovering hope. It’s very -   K [overlapping]: I was gonna say the Phantom of the Opera.   R: Yeah.   K: Act I is very mysterious and almost enchanting and like wow, you know, look at this.   R: Mhm.   K: Act II of Phantom of the Opera, you come back and you’re like, oh this Phantom is dangerous.   R: Yeah.   K: The tone of everything has shifted to this sort of fanciful “oh yes haha the opera ghost, oh this is such a funny, silly little inconvenience” to “this guy’s gonna kill all of us.”   R: Yeah.   K: So there’s renewed sense of urgency, the stakes are much more clear -   R: Mhm.   K: - and there’s - R: There’s an immediate action that needs to happen in order to save someone’s life.   K [overlapping]: Yes. Exactly, yes, that’s what I was trying to articulate there.   [both laughing]   K: So that is another good component of a duology is, by the second part of the story, something should have shifted.   R: And you gotta act right away, there’s no time to open up your world and introduce characters and all that kind of stuff, you have to get going.   K: The best duologies I’ve read have such a distinct difference between the first and second book, with what I think of the characters and how they’re behaving. If you Google “duology” right now, the first thing that’s gonna come up is The Six of Crows.    R: Mhm.   K: Part of the reason for that is because the Netflix series Shadow and Bone is being released two days after we’re recording this, and they’re incorporating elements from the duology into the trilogy. So, search engine algorithms being what they are... but I read the books; I thoroughly enjoyed them. The first one is very much a heist book. The second one is as well, but the stakes of it have been escalated to the point that it’s “oh, it’s not just that we’re stealing this thing that we want, we are now having to get stuff to save, not only ourselves, but a lot of other people from suffering a terrible fate.”   R: Yeah. You said it was hard though, but then you said it was just “picking a good spot in your book to split it,” so why is that specifically hard?   K: I think, where that becomes hard, is if you don’t know what you have on your hands. If you have -   R [overlapping]: So it’s more in the determination of whether you should split it, or -   K: Yes.   R: - extend it or just publish as is.   K: Well, so there’s two components of this. First is identifying: do I have a duology vs a standalone book or a trilogy.    R: Mhm.   K: If you have a standalone book, and you’re like “well this is just gonna be long and that’s just how it’s gonna go,” then you write the book and that’s what it is. If you’re looking at this and going “I have a duology,” there’s something in there that is indicating to you that this is a duology rather than a standalone book. A lot of times that is that breaking point, so, sometimes finding the part where the first story should stop and the second should start isn’t that hard, but then actually digging down into it and making sure that you’re telling a compelling, engaging story in both parts, can be very difficult. Because you may say “oh this is the perfect part, the door has burst open, everybody’s gasped and we’re cutting it off there.” Is that the best place to end your story? Or do you go to the Pirates of the Caribbean route and reveal that it’s Captain Barbossa coming down the stairs at the end.   R: Mhm.   K: And intrigue the heck out of everybody else.   R: I feel like we could do a whole episode on reveals, so maybe we’ll -   K [laughing]: Yeah, maybe we will.   R: - just put a pin in that one ‘cause I wanna talk about that but let’s do that in another episode. Okay, so is that a matter of how much satisfaction you are willing to give your reader at the end of book one, versus just lopping it off where it is the most convenient between what is essentially the midpoint of an arc that can feel like a partial arc or a semi completed arc.   K: So I think with duologies, there’s a lot more leeway to, I don't wanna say mess with, but to play with -   R: [giggles] Be honest, we are messing with our readers. We are always messing with our readers.   K: [giggles] - to play with reader expectation because people who are reading a duology presumably understand that what they’re reading is part one of a story that’s gonna be told in two parts.    R: Do we know when we have a duology though? Is it made very clear when the first book is released? ‘Cause I don't feel like it is.   K: I think that’s a matter of advertising and publishing. Most duologies that I’ve come across, and by the way, this is very common now in publishing because they plan much farther ahead than they used to. The series are finite, you’re contracted for this much, so typically, before a trilogy or duology is actually released, the series already has a name, the books might say, you know, definitely in their description and Amazon and Barnes and Noble, if not on the book itself, book one of however many in the series or book one of the such and such duology, book two of the such and such trilogy.   R: I would say that there are as many new books on my shelf that do not indicate how big the series is going to be as there are that do.   K: Mmkay. But in Amazon -   R: In fact - well maybe in Amazon but you can only create series on Amazon when you have more than one book in it. You know what I mean?   K [overlapping]: Yes, yes.   R: So -   K: But in the description a lot of times it will say that, the cover copy could say that. Publishers sort of expect at this point that anybody who really enjoys a book or even things that they’re thinking of reading, they’re gonna go research it, and, if nothing else, the publisher will likely have something on their website or some description about how long the series is going to be.   R: You give the reader a lot of credit for researching a book.   K: When you go to pick up a book, and it’s clear that it’s a series, you don’t go and see how many books it’s gonna -   R: [overlapping] You think it’s clear that it’s a series, that’s the part I’m debating. I cannot tell you how many books I’ve picked up only to find out - I’ve got one right around here somewhere - I picked up this book -   K: [speech garbled through laughter]   R: Endgame by Anne Aguirre.   K: Yep.   R: “A Sirantha Jax novel” is all it said on the cover. To me, that did not indicate that this was the last book in a six book series. I read the last book first.    K: [laughing]   R: And I read it anyway even though I figured out within a few chapters that it was the last book in a series. But I have done this my entire life. You’d think that, after a few, I would learn. So what is it that does not indicate anywhere on here, that this is a long running series, this is book six in a series? I picked it up because of the cover art. That is always what I do.   K: [laughing]   R: And there was nothing on this to indicate it was book six out of six. That - it was called Endgame and I did not understand that it was endgame of the series.   K [laughing, overlapping]: Yeah, I’m starting - I’m starting to think that -   R: So you may be doubting me, but I’m just saying, I consider myself a fairly intelligent person, I would like to think.   K: [laughing]   R: But on a bookstore shelf, this was the only one there, the bookstore didn’t put out the other books next to it, you know? So why was I supposed to know that this was from a series? There’s literally nothing on here that says “by the way, you picked up a book that’s part of a series, you might wanna go check out book one.”    K: Well, I will say that’s bad marketing and bad work on the publisher’s part.   R: But I wasn’t exposed to the marketing, other than the cover. I was not exposed to the marketing, this was before I started writing and publishing. So -   K: But the cover is marketing.   R: No, I understand that. The cover is product design and marketing, just like the box for a microwave would be. So yes, this was supposed to be marked as book six. If I had seen “book six,” I might have looked for book one. But Ace Science Fiction, an imprint of Penguin, did not deign to make any sort of indication on the outside, presumably because they thought it was pretty clear because of course you’ve heard of Anne Aguirre and of course you have heard of the Sirantha Jax novels by then. But I hadn’t, so I picked up book six in a series and I read it without any backstory, and I really did feel rather dumped into a world that other people knew about.   K: How was it?   R: Um. It was fine.   K: So, here’s what -   R [overlapping]: Some things were not my mode but that’s okay.   K: [laughing]   R: It’s still in my shelf so it can’t be that bad.   K [laughing]: Okay, fair. Yeah, listen, the - how do you know that something is a duology, a trilogy, a what have you?   R: And is your publisher making the conscious choice to not indicate that?   K [overlapping]: That’s very possible-   R: - do they think they are indicating that, you might wanna run it by your grandma or -   K: Rekka.   R: - somebody who hasn’t -   K: [laughing]   R: picked up a book off a shelf apparently without ever failing to pick up the third book in a series.   K: You did tend to to do that quite a lot.   R: I did it a lot as a kid, I think - I picked up The Babysitter’s Club at book number twenty-four and I guarantee you that bookstore had all of them.   