Podcasts about Writing Excuses

1058. If you struggle to sit down and write, you'll love this conversation with award-winning author and podcaster Mary Robinette Kowal. Learn how to conquer writing obstacles with tips on managing distractions, handling research rabbit holes, and making time to write — even when life gets in the way.Mary Robinette Kowal is the author of The Spare Man, Ghost Talkers, The Glamourist Histories series, and the Lady Astronaut Universe. She is part of the award-winning podcast Writing Excuses and a four-time Hugo Award winner. Her short fiction appears in Uncanny, Tor.com, and Asimov's. Mary Robinette, a professional puppeteer, lives in Denver. Visit at maryrobinettekowal.com.

Ever wondered why some authors succeed? Why they have a collection of published novels, engaged readers, attention from the media, glowing reviews, the opportunity to participate in book signings, and basically the kind of writer life you may have dreamed of? Writing success- at least, of the "bestselling author" variety, is not guaranteed. But in general, it boils down to this: success in writing isn't just about finding a spare moment here and there to jot down a few words. It's not just about finally finishing your book. It's about making writing an absolute priority.   There's a difference between simply making time for writing and truly prioritizing it like your life depends on it. How's this for a truth bomb: if you're not prioritizing writing, you're selling yourself short. When you make writing a priority, you're telling the universe and the people around you, "Hey, this is important to me, and I'm willing to do whatever it takes to make it happen." And guess what? The universe tends to reward that kind of determination. But here's the thing: prioritizing writing is NOT easy. It means FOMO, it means saying no to distractions, silencing that pesky inner critic, and showing up for yourself—even when you don't feel like it. It means being honest about your values. It is really hard to do- that's why so many wannabe authors fail. But trust me, it's worth it. So, if you're ready to stop making excuses and start prioritizing your writing like a boss, then buckle up, because writing coach Karena Akhavein is about to dive into some real talk on how to make it happen on this episode of the "How to be an Author" podcast.   

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Experimentation (Part 7 of "The Sense Of Physical Necessity"), published by LoganStrohl on March 19, 2024 on LessWrong. This is the seventh post in a sequence that demonstrates a complete naturalist study, specifically a study of query hugging (sort of), as described in The Nuts and Bolts of Naturalism. This one demos phase four: Experimentation. For context on this sequence, see the intro post. Reminder that this is meant as reference material. Wait, there's more to this study? But we've just discussed the main insight that came out of it, and how it illustrates the point of naturalism. Why is there more? There is more because by this point I was interested not only in insights, but in mastery. There is more to mastery than reconceptualization. However, I would like to point out that everything I'd done so far preceded experimentation. I had not even begun to try to change anything - yet I had learned quite a lot, through mere observation without interference. This is why many naturalist studies are complete before experimentation even begins. Often, this level of understanding is all that's needed. (From the end of " Naturalist Collection") But sometimes one further step is necessary. You can tell that you should move on to "Experimentation" if you feel grounded about your study topic, if you think you've really trained yourself to notice and directly observe what's there in whatever realm you've focused on - but you still have an unsatisfied curiosity about how to behave around your topic. In this case, when I arrived at the end of Collection, I found that I wanted to know what was possible. I wanted to move freely around this chest luster, this sense of physical necessity; to explore its boundaries and the actions available to me in the presence of that experience (and its antecedents). So, I chose to continue my study. The goal of experimentation in naturalism is to create space from alternative action. If you're constantly observing in response to a stimulus, rather than immediately taking whatever action you ordinarily would by default, then you have already taken the most crucial step toward breaking a default stimulus-response pattern. You have already created a space between the stimulus and your original default response. In the Experimentation phase of naturalist study, you'll use actions that are larger than "observation" to stretch that space. You'll experiment with saying this, thinking that, or moving your body in such and such a way, until the link between the stimulus and your default response has been severed entirely. By creating space for alternative action, I mean breaking an existing pattern of stimulus-response, and replacing the default action with agency. Some beta readers felt confused during the upcoming section. They seemed to think that if I'm changing a stimulus-response pattern, it must be because I've recognized one as unsatisfactory, and now I hope to improve it - that something was broken, and I hope to fix it. They wanted me to describe the old broken pattern, so they could follow my changes as possible improvements. That's not what I'm up to here. I've had trouble communicating about naturalist experimentation in the past, and I'm not sure I'll do any better this time around. For whatever it's worth, though, here's my latest attempt. * Mary Robinette Kowal is both a fiction author and a professional puppeteer. In one of my favorite episodes of the podcast Writing Excuses, she discusses how her background in puppetry has influenced the way she writes. She talks about four principles of puppetry, the first of which is focus: "Focus indicates thought." When bringing a puppet to life for an audience, it's important to always consider what external objects the puppet is cognitively or emotionally engaged with, and to make sure its eyes...