K: Wasn’t that all like, standalone stories, kind of, though?   R: Well they were procedural in that every book started with the main character’s POV introducing all of the babysitters in the club, and giving them some tidbit to characterize them that was also a little bit of backstory from one of the other episodes, and - I mean they really were episodes, they were not so much sequels as episodes - and then you’d go into the meat of the story, and everything would return to normal, there might be small developments and like, there was continuity through the books but the characters got older, they added new babysitters to the club, some left, you know, stuff happened and then it didn’t unhappen at the end of the book.  But even though, yes, any book would have been an entry point in the series, I guarantee you I just picked up a book from the middle of the long, very uniform looking line of Babysitter’s Club books, and this one was about a cat, so -   K: Aw, kitty. [giggles]   R: - I got that one. ‘cause Tigger ran away and was missing -   K: Aw :(   R: - so that was the first book I read out of that series! And then I read them a lot, this was my first experience with sequels, so it’s no wonder that I have no problem imagining that you would stick with a world forever and ever and ever and never write anything else. But I also read the rest out of order.   K: Yeah.   R: Like I had no respect for the concept of “oh! I should go back to the beginning and read forward,” that - I read number ten and then I’d read number eighteen, then I’d read number two; I just didn’t care. So it’s interesting to me, like, yes that was me at age twelve -   K: Well, also -   R: - that was very different from an adult reader, but as an adult reader obviously I have continued this. The Chanur saga, I think I read book two before I read book one, I didn’t care. Plus, if the book’s written well enough, you get introduced to it and you don’t lose anything for not reading the first one first in a series, an intentional series, but here we come back to the idea of duology; if you pick up book two in a duology, you have missed some shit.    K: Yeah, and I completely disagree with you, and this may just be -   R: [laughing] Of course you do.   K:  No, this may be just a compulsive thing on my end: I can’t not read a series from the beginning.   R: No, see, I am completely all about my organizational tics, but for whatever reason, growing up, reading books in order was not a big deal to me. And I think a lot of it had to do with the fact that I was not aware that if I asked the bookseller to get me book one because I was picking up book two and I wanted to start from the beginning, that I would have it pretty soon. Like, in my head, that would be -   K: Yeah.   R: - weeks and weeks and weeks of waiting. Plus, in my head, it probably cost more. Like I thought I would have to pay for shipping, I thought I would have to pay for a book that would, like he’d charge me twice as much just because I wanted it.   K: And see that’s just -   R: And also I would have to speak to a human and ask for something which I was very much not all in for, so.   K: And this just goes to show how funny and different we were as kids, because I remember there were book series that, I would go to the library and I would - this is, I’m about to demonstrate something about myself that I have kept secret - I’ve read all of the Wizard of Oz books.   R: Oh, cool! I always meant to.   K: And - they’re interesting. [chuckles] and my library didn’t have book seven, out of, like I think there’s like ten or twelve of them in the series, and I had to get it from my county’s huge central library, and my mom was like “well, just get book eight!” and I was like I can’t, I can’t do that, I will wait two weeks for that book to get here -   [both laughing]   K: But something like - okay, well, getting back on track [chuckles] here, something like The Babysitter’s Club, as you said, each book - the reason the POV character is introducing everyone is there’s a lot of books in this series. The Boxcar Children was like that; the first one is about a group of relatively young children running away from some abusive family member and deciding to live in an abandoned boxcar in the forest, and then eventually their wealthy grandfather finds them, and then every other book is about them solving mysteries [laughing].   R: Oh! Okay.   K: The first book is like a weird survivalist book and then every other one is just them [through laughter] travelling with their grandfather and solving mysteries.   R: At least the continuity is intact.   K: But with duologies, we’re gonna assume that this is a known duology - and I couldn't find any example of this, I swear I did look - a duology that started out intentionally a duology but then became a trilogy after book one was published. I couldn’t find any examples of it, I’m sure it’s happened but, in theory, especially in publishing and especially with contracts being what they are now, you’re going to have - especially for a duology - a contractual set of the books that are going to be in it, the two books. You may even have some specifics in there about book one: this stuff has to happen, book two: this stuff has to happen. Publishers are a lot more hands on with these kinda things now, because before it was just like “cool, you got another one? cool, you got another one? Alright, let’s get the next tale of the otherworldly alien investigator who came to Earth to find the stolen gem of her people but solves mysteries along the way.”    K: So, with a duology, and with where the middle of this is, and what you can play with with reader expectations. I would say you absolutely have a little more leeway. “What if they don’t know it’s a duology?” Well, that's on the reader. I don’t - there’s no good answer -   R: Or is it on the publisher and their marketing department? [laughing]   K: Or that. The thing is that you could stick right on the cover: Book One of the, you know, We Make Books Duology. Maybe someone doesn’t read it, there’s no way to make everyone understand what this series is going to look like. I never buy a book before I know, you know - is it a trilogy that I’m getting myself into here, is it a duology, is this just gonna keep going on and on forever? I understand not everyone’s like that, most people are far less - what’s the word I’m looking for here - less fussy than I am. [laughter] Some people are just pure chaos like Rekka, who walk into bookstores, pull something off the shelf, and just go “look’s good!” [laughter]   R: I’m here for a good time!   [both laughing]   R: Look, I’ve found a lot of books I liked that way.   K: Yeah! No, that’s great.   R: Mhm.   K: But I remember going to Barnes and Noble back when I was in high school and college and we used to hang out there, and they would always have the table of the $5 books -   R: Mhm.   K: If they didn’t have books one and two and this was just book three, I wasn’t gonna pick it up and read it because I needed to know how it got there [laughing]. I think with duologies, you definitely have a little bit more room to play with that because the understanding is that this is more like a first and second act. And the reader should understand that: “you’re being presented half of a story, the second half is coming.” And there’s a difference between having halves of a story versus having to present a whole coherent story like you have to when you get into trilogy mode. Because if you’re breaking up a story into three parts, the first part is going to be really dry if you’re just telling one long, giant story.    R: Yeah ‘cause that’s set up still, that’s just pure set up.   K: Yeah. Find a 700 page book. Go to page - what would it be? - 233 and, in that area, decide if you think that’s about a good place to end a first book that seems like a good story has been told. Now conversely, I would say that picking up a 700 page book and going in the middle could go either way. Depending how the story’s structured, maybe that is an interesting middle-halfway-stopping point. There’s a good chance that it’s not because standalone stories tend to be backloaded.   R: Right.   K: Most of the action, adventure, and intrigue, happens in the last third of the book.   R: I would even say -   K: Last quarter?   R: Last quarter of the book, yeah.   K: How do you know if you have a duology vs a trilogy vs a standalone book?   R: Someone tells you.   K: [laughing] You know what? Honestly, that might be the answer.   [both laughing]   K: That really might be the answer.   R: Please, someone tell me!   K: [laughing]   K: An agent, a publisher, a good friend who reads your stuff might say: “This isn’t a standalone story, this is two books.” You know, with a trilogy it’s a little easier. Are you having trouble filling the middle book? Are you having trouble figuring out what’s gonna happen in book two, and are you just coming up with stuff because you need to create -   R: A third book, yeah.   K: - about 300 pages of content so that you can get to the third book? That’s a good indication that maybe you don’t have a trilogy, maybe you have a duology. For a standalone book, it gets a little harder. One is length. There aren’t a lot of 700 page books published anymore and, depending on the genre you’re writing in, there might be none of them. Fantasy tends to have a little bit more tolerance for that kind of length -   R: We wouldn’t have the phrase “doorstopper” in our current lingo if they weren’t really happening anymore. I think they are still happening. Like you have Jenn Lyons.   K: Yep.   R: Jenn Lyons writes some big books and there’s like, five of them [giggles] in a single series.   K: But you brought up a very interesting point: why we have those doorstopper books. Because, for a publisher - first of all, a duology however many years ago, even a decade ago, that was not a very common thing.   R: Mhm.   K: But if you had a long story, and especially if the publisher was uncertain about it, it was cheaper and less of a risk for them to just do a giant run of one big book, rather than two smaller or three smaller ones.   R: Okay. Because you lose readers as you go further down the series.   K: Well you lose readers, but there’s also overhead.   R: Right.   K: It’s cheaper to publish one giant book than it is to publish two smaller ones.   R: Right because you need cover artists, you pay the printer for each one of those sets, you print a minimum quantity for each of those, yeah. No, I’m not arguing that with you, I’m just saying like -   K: Yeah.   R: - one of the considerations is also to be: how will you be able to earn that back if you lose 20% of the readers each sequel down the line.   K: Yeah, exactly. There’s a lot of factors in why publishers might say, “nope, this is just gonna be one giant book.”   R: No, there’s one factor: it’s money.   [both laughing]   K: There’s a lot of factors that go into the money factor. [laughing]   R: The accountant is taking many things into consideration.   K: Yeah [laughing]. Touché, Rekka.   R: Mhm.   K: But, if you’re writing this story and there is a lot of stuff happening in the first half of the book that is then still not resolved when you’re getting towards the end, you might have a duology on your hands. Now granted, you may be like: “Oh well it’s only 180,000 words.” Well, yeah, maybe you gotta write a little more and flesh this out a bit. The times that I see books where I tell myself this should have been a duology - or authors that I’ve spoken to - are when I'm having trouble keeping track of everything that’s going on because you’re packing too much into this. The best case for a duology is when the reader is feeling like they’re being bombarded with information without proper time to absorb it and apply it to the story.   R: So are you squeezing everything into one side or the other of the fold which is the tear that becomes the intermission in your duology.   [both laughing]   K: Yes, exactly.   R: That’s the official term for it.   K: Yeah, and look, there’s - thankfully in publishing, there’s no standards, there’s no ‘we always do it this way’, ‘if you have this then it’s this,’ no one is going to go: “Sorry Random House, you’re not allowed to publish a 700 page book.” They can publish whatever they want, so if they - R: I mean there is a point at which the book is structurally unsound because it’s more spine than cover.   K: [laughing] Yes, alright, fair, fair.   K: You have leeway, and publishers have leeway for this, and really, there is no correct answer except: what serves the story best? How is this best told? How are you best engaging the reader? In some cases - I’ll use The Six of Crows as an example. I don't think that book works if you take the two halves of that, smoosh it together, do a little creative bridging in the middle, and just present it as one giant book. It doesn’t work. The tone shift between the two is so important that there’s intermission and that you come back and you’re like: “Oh boy, what’s gonna happen now?”   R: Okay, so is that - do you think that’s a critical part of it? Do you have to do that, or you think it just happens naturally because you’re taking a break from one story and coming back with the second piece?   K: I think it tends to happen naturally but, at the same time, this is kind of going into what we were talking about last episode with book two of a trilogy which is: you can’t tell the same story all over again. So presumably at the end of book one, enough has happened to the characters and the story arc where things have changed. So, by virtue of that alone, book two is going to be different.   R: Right.   K: I’ll make the argument, in a trilogy the same thing’s gonna happen. The tones of the books as the progress should be getting more urgent or darker or more mysterious, hopeful, whatever you’re building towards -   R [overlapping]: Sort of like an adventurous story to a, like the fate of the world  -   K: Yeah.   R: - literally the fate of the souls of the world are at stake.   K: The stakes should be being escalated, the characters should be very clear in their motivations. The plot should be very clear cut at that point and there should be a clear point to which the characters, the objects, the McGuffins, the story is moving towards at that point. The end of book one, the reader should have a very good idea of what the objectives are of book two. Now if they work out that way or not, that’s up to the reader, you know, maybe throw a twist or a loop in there or something, and the plan never goes according to plan because plans shouldn’t go according to plans in books -   R: Right. Right.   K: But the reader should have an idea of what they’re in store for in book two. Even if it’s not how that ends up going, the characters should be telling them: “Okay, we've gotta do this.”   R: Mhm. Aaaaaand cut.   [both laughing]   R: “We’ve gotta do this, and we’ll see ya in a year.”   K: Well, you know, duologies tend to come out a little closer together because, as I mentioned, the overall story is frequently written at the same time. And then maybe - okay you’ve done a lot of work on the first book to get it published and now it’s time to do that, but a lot of times it’s written already, it exists -   R: Whereas they really throw writers out and to the wolves for their trilogy like, yeah, we’ve signed you up for a trilogy, how’s that coming? “Uhhh, I don’t really know how it’s gonna end? But it’s great?”   K: You also get all of these contradicting things of: don’t tell them you’ve written all three books already; no, tell them so they know that they’re done; okay, but we just really want book one to have a nice conclusive ending, so I’m gonna need you to rewrite the end of that and then retool the beginning of the first two and figure how that’s gonna fit into the third.   R: And you better hope that the first two sell well, or you don't get to see the third.   K: Writing’s hard.   R: Yeah, so that’s a big part of it though, I never considered that when you sign a duology, you might have already talked to the publisher about where the pair of books is going to go.   K: Yeah, nobody writes a duology with the understanding of: “You need to have a nice neat ending for book one. [laughing] We’ll see how that -” I shouldn't say no one, I’m sure it’s happened. But I would argue in that case that that’s not really a true duology; that’s more of a couple standalone books.   R: So a short sequel run -   K: Yes.   R: - of a single world.    K: Yeah, exactly.   R: So, going back to your definitions then.   [happy go lucky ukelele music]  Rekka: [sing-song] Definitions!    Rekka: And listeners, Kaelyn doesn’t know what I did with that, so don’t tell her. So I think we need to reset our definition because you were defining it earlier in the episode and, to a degree, it felt like you were defining it as a single story divided in two pieces, and then later you said it was not a duology if it’s not a single story, but then, kind of maybe it is? I’m a little confused, so start over.   Kaelyn: SO definitions of duologies and trilogies. The actual definition of them is: “however many stories - two, three, four - of related work in a group.” So this might be the same story, the same world, the same characters. What they typically do is they say: “If you’ve written three books, they’re all about an alien investigator but they’re all individual stories” - Alien Investigator Trilogy. Duology, same thing. Technically any three books or any two books or four books, or whatever you wanna call it, is a “that.” Now, at a certain point - and I don’t know where this point is - I think you stop applying the duo- tri- quad- etc. to it and it just becomes a series. Now, from my side, what really defines a duology or a trilogy is the intent of the overarching story plot. That you didn’t just write three books because you had three stories in you so it ended up being a trilogy. You didn’t just come up with two stories and now it’s a duology.   K: There’s some - I won’t say argument about this, but I think it’s something that we see more in publishing now, that if you're contracted for a trilogy, the presumption is going to be that the trilogy is three books explaining a single story. It’s a single story arc. It may take a long time to get there, but -   R: Mhm.   K: - if they’re signing you up for three books that’s in the same world but not in the same story arc, that’s a three book contract, that’s not a trilogy contract. R: Okay, fair.   K: So that’s the distinction I would make. That said, by broad definition, duologies - trilogies, we’re just obsessed with the number three?   R: It’s a nice balanced number, you know?   