Link to original articleWelcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Experimentation (Part 7 of "The Sense Of Physical Necessity"), published by LoganStrohl on March 19, 2024 on LessWrong. This is the seventh post in a sequence that demonstrates a complete naturalist study, specifically a study of query hugging (sort of), as described in The Nuts and Bolts of Naturalism. This one demos phase four: Experimentation. For context on this sequence, see the intro post. Reminder that this is meant as reference material. Wait, there's more to this study? But we've just discussed the main insight that came out of it, and how it illustrates the point of naturalism. Why is there more? There is more because by this point I was interested not only in insights, but in mastery. There is more to mastery than reconceptualization. However, I would like to point out that everything I'd done so far preceded experimentation. I had not even begun to try to change anything - yet I had learned quite a lot, through mere observation without interference. This is why many naturalist studies are complete before experimentation even begins. Often, this level of understanding is all that's needed. (From the end of " Naturalist Collection") But sometimes one further step is necessary. You can tell that you should move on to "Experimentation" if you feel grounded about your study topic, if you think you've really trained yourself to notice and directly observe what's there in whatever realm you've focused on - but you still have an unsatisfied curiosity about how to behave around your topic. In this case, when I arrived at the end of Collection, I found that I wanted to know what was possible. I wanted to move freely around this chest luster, this sense of physical necessity; to explore its boundaries and the actions available to me in the presence of that experience (and its antecedents). So, I chose to continue my study. The goal of experimentation in naturalism is to create space from alternative action. If you're constantly observing in response to a stimulus, rather than immediately taking whatever action you ordinarily would by default, then you have already taken the most crucial step toward breaking a default stimulus-response pattern. You have already created a space between the stimulus and your original default response. In the Experimentation phase of naturalist study, you'll use actions that are larger than "observation" to stretch that space. You'll experiment with saying this, thinking that, or moving your body in such and such a way, until the link between the stimulus and your default response has been severed entirely. By creating space for alternative action, I mean breaking an existing pattern of stimulus-response, and replacing the default action with agency. Some beta readers felt confused during the upcoming section. They seemed to think that if I'm changing a stimulus-response pattern, it must be because I've recognized one as unsatisfactory, and now I hope to improve it - that something was broken, and I hope to fix it. They wanted me to describe the old broken pattern, so they could follow my changes as possible improvements. That's not what I'm up to here. I've had trouble communicating about naturalist experimentation in the past, and I'm not sure I'll do any better this time around. For whatever it's worth, though, here's my latest attempt. * Mary Robinette Kowal is both a fiction author and a professional puppeteer. In one of my favorite episodes of the podcast Writing Excuses, she discusses how her background in puppetry has influenced the way she writes. She talks about four principles of puppetry, the first of which is focus: "Focus indicates thought." When bringing a puppet to life for an audience, it's important to always consider what external objects the puppet is cognitively or emotionally engaged with, and to make sure its eyes...