K: Yeah. Three and seven. But I think this goes back to the ease of the beginning, middle and end. And that’s where I think trilogies and duologies really shine through is this intentional story of : It’s gonna take me this long to do it versus just writing books and however many you end up with, adding that number label to it. I would say, something like a duology contract vs a two book contract, and I don’t know that I’ve ever really heard of two book contracts unless [laughing] it’s a duology.   R: But I have seen a lot of contract announcements, book sale announcements lately that said:  “So-and-So’s Title plus an unnamed future book.”   K: Yes, but those would likely be standalone books.   R: Right, but it’s still a two book contract.   K: Okay, fair.   R: As opposed to just saying future works -   K: Yes. [laughing]   R: You know what I mean?   K: Yeah. And so by the way, what we’re talking about here - and I know we’ve touched on this in previous episodes, specifically the contract ones - a lot of times if you sign on with, sometimes an agent, usually a publishing house and they really like what you have and think you have the potential to grow a fanbase, they’re gonna try to lock you down. So they’re gonna say: “Cool, you’re gonna write a trilogy and three books to be named later.” It’s like signing athletes to multi-year contracts, a lot of times you have to take a chance on somebody after college or, sometimes in the NBA, right out of high school. You don’t know how they’re gonna perform, they’re gonna need training, they’re gonna need help. So you have to put the time and investment into them and you wanna make sure that if they turn out to be really good they’re not just gonna go “Hey thanks but I’m gonna go to New York because they’re gonna pay me twice as much as you did.”    R: Right, right, now that you’ve proven yourself. Now it’s good if you get a multi book contract from a single publisher and maybe your debut launch isn’t as strong as you hoped, and it takes two books to kinda gain some traction. That’s good for the author but -   K: Yep.   R: Like we said, if the other team would have paid you twice as much, now you’re stuck selling your book for debut prices. Which, okay yes, we’ve all heard about the debut windfalls, but debut authors don’t typically make a whole lot of money.   K: [overlapping] Yeah, there’s a reason you hear about them, it’s because they’re a big deal.   R: Yeah, it’s ‘cause they’re outliers -    K: [laughing]   R: - much like all things we make a big fuss over, ‘cause we love a rags to riches story.   K: Yeah, so that’s why my clunky - and this is personal, sort of clunky definition of this - but I would say that that is certainly the trend of where you’re seeing these definitions in publishing is: if  you’re signed on for a trilogy, the understanding is that it’s going to be a three book story arc, if it’s a duology, it’s gonna be two.    K: When Rekka and I are finished here, I’m going to go sit down, pour myself a glass of wine, and finally try to finish the fourth book of The Ember and the Ashes quadrilogy. That’s one that I really thought was a trilogy, and I don’t know what happened there, I don’t know if it changed and they were like -   R: Aha!   K:  - “ah we’ve got more story to tell here” -   R: They got you, too. [giggles]   K: Yeah, they did get me on that one and I had to wait for quite a while for that book to come out and I just, I need to sit down and get into it, you know? [laughing]   R: Alright, well let’s wrap it up. What the heck are we talking about when we say it’s harder? Did we give concrete advice on how to tell? And you can say, like, yes, I feel like I did.   K: I feel like I did and I think I didn’t because sometimes, as you mentioned, someone else is gonna have to tell you. I think it’s easier to tell if you’re working on a trilogy that, maybe it’s a duology. Because I think when you’re hitting a wall with the trilogy, trying to come up with ways to fill the middle, that’s a good indication that you actually have a duology.    R: And now that’s gonna be harder to write because you said so.   K: [laughing] Yes.   R: Congratulations, you just leveled up.   [both laughing]   R: You had a hard time filling a middle book, now you’re gonna somehow make it worse by trying to fit everything across the divide of an intermission between two books.   K: [laughing] Yeah and, to go back to what I said -   R: So you’re welcome.   [both laughing]   K: To go back to what I said about the standalone, I think a good indication there that you may have a duology on your hands, is if you feel like you’re sprinting through information, and you’re feeling like you’re having to take things out to stay within whatever you consider to be a reasonable word count. If you feel like there’s more story there - and writers, I know you always feel like there’s more story there - if you feel like you can’t tell the story and that it’s going to be confusing, or that it’s going to lack context or information or character development or anything, that’s a good indication that you might have a duology. Because what that’s indicating is that you have a lot to show the reader, and duologies give you great room to do that.   R: So here's a thought I just had.    K: Uh oh.   R: You mentioned word count.   K: Yeah.   R: So if you’re drafting, you don't know how many words you’re gonna end up with necessarily. Is this a decision you make during revisions?   K: Listen, there’s no definitive “this is a duology” time.   R: [giggles]   K: No one’s gonna bring you into a room, put the Sorting Hat on you and go: “Duology!” [laughing]   R: So it’s not going to suddenly smack you in the head.   K: Some people absolutely set out to write duologies. They say: “I have a story that I am gonna tell in two parts.” Some people draft the whole story and go: “This is too long for a single story, or this is too short for a trilogy, maybe I have a duology.” I feel like with duologies, unless you set out to intentionally write one, you're going to have to figure it out organically somewhere along the writing process.    R: Here’s another thought.   K: You’re just full of these today.   R: Yeah, sorry about that. I will stop, next time I won't have a single one, I promise. We’ve been mentioning word count a lot as the moment where you realize you might have too much or too little, but could it also be story elements?   K: Absolutely.   R: In that, I could wrap up some of these plot elements in one book, but not the whole thing, and that there’s an equal, if not mathematically equal, number of plot elements that could wrap up if I kept going in a second book. I mean, basically, it’s all magic, right?   K: Yeah, absolutely. There’s no definitive answers here unfortunately, like so much of this. I hope if you’ve been listening to this podcast this whole time and you have come here for somebody telling you: this is how it always is, you figured out a while ago that you’re in the wrong spot.   [both laughing]   R: Or that you still have to trust our word. Just grab a big glass of wine and go read a book. It may or may not be the last in the series, we don’t know. Nobody knows!   K: We don’t know, nobody - what is even time by now? [laughing]   R: Alright, so duologies are hard, trilogies are also hard, standalone books are hard. Have I covered it?   K: Everything’s hard.    R: [overlapping] Got it. Okay, cool. We did it.   K: But they’re all hard for different reasons. [laughing]   R: Oh, now I get it. Okay.   K: Yeah. Yeah.   R: Now I get it, alright. So the point is: you write the story. Hopefully, either you know how many books you’re supposed to end up with and you can calculate out from there how you’re gonna write the story. Or you write the story and you break it up into the number of books it demands that it should be.   K: Exactly.   R: Or that your publisher demands that it should be. [chuckling]   K: My advice to people always is: write the story. Just write it. Then take a step back and see what you have.   R: [overlapping] Then do the math.    K: There’s no formula for this, there’s no ‘this must happen at this time.’ If I had astounding amount of money to just throw away at whatever, I swear I think I would hire people to select books from different genres and map out common elements of them and put them into some sort of excel spreadsheet where I could make a nice pivot table, and see where these common element points occur, and I guarantee you almost none of them would line up.   R: Okay, I know there’re people who would disagree, but we’ll have to have a debate episode sometime.   K: [laughing] Excellent, excellent.   R: So, wrapping it up, write a damn story. It’s gonna be hard enough to get it published anyway, don’t worry about it.   K: It’s gonna be hard enough just to write the thing!   [both laughing]   K: So just write it and then work from there!   R: [overlapping] Okay-   K: Tell the story you want to tell.   R: - so with that sage advice, I probably shouldn’t tell you that you can find us on twitter and Instagram @WMBCast and on Patreon.com/wmbcast, which you are definitely not gonna want to support after listening to this one.   K: [laughing]   R: But it would be helpful if you could leave a rating and review on Apple Podcasts, and remember to subscribe using whatever podcast app you like. And we will see you in two weeks with another poorly formed episode discussion. Thanks everyone.   K [laughing]: Thanks everyone.