Welcome back to How to Be a Better DM, the Official Podcast of Monsters.Rent. If you are a podcast listener, I am currently waving at you because I am recording myself on video to add to our Youtube Channel, How to Be a Better DM.Today's show is going to talk about one of the most common D&D tropes out there. It's the place where all great adventures start, and usually where most adventurers end their day. It's the place that I like to imagine myself in when I record these shows, and you and I have sat down at a table to swap stories.But before we get to that, I just want to take a moment to say thank you. From the bottom of my heart, thank you. I was chatting my my boss at my day Job, and he asked about the podcast and Monsters.Rent. We got to chatting and he looked us up on Spotify and Apple. Because of you, we have over 50 ratings on Spotify and over 15 on Apple Podcasts. That's so awesome. Just seeing that made my day. I can honestly say that from. Myself and Tanner, if we didn't have you listening and interacting, this would be much more lonely. So thank you so much for listening and adventuring with us :) A couple weeks ago, I was running the free Halloween one shot. Spoiler alert, but ther is a tavern in the one shot. If I can be Frank with you, during th one shot, the party went to the Tavern and honestly I did not have it as fleshed out as I wanted. Improv is great, and it's a very important skill to have, but have a plan that goes well is usually better. I had to improvise. In my opinion, it wasn't as cool as it should have been.So it got me thinking. Basically every D&D campaign has taverns in them. They are a mainstay of th hobby. So I decided to do an entire podcast episode on taverns, specifically on how to use them and how to prepare them and how to populate them. We'll talk about some tips to make it easy for you to run them in your games.The Importance of a TavernLet's first talk about the importance of taverns. First f all, you can choose not to hve them in your game, which is completely fine.However, as I've already said, a tavern is a very classic trope of D&D games. It can function as the base of operations for your party. It can be sort of that “safe space” that your band finds all along their journeys.It can be much more than that however. For one thing, it can be a place of great player-to-player roleplaying, which in my opinion is some of the most important roleplaying there is. Combat can be so quick paced and hectic, that sometimes it is nice to metaphorically kick back and have a nice drink with friends.Sometimes you also need your bad guy's to “Kick down the door” as Brandon Sanderson and Friends say on their podcast, Writing Excuses. What better place than a tavern.I think the most important reason to feature a tavern in your game is because our characters are adventurers. That, by definition, means that they rarely return home. People still want to feel a sense of home, or at least a sense of coziness. That's exactly what taverns were created to do. Throughout history, ever since the fall of the Roman Empire, taverns became a place of refuge for people on the road. So why not sit back and enjoy the feel of a homely tavern with your friends.Elements of a TavernObviously, if you want to feature a tavern, then it would be good to know the most basic elements of a tavern. As I like to say though, once you know the rules, you can learn how to break them in fun and interesting ways. So let me tell you what you will most likely find in a tavern, and then you can change things up in very new and interesting ways, however you wish.The BarkeepSince a tavern is a type of bar, you obviously need a barkeep. The most basic requirements of a...

Your Hosts: Mary Robinette Kowal, DongWon Song, Erin Roberts, Dan Wells, and Howard Tayler As we announced in the first episode of the year (and in this press release),  DongWon Song and Erin Roberts are joining us as permanent cast members. Today we're conducting an interview with Erin Roberts. She is newer to career writing than any of the rest of us, but her contributions to Writing Excuses have already been invaluable.  In this episode we'll learn a bit more about why, and about what Erin will bring to the program going forward. Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson

Today, I have the pleasure of interviewing Mary Robinette Kowal. We'll be talking about challenging your default assumption about the world and her latest book The Spare Man. Mary Robinette Kowal is the four-time Hugo, Locus, and Nebula Award-winning author of The Glamourist Histories series, Ghost Talkers, the Lady Astronaut Universe, and The Spare Man. She is a cast member of the award-winning podcast Writing Excuses and has received the Astounding Award for Best New Writer. Her stories appear in Asimov's, Uncanny, and Year's Best anthologies. Mary Robinette is a professional puppeteer, and she also performs as a voice actor (SAG/AFTRA), recording fiction for authors including Seanan McGuire, Cory Doctorow, and John Scalzi. She lives in Nashville with her husband Rob and over a dozen manual typewriters. You can find her on her website or follow her on Facebook, Twitter, Instagram, TikTok, and Goodreads.   In this episode Mary Robinette Kowal and I discuss: How she wrote a mash-up of old Hollywood glamour and a futuristic space setting. Why it was important to use fluid pronouns in this novel and what she learned writing it.  What she has learned over the course of writing ten books and how to reset. Plus, her #1 tip for writers. For more info and show notes: diymfa.com/443

Having listened to Dan Wells for years on Writing Excuses and Intentionally Blank, J. W. Judge  and Barbara Hinske had about 4 hours worth of questions that we crammed into 40 minutes. Primary among the topics that we discussed with Dan was how his religious beliefs and worldview affect write he will (and won't) write about and how he approaches those topics. We also talk about how our early life experiences can color how comfortable we are writing about darker themes.On the business side of authorship, Dan Wells talks about the benefits of attending fan conferences, how writing in the horror genre changed his author trajectory, and how he has developed and maintained a significant readership in Latin America.Dan Wells' author website -- https://www.thedanwells.com/Barbara Hinske's  author website -- https://barbarahinske.com/J. W. Judge's author website -- https://jwjudge.com/J. W. Judge's writing blog -- https://expectantwriter.com/

In this episode, Rich has a conversation with Sheila (Sy) Tyson.SY Tyson is a mentor, author, and advocate for the rights of minors. She spent the last 30 years raising her kids and grandkids. Now that her kids are grown with their own families, her new goal is to help mold the next generation of kids based on the current climate in the world. Her need to help change the world led to the start of her organization called “Coming of Kings” an all-male mentorship program whose sole goal is to help shape the minds of young men in her community. The “Coming of Kings…. Our Future Leaders” was created with that. The series includes a journal, coloring book, and children's book.And the latest project is a workbook. All books can be purchased at Amazon or www.sytyson.orgThough SY Tyson has penned multiple books, journals, and coloring books she totes “Love's Pain” as her very first novel due to the more mature content and discussions that can be had after reading the book. Love's Pain is written as a trilogy and has a storyline based on a toxic relationship. This is the reason for the podcast about toxic relationships and how we can help identify if we are in one. So, let's talk about it, on my podcast, Monday 7 pm. Why do we stay in, Toxic Relationships? https://youtu.be/oU4o1njF9GwThank you to Sheila (Sy) Tyson for the conversation. Here are some links for Sheila:Social Media:SY Tyson | Havre de Grace MD | FacebookDani PettreyBuzzsprout - Let's get your podcast launched! Start for FREEFreedom Federal Credit Union HELPING YOU REACH YOUR FINANCIAL DREAMSRocketbook Get the perfect companion for podcasting, school, office, or anything else.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showFollow the podcast on Social Media:Facebook – Conversations with Rich Bennett & Harford County LivingFacebook Group (Join the conversation) – Conversations with Rich Bennett podcast group | FacebookTwitter – Conversations with Rich Bennett & Harford County LivingInstagram – Harford County LivingTikTok – Harford County Living Sponsors, Affiliates, and ways we pay the bills:Recorded at the Freedom Federal Credit Union StudiosHosted on BuzzsproutRocketbookSquadCast Contests & Giveaways Subscribe by Email Be a Guest on the podcast...