Can you tell I’ve been watching Friends? This week we talk our favorite McGuffins and the origin of the word. Please like us on Facebook! https://www.facebook.com/The-Night-Shift-Bandits-101299908427231/ Please follow us on Instagram! https://www.instagram.com/thenightshiftbandits/

In this episode we discuss the concept of Mcguffins. What are they, and how do you distinguish them?

Travis and Greg have a fun time talkin with literary and podcasting power house, New York Times Best Selling Author

Episode 11 – Into the Storm After a night of mostly quiet rest, our heroes make their way to the local McGuffins Inc office, where they meet a series of incredibly well-named folks, and get outfitted to brave the cold weather of the storm. In the McGuffins’ infirmary, they provide a warm welcome to a cold heart, and learn about the source of the storm from a deaf dwarf. Then, wasting no time at all, our heroes return to the storm with a renewed sense of urgency. What awaits them inside the storm? What caused the storm to begin with? Listen to find out! Dungeon Master: Marcus Stusek (he/him) Cast: Craig Chapman (he/him) as Salem Richard Chapman (he/him) as Cricket Tobi McGowan (they/them) as Lonlin Elliot White (they/them) as Lisette Music provided courtesy of the Youtube Audio Library and the Internet Archives. Our website: www.dirtytwentiespodcast.com Contact us: dirtytwentiespodcast@gmail.com

Will something happen between now and the inauguration? 9 days left - is it an eternity? Some people say nothing - others say a lot - so much radio silence from Trump Will there be declassification or insurrection or nothing? McGuffins vs Indiana Jones vs The Empire Strikes Back Who will step in: machines or the national guard? The Capitol "insurrection" was not connected with Trump's speech Dutch is too good - he brings guns to a knife fight - will we make it through the 20th - where is the new platform for everyone? Kinetic or beam weapons used in the Nashville "incident" - did they use a rocket launcher? Dropping things from orbit. Did they use directed energy beam weapons to start fires in California? Let's not talk 9/11 either Everything is blocked in Silicon Valley - they will need to take everything down once the operation occurs Is this the end of the world? If not, how do we stop them? Control is an illusion. How do we stop the Democratic Socialists from taking over everything and destroying the country? What happens with populism once Trump is out - is the process still moving forward without Trump? Communication is not linear - critical thinking is not critical thinking - corporate America should align with the Constitution Health tips: use Tumeric, hunger is a feature not a bug in weight loss, caloric restriction

Hey Storytellers,In this episode, we talk about how to bring in balanced items without breaking your RPG. Too many times game masters will want to do something cool and bring in a magical relic. The issue is the relic is too powerfully for just one member of the party to have it, but that is what happens. Now one person has a crazy sword that makes them a killing machine and everyone else has nothing. Learn more at https://skullrpg.comGet the free Tell Your Story course here: https://skullrpgbooks.vipmembervault.com/products/courses/view/1047566/?action=signup These items are known as a McGuffin - or an item that is used as a plot device to further your game. McGuffins can be a huge magical sword, powerful item of magic, the One Ring or other such artifacts. But there is a huge downside to using them improperly. They basically just break your RPG. Once the game is that unbalanced you only have two choices: 1) leave it alone, or 2) try to fix it.But the level of thinking that got you into this problem may not be sufficient to get you out of it. So you either take away the legendary item (but it is probably your sole plot device) or you give others minor relics to help make it more balanced. Except now all of your monsters aren't powerful enough to stop the players and everyone is bored soon.The solution to this dilemma is found in today's episode.

I talk about placing multiple McGuffins in your campaign. --- Send in a voice message: https://anchor.fm/radio-grognard/message Support this podcast: https://anchor.fm/radio-grognard/support

Tara Sparling author and Ruth McMahon director join Carol in studio talking about “Mr McGuffins plot device and writer unblocking emporium “ radio play performed by members of Sliabh Aughty Drama which will be broadcast on Scariff Bay Community radio this weekend. https://tarasparlingwrites.com Saturday Chronicle is Sponsored by JAMES M NASH AND DERG KITCHEN DESIGN http://dergkitchendesign.ie

We're finishing our look at the 2D films of DreamWorks Animation with a flop that almost bankrupted the studio: 2003's Sinbad: Legend of the Seven Seas, starring Brad Pitt and Catherine Zeta-Jones in a story that is much more Greek than it is Arabian. Join in as we discuss our favorite McGuffins, the official Avatar Twitter account, this movie's wildly different early drafts, Sinbad's butt, and a new slogan for DWA. Plus: What are the twelve cities? Why did Michelle Pfeiffer offer to quit? Why doesn't any character's plan make sense? And what the heck is the Book of Peace, anyway? Make sure to rate, review, and subscribe! Next week: Eat Drink Man Woman (1994) --- Send in a voice message: https://anchor.fm/we-love-the-love/message

This episode we look at the second installment in the Pirates series. Topics include villains, the Kraken, Jack Sparrow's arc, some of of the messy but interesting plot elements, and McGuffins. Follow the show on Twitter @intanalysis18 Follow Evan on Twitter @davoswatson Follow Jelani on Twitter @jelanitkelly Buy Jelani's book Descended: Awakening Send comments, questions, suggestions, and requests to intanalysis18@gmail.com Subscribe, rate and review on iTunes. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

This week on Fullmetal Analysts, the three hosts discuss the third episode, “City of Heresy”, alongside their friend and fellow writer Karna Warrior. Listen to the premiere of two brand new segments, thorough conversations about McGuffins and which character should be allowed to host Saturday Night Live.