We throw the word "aesthetic" around a lot on this podcast -- but we've never really slowed down to talk about what it means. How do we define the aesthetic of a work? Is that different from the aesthetic of a world? How do subgenres and plot structures intertwine with those ideas? Guest Mary Robinette Kowal joins us to explore the crafting of aesthetics in worldbuilding and storymaking! We discuss pacing, word choice, set dressing, the theatre of the mind, the "breath" of the written word, and so much more. We also examine how aesthetic can be a shorthand to help your reader with an on-ramp into your story -- but how you may also need to teach your reader where your particular world deviates from what aesthetic may lead them to assume. Transcript for Episode 88 (in-progress -- email us if you're interested in joining the scribal team!) Our Guest: Nebula and Hugo Award-winning author, Mary Robinette Kowal is a novelist and professional puppeteer. In 2008 she won the Astounding Award for Best New Writer and her debut novel Shades of Milk and Honey (Tor 2010) was nominated for the 2010 Nebula Award for Best Novel. In 2019, the first book in the Lady Astronaut series The Calculating Stars (Tor 2018), won the Hugo, Nebula and Locus awards, becoming one of only eighteen novels to do so. Her stories have appeared in Strange Horizons, Asimov's, and several Year's Best anthologies, as well as in her collection Scenting the Dark and Other Stories from Subterranean Press. Her short story collection Word Puppets was published in 2015, and includes both of her Hugo Award-winning stories in addition to fifteen others, running the full range of speculative fiction. In 2016, her World War I fantasy novel Ghost Talkers was published by Tor books, followed in 2018 by her alternate history Lady Astronaut series. From 2019-2021, Kowal was the President of the Science Fiction and Fantasy Writers of America. In 2011, after several appearances as a guest star on the podcast Writing Excuses, Kowal became a permanent member of the cast. In 2013, the seventh season of the podcast won the Hugo Award for Best Related Work. Her involvement in the podcast also contributed to the creation of the Shadows Beneath anthology, in which Kowal and her three co-hosts contributed short stories alongside materials charting the unique creative process of each author. Kowal is also an award-winning puppeteer. In high school, she took up puppetry as a hobby, but as Kowal says, she “never thought of it as something you could get paid for.” Instead, she went to East Carolina University to pursue an art degree, minoring in theater and speech. While performing as Audrey II in a performance of Little Shop of Horrors, she learned that a professional puppeteer had come to the show. It was a turning point. Kowal went on to intern at the Center for Puppetry Arts in Atlanta, GA. With over twenty years of experience, she has performed for LazyTown (CBS), the Center for Puppetry Arts, Jim Henson Pictures, Sesame Street, and founded Other Hand Productions. Her designs have garnered two UNIMA-USA Citations of Excellence, the highest award an American puppeteer can achieve. Her career in puppetry consumed much of Kowal's creative energy for over ten years. Although she wrote in high school and college, it wasn't until her brother moved his family to China that she began writing again. Like Lewis Carroll and J.M. Barrie, she started creating children's fantasy as a way to stay connected to her young niece and nephew. Reminded of how much she enjoyed writing, she began submitting short stories and made her first sale in 2005, and her first professional sale to Strange Horizons in 2006. When she isn't writing or puppeteering, Kowal brings her speech and theater background to her work as a voice actor. She is a member of SAG/AFTRA. She has recorded audio books and short stories for authors such as Seanan McGuire, Cory Doctorow and John Scalzi. She likes to describe voice acting as “puppetry, without the pain.” Mary Robinette lives in Nashville with her husband Rob and over a dozen manual typewriters. Sometimes she even writes on them.

Join host Adrian M. Gibson and award-winning author Mary Robinette Kowal for a chat about her new novel The Spare Man, her Glamourist Histories and The Lady Astronaut series, the modern space race, building off of Dashiell Hammett's book The Thin Man (and its movie adaptations), what makes a good mystery, committed couples, compelling characters, dogs, puppeteering and much more. Also, Mary Robinette was a panelist on Ep. 29 discussing "Modern Sci-Fi Thrillers," which you can check out here. RESOURCES MENTIONED: - Our Fake History Ep. 146 - Who Was First in Flight? (Part 1) - You Owe Me a Murder by Eileen Cook EMAIL US WITH YOUR QUESTIONS & COMMENTS: sffaddictspod@gmail.com ABOUT THE AUTHOR: Mary Robinette Kowal is the award-winning author of The Lady Astronaut series, the Glamourist Histories series and more. She is also a co-host on the Writing Excuses podcast with Brandon Sanderon, Dan Wells et al. Her latest release is The Spare Man, which hit stores on Oct. 11th via Tor Books. Find Mary Robinette on Twitter, her personal website or the Writing Excuses podcast FIND US ONLINE: FanFiAddict Blog Twitter Instagram MUSIC: Intro: "The Wind" by Astronoz Interlude 1 & 2: “Crescendo” by Astronoz Outro: “Cloudy Sunset” by Astronoz SFF Addicts is part of FanFiAddict, so check us out at https://fanfiaddict.com for the latest in book reviews, essays and all things sci-fi and fantasy, as well as the full episode archive for the podcast and the blog post accompanying this episode. Follow us on Instagram or Twitter @SFFAddictsPod, and please subscribe, rate and review us on your platform of choice, or share us with your friends. It helps a lot, and we greatly appreciate it. --- Send in a voice message: https://anchor.fm/sff-addicts/message