I talk about different types of McGuffins for your adventures. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/radio-grognard/message Support this podcast: https://anchor.fm/radio-grognard/support

In this month's episode, Natasha and Rachel delve into the magical world of 'Children of Blood and Bone.' They discuss the relationships both platonic and romantic. They talk about the book's McGuffins, the descriptive writing of the setting and so much more! (They also go on a tangent about upcoming releases for this year!) So settle in book nerds and let's talk books!

Severian and Agia go to the Botanic Gardens discussing matters religious and historical. They visit the Sand Garden and then enter the Jungle Garden. Author and journalist, Fabio Fernandez, joins Craig and James for this chapter. Fabio has just completed a series for Tor.com entitled Rereading Wolfe. Nice title.Links:List of Fabio Fernandez's writings at Tor.comRegarding the word "Matachin"Who Are the Witches?GoonHandz about the Claw and McGuffins on RedditJordon Flato about the Claw on FBYou can also get episodes on your podcast app or on our Youtube channel.If you have problems accessing the podcast on your favorite platform, let us know. -Questions, comments, corrections, additions, alternate theories?Connect with us on on Facebook...or on Twitter @rereadingwolfe...or on Instagram: rereadingwolfepodcast...or on Reddit: rereadingwolfepodcast  -Intro from "The Alligator", Annihilation soundtrack by Ben Salisbury and Geoff BarrowErrata theme from "Godzilla Eats Las Vegas: Gawdsilla Eats Las Vegas!" by Eric Whitacre Outro from "Nightmare #71" by Larry NormanLogo art by SonOfWitzOutros and alternate outros are cued on the Rereading Wolfe Podcast Spotify playlist IF the songs are available on Spotify.

Rachel changes up the format, creating a top-3 list of various media items available in multiple formats. Here's everything we talked about in the episode: Number 1: Marvel Netflix's Daredevil, Jessica Jones, Luke Cage, Iron Fist, The Defenders, and The Punisher. Number 2: Good Omens "Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch" by Terry Pratchett and Neil Gaiman. Good Omens, Amazon Prime Stardust (2007), Director Matthew Vaughn Coraline (2009), Director Henry Selick American Gods, Starz The "Discworld" series by Terry Pratchett and "The Long Earth" series by Terry Pratchett and Stephen Baxter. Number 3: Everybody's Gone to the Rapture The video games "Everybody's Gone to the Rapture" and "Dear Esther" as well as their original soundtracks composed by Jessica Curry. To self-register for a virtual library card, visit: https://countycat.mcfls.org/selfreg Check out books, movies, and other materials through the Milwaukee County Federated Library System: countycat.mcfls.org www.hoopladigital.com wplc.overdrive.com oakcreeklibrary.org

Adventurer's Guild 410 has opened their renowned doors for the heroic to test their skills. The Guild's multi-tiered Adventurer Aptitude Assessment(tm) thrusts the adventurers into a simulation of realistic dungeon encounters, moderated by the existing members of the guild. Listen to Jewel von Onyx, Singer and Stennel Bjornson navigate the faux dungeon, hunt for the McGuffins and rescue the ever-enthusiastic hostages. ---------------------------------------- Website: https://totalpartyguild.com/ Twitter & IG: @totalpartyguild Facebook: https://www.facebook.com/TotalPartyGuild/ Email: totalpartyguild@gmail.com ---------------------------------------- Dungeons And Dragons, DnD, RPG, TTRPG, retrowave, live play, actual play

In today's episode, the trio starts off by reminiscing about days of yore. The Return of Jar Jar? The not so subtle racism in Star Wars. Why, oh why does Admiral Scott think Jar Jar is a scientist? We discuss some potential (and unconfirmed as of yet) deaths in The Rise of Skywalker. Rey, the reason LifeLock was created. The Librarian calls BS! And, in the Main Event, we talk McGuffin's, lazy storytelling, or just the way movies roll.  And we look at the famous movie McGuffins.  

New trailers, new movie news, and new Doctor Who! 00:49 – Let's talk trailers! We start off with MYTHIC QUEST: RAVEN'S BANQUET, a TV show on a video game company head with an oversized ego, who bases a game's hero on himself. 02:59 – The next one is a spin-off. PENNY DREADFUL: CITY OF ANGELS will be dropping on us soon. Brian recalls that the original was fun but got “lost” towards the end. 05:05 – And then there's a Vin Diesel movie BLOODSHOT where nano-McGuffins make him an indestructible assassin whose memories are being manipulated by secret government agents. Interesting premise, although it feels like Vin has played this before. 08:37 – We also got another BLACK WIDOW trailer where the Taskmaster makes a more substantial appearance. Brian and Mandy discuss the Easter-eggs in the trailer. 09:53 – NEW MUTANTS will be coming out on February 7th. This one has long been in production and nobody expected it to make it to release, but here we are. 12:31 – MORBIUS also made a splash with Jared Leto back on the screen playing a super-powered vampire. There are references galore to spider-man, but fans are conflicted about which spider-verse the movie plans to be in. 14:45 – The unfortunate earthquake in Puerto Rico has indefinitely halted the production of FALCON AND THE WINTER SOLDIER. So, fans of the characters won't be seeing them on Disney + any time soon. 15:35 – In other Marvel news, Director Scott Derrickson has left the production of DOCTOR STRANGE: MULTIVERSE OF MADNESS. Brian brings up Derrickson's past tweets as we try to understand why he might be leaving. 21:29 – Brian's predictions about ENDGAME receiving the Oscar nod was for naught. Instead, the JOKER bagged 11 nominations, while ENDGAME had to make do with 1. However, we are very excited by THE IRISHMAN and THE MARRIAGE STORY getting Netflix a whopping 24 nominations. 26:21 – Scarlet Johansson was nominated for two movies this year – THE MARRIAGE STORY and JOJO RABBIT. We're hoping this is the beginning of streaming platforms bringing new stories into Hollywood. 28:04 – Build-A-Bear will soon be making a killing from Baby Yoda toys. They also just signed a contract with BBC to bring you adorable teddy versions of your favorite Doctors. 30:13 – Finally, we discuss (with spoilers) the third episode of DOCTOR WHO – Orphan 55.

WELCOME TO THE POD JENN PACKHAM There's not much to say about this pod, it's Star Wars. Full spoilers plus Jenn's Top 5 at the end :) We love you guys and also we love Star Wars. Remember, it's a movie, everyone has their opinions. If you loved it, AWESOME. If you hated it, AWESOME. It's all Star Wars and we love it like we love our Sweets :) ENJOY! SWEEEEEEEEEEEEEETTT --- Support this podcast: https://anchor.fm/sweetfilmtalk/support

Here is our discussion of Episode 2 of Californication, " Hell-A Woman"! Today we think about how to respect teenage desire, the power of romanticized McGuffins, the Manic Pixie Dream Lady, pubic hair, and how our culture dissects women's beauty into body parts. Want to talk to us? You can email us at: shesgottahaveitpodcast@gmail.com or like our Facebook page! You can also find this and previous episodes at: https://anchor.fm/shes-gotta-have-it --- Send in a voice message: https://anchor.fm/shes-gotta-have-it/message

I talk about using things like the Encyclopedia Magica and other sources for magic item adventure McGuffins. --- Send in a voice message: https://anchor.fm/radio-grognard/message Support this podcast: https://anchor.fm/radio-grognard/support

Old Man Grognard calls the show about magic item McGuffins. I talk about the influence both Dave and Gary had on D&D. https://anchor.fm/radio-grognard https://www.enworld.org/threads/the-dueling-essays-of-arneson-gygax.667050/ Voicemail # ‪(347) 509-5168‬ Support The Tavern www.amazon.com/shop/eriktenkar (affiliate link) https://ko-fi.com/tenkar https://www.patreon.com/tenkarstavern --- Send in a voice message: https://anchor.fm/tavernchat/message Support this podcast: https://anchor.fm/tavernchat/support

Hurricanes?....We don't need no stinking hurricanes!!!...; KFC "Beyond Meat" (We did not know it was called that at time of recording...; Some "Friends" Convo…; Disney+ and Star Wars; Our Top 5 Movie McGuffins

E temos um novo Fate Masters, e bem legal! Continuando a série sobre Fate Para Leigo, em um episódio curiosamente agnóstico, falamos sobre a Sessão Zero, onde é definidos todos os parâmetros do seu jogo, desde coisas que estão valendo em termos mecânicos até o Contrato Social da Mesa. Entre outras coisas, sobre como utilizar as coisas, ajustar cenários prontos, desenvolver problemas e os traduzir Aspectos, desenvolver locais e faces, entre outras coisas. Além disso, colocamos coisas como criar cenários de maneira compartilhada ou já trazer algo pronto, como definir contrato social e primers, alternativas de sessão zero e afins são debatidas aqui. Lembrando que: Fate é mais GRAMÁTICO que MATEMÁTICO! Não se sobreprepare! Você não joga contra os jogadores, e nem para os jogadores, mas com os jogadores! E que às vezes tudo o que os jogadores querem é A Cúpula do Trovão! E fica as dicas dos Fate Masters: Cicerone: 24 de Agosto a partir das 10h, no SESC São João de Meriti pela RPGWorld 31 de Agosto a partir das 10h, na Biblioteca Municipal Gov. Leonel de Moura Brizola pela RPGWorld Palomita: Vendendo bolsinhas de dados e coisinhas nerds em geral Velho Lich: Aulas de Mestragem no servidor do Discord Mestre dos Magos Stoplight system, o sistema de sinais verde, amarelo e vermelho. Mister Mickey: Todo 2° Sábado do Mês a partir das 12h: Dungeon Geek, na Omniverse Em Setembro: Anima Geek no CEU Grajaú, pelo pessoal da RPG & Cultura As redes sociais do Fate são: E-mail: fatemasterspodcast@gmail.com Discord: http://bit.ly/FateBrasilDiscord WhatsApp: http://bit.ly/FateBrasilWhatsApp Telegram: http://t.me/FateBrasilTelegram E as redes sociais dos Fate Masters: Mr Mickey: Fábio Costa#9087 no Discord e fabiocosta0305 ou hufflepuffbr em quase todas as redes sociais Velho Lich: rafael.meyer no Facebook ou eavatar no Tumblr Cicerone: lcavalheiro#0520 no Discord e lcavalheiro no Telegram Palomita: Palomita#1312 no Discord e mainapaloma.delima no Facebook Link para o programa em MP3 Participantes: Fábio Emilio Costa Maína “Palomita” Paloma de Lima Luís Cavalheiro Rafael Sant’anna Meyer Duração: 115min Cronologia do Podcast: 00:00:10 - Introdução 00:01:29 - Definição da Sessão Zero 00:05:57 - A Sessão Zero e a Definição de Problemas 00:12:50 - Criando Faces e Locais no jogo 00:17:33 - Transformando tudo isso em Aspectos 00:23:55 - As diferenças de Sessão Zero em one-shot e campanhas 00:27:58 - Criação de Cenários compartilhada ou individualizada e a Sessão Zero 00:38:16 - Sobre o agnosticismo da Sessão Zero 00:56:42 - Sobre as questões de criar o personagem na Sessão Zero, em especial sobre o Trio de Fases e quando ele se aplica 01:01:20 - Sobre PvP (Player vs Player) e jogos de Arena e a Sessão Zero 01:22:41 - Sobre as Armas de Chekhov e McGuffins no cenário 01:33:30 - Considerações e recados finais Links Relacionados: Mestres de Umdaar Episódio de Mestres de Umdaar TVTropes A Carta X (não oficial) Limites e Véus Mudança de Roteiro TVTropes Iron Street Combat Til Dawn Jace e os Piratas do Espaço Mindjammer Silverhawks Dreadstar Episódio do Sparks em Fate Sparks em Fate Destino das Séries Passion de las Passiones MADCAP: Screwball Cartoon Role-play Shadow of The Century Uprising - The Dystopian Universe Roleplaying Game Episódio sobre Uprising Scrum no Rugby Scrum (artigo da Wikipedia, sobre Rugby) Scrum (artigo da Wikipedia, sobre desenvolvimento de software) Loose Threads O Conto do Senhor Raposo (em Inglês) Contos de Barba-Azul Sistema de Sinal Arma de Chekhov McGuffin Zork Link para a comunidade do Google+ do Fate Masters Comente esse post no site do Fate Masters! Assine no iTunes Trilha Sonora do Podcast: Ambient Pills por Zeropage Ambient Pills Update por Zeropage

Has there ever been such an impending pop culture doom? The bodies are ready to litter the streets of the two biggest media franchises, as Beeb and I sit down and speculate how Avengers: Endgame and the rest of Game of Thrones will play out. Who will be survive, and what will be left of them? How many last-second anime Mcguffins will be pulled out of thin air? Can we survive the social media plague of spoilers before witnessing the ends ourselves?Spoilers for up to episode 69 (nice) of Game of Thrones and Avengers: Infinity War. Harry Potter and Kill Bill also come up, so fair warning.

8. Clan Wars Part 8: Monks, Mantis, and McGuffins Amelia and Jude are exasperated by new characters, passing references, and just how swole Yoritomo is. They are perfectly okay with Ishikawa being just the best boy. Recorded: 03/25/2019 About Us: The Podcast Twitter: @G5RPodcast (https://twitter.com/G5Rpodcast) Instagram: @G5RPodcast https://instagram.com/G5RPodcast/ Website: http://garbageofthefiverings.com/ The Hosts Amelia Antrim: @gingerreckoning (https://twitter.com/gingerreckoning) Character Creation Cast (https://twitter.com/creationcast) Jude Vais: @eremiticjude (https://twitter.com/eremiticjude) Athrabeth (https://twitter.com/athrabeth_cast) Music Mountain Emperor Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

Is it the prophecy, the memory, the horcruxes, or what? It's all of ‘em! This week, LoVo tears it up, Dumbledore gives an ill-received TED Talk, Slughorn sells everyone out for some candy, Harry tries something new, Ginny wins and wins again, and Ron gets dumped, finally. Plus: Introducing Gene and Dinny! This week's chapters: Horcruxes & Sectumsempra Next week's chapters: The Seer Overheard & The Cave

HÉROES Pro Unlimited 43 followers43 225 tracks225 ¡Robert nos sigue aleccionando sobre subgéneros de videojuegos! En esta entrega: los Roguelike, hijos mestizos entre el rol puro y duro, y las aventuras de texto de los '80. Combate por turnos, misiones para conseguir McGuffins místicos, calabozos que se generan aleatoriamente, y mucha más magia. Y por supuesto, ¡recomendaciones de títulos!

A bunch of Autobots get used by the Hollywood system while Megatron tries to steal another one of Wheeljack's McGuffins. Find Paul and John on Twitter.

This month we went to Mars to see just how Mark Watney survives after being stranded. Join our book club and read with us! Tell us what you though of the book and our review in the comments. If you enjoy the show why not tell your friends. Thanks for listening ^_^ Produced by Me Music: “Funnysong” by BenSound (www.bensound.com/royalty-free-music) Sound effects: “Punch_02” by Thefsoundman (www.freesound.org/people/thefsoundman/) You can find more of Josh (Mr.Man) over here (www.facebook.com/MrMan01/) You Can't find more Garner or Alyx, they are McGuffins.

The Shuffle Crew has made it to Avengers HQ to regroup and formulate a strategy to save the world of Marvel Comics, currently under threat by a mysterious pattern of big-name heroes being replaced by characters from other universes as well as a body-swapping villain who seems to be snatching up McGuffins as fast as he can. Will our heroes be able to engage in a sober, well-reasoned planning session? Or will things go hilariously awry? I mean. Why even ask? It's SHUFFLE QUEST! SITE: shufflequestpodcast.com FB: facebook.com/shufflequestpodcast TWITTER: twitter.com/ShuffleQuest PATREON: patreon.com/shufflequestpodcast DISCORD: https://discordapp.com/invite/SXCcf8P EMAIL: shufflequestpodcast@gmail.com

The Triforce. Metal Gear. Power Pellets. So many games are built around these kinds of seemingly insignificant instruments of unstoppable power. This week’s episode is dedicated to some of our favorite video game McGuffins...that one thing that could either save or destroy the world. Matt digs up a dead horse to beat some more, while Todd ignites a pretend race war and Kyle sings karaoke with some dragons.  

Jimmy, Dom, and Fr. Cory join the First Doctor's quest for the keys of Marinus, a classic hunt for the McGuffins in four different worlds: a deadly island, a beautiful trap, a screaming jungle, a snowbound mountain, and city of justice without mercy. Plus they discuss the morality of enforced consciences. The post WHO078: The Keys of Marinus appeared first on StarQuest Media.

This month our heroes go through the plane of Dominaria, talking about the new set, when it’s coming to MTG Arena, and their general thoughts. In the realms of Dungeons and Dragons we look at Unearthed Arcana and turn heroes of Marvel to heroes of Faerun. Last but not least we review the “role playing game” Love Letter and bemoan The Exit series.Email us and we’ll shout you out on the show! Time Stamps Magic - 0:00 D&D - 19:57 Board Games - 59:00 Show Notes Dominaria Full Release MTG Arena - Dominaria MTG Arena Digital Codes Unearthed Arcana - Order Domain Love Letter The Exit Series Social Stuff Facebook Twitter Instagram YouTube Tumblr Twitch Website Contact Us

Johan, Göran och C-G lyckas faktiskt hänga med i intrigen när hundra och en superhjältar försvarar Manhattan och Wakanda mot en lilafärgad dödsgubbe i Avengers: Infinity War. På teve härjar psykologiskt komplicerade yrkesmördare, men handlar det i själva verket om ren kompetensporr? Dessutom: spanska rånare, fastfrusna segelfartyg och Jefferson Starship! Samt en epokgörande förändring i vår podcasts själva väsen… Nu kör vi! See acast.com/privacy for privacy and opt-out information.

This week author Rachel Wiley Bard talks with us about fantasy. Together we dig into tropes, pet peeves, and ponderings. Rachel talks about the history of fantasy and where she hopes it will go from here. We discuss the importance of speculative fiction. Don’t miss as Rachel recommends the one books she believes every writer should read, and discusses her own writing process. You can find full show notes on www.readwriterepeatpod.com.

In this episode, we explore McGuffins, the plot points that are left intentional vague, at least according to some.

In a week when everything has been pretty terrible, Emmet makes the case for Valérian and Logan Lucky being two films about hope.  While Luc Besson's spiritual sequel (or response to) The Fifth Element has attracted criticism, is this is misreading of the film's naive sincerity? Dane De Haan plays Valérian as a young man who has read Romantic Heroes for Dummies, partnered with the far more competent Agent Laureline (‎Cara Delevingne). They chase McGuffins, uncover a conspiracy to destroy the peace enjoyed by humanity's space-faring utopian future - and all the while try to discover the meaning of love.  It's a film that lives or dies on its appeal to the audience's sense of sentiment. Also, it's very pretty.  Logan Lucky is a far more recognizable world of working class Americans ground down beneath corporate greed. Our unlikely Robin Hood is Channing Tatum, whose Jimmy Logan conspires with brother Clyde (Adam Driver) and Mellie (Riley Keough) to rob Nascar. All they need is an explosives expert - enter Daniel Craig's wonderful creation Jimmy Bang. This is another film with heart and soul, skillfully made by Soderbergh while not eschewing emotion. Strongly recommended. 

For the night is dark and full of terrors, Throwdown Thursday gang gears up for Season 7 of Game of Thrones with this week's episode! They discuss some of their predictions for Season 7 with deaths, who'll rule the Iron Throne, and what might happen with some of our beloved characters. They go in depth with characters discussions of fan favorites: Brienne of Tarth, Ser Davos Seaworth, and Sandor Clegane (The Hound). So brace yourself, Game of Thrones is here!

Join a skeleton crew and our friends Eric and Tyler as we herald the return of Morphactnewsnimal while Luke isn't here to stop us, and discuss the continuing and slightly overbearing arc of Tommy continuing to lose his powers and the absolute ULTIMATE in lazy McGuffins.

Join Lady Attercop and Emmett Davenport as they rant about things. SO MANY THINGS. (Not limited to Potatoes, Oprah, Dolphins & etc.). To celebrate their first episode, the ladies rant about crash diets, popular dietary McGuffins & the tendency to disguise backward thinking with women’s safety. Hosted by Lady Attercop …

“While there was breath in my body, she would never lack sufficient AA batteries.” This week we're reading David Nicholls much anticipated novel "Us", the story of middle aged Biochemist Douglas Peterson whose wife announces her intention to leave him when their teenage son leaves home for University – but first there's the small matter of taking one final family holiday together. We discuss how the novel measures up to Nicholl's previous smash hit One Day, and Rachael takes a look at some strategies other authors have used to deal with the pressure of writing a follow-up.  Meanwhile, Paul reveals that the book made him cry, and takes the opportunity to list 10 TV shows which also cause him to blub like a little girl. This week's rating scale: McGuffins

McGuffins abound! Laser Rings! Star Fly's! MASK Crusaders! Flashy Cobra Symbols! And who can forget THE ROBOTOPUSS?!GI Joburg's 30th anniversary series of Pyramid Of Darkness reviews reach fever pitch in our penultimate episode! 

This week the guys talk Mass Effect 3, Transformers 4 (reboot), and review Ghost Rider: SOV. Jay defends Mulan against morons. Micah gets what he wanted from Nic Cage in Ghost Rider. Matthew hates women? Not really…