Show Notes can be found on the Stop Writing Alone Substack page, here: https://stopwritingalone.substack.com/p/episode-177-story-structure-for-discovery?sd=pf

My guests this week are Howard and Sandra Tayler! Howard is best known as the writer and artist of the massively popular Schlock Mercenary webcomic, as well as one of the founding hosts of the Writing Excuses podcast. His wife Sandra has been his long-running partner, acting as editor, business manager, and jack-of-all-trades for Schlock Mercenary and other projects, as well as her own writing and presenting.The three of us chat about the genesis and development of their business and creative partnership and how that has gelled over the years with their marriage. We also talk mutual problem solving, learning self-care and structure, as well as the future of Schlock Mercenary and the Tayler's other creative endeavors. Enjoy my conversation with Howard and Sandra Tayler!Find Howard on Twitter and at Schlock Mercenary.Find Sandra on Twitter and her website.Find Brian McClellan at his website, on Twitter and Instagram, or find his books on Amazon, direct from his bookstore, or wherever books are sold!Don't forget to support the show on Patreon, or pick up some swag on Redbubble. Hosted on Acast. See acast.com/privacy for more information.

The Dark Knight has a reputation for being one of the great superhero movies, and it is completely deserved. Revisiting this movie for the first time after my initial viewing I was blown away by the writing. This is a masterpiece of thematic story-telling. With fantastic performances, especially from Heath Ledger as The Joker. So let's see what Batman is up to this time as we discuss The Dark Knight. ----more---- Transcript Welcome to Nerd Heaven. I'm Adam David Collings The author of Jewel of The Stars. And I am a nerd. This is episode 93 of the podcast.   Today, we're talking about the movie  The Dark Knight   The description on IMDB reads When the menace known as the Joker wreaks havoc and chaos on the people of Gotham, Batman must accept one of the greatest psychological and physical tests of his ability to fight injustice.   The screenplay was written by Christopher Nolan and Jonathan Nolan (who are brothers) With story by Christopher Nolan and David S Goyer It was directed by Christopher Nolan And it was first released on the 14th of July 2008   In 2008 I was raising a very young family. I had just bought my first house or was shortly about to. I wasn't made of money. Consequently, instead of buying this movie on DVD as I did with Batman Begins, I hired it from the local video rental place because that was cheaper. And forget the cinema. I didn't go to the cinema for years when my kids were little. So I've only ever seen this movie once.   I remember continuing to enjoy the serious tone, but it didn't have that origin backstory element that I loved so much in the first movie. So I was really interested to see how I'd react to a rewatch after all these years.   The movie has a very silent beginning. So much so I had to keep checking that the sound was working on my computer.   We know from the ending scene of Batman Begins that this movie would introduce The Joker as its villain. The Joker is well known as the most famous, most iconic Batman villain. And this in large part thanks to the Adam West TV show, I believe.   I think it was smart to use lesser-known villains in the first movie, like Falcone, Scarecrow, Ra's Al Ghul and Even Victor Zzazz. It expanded the world for those not familiar with the comics and gave Batman room to really shine as he came into his own.   But this was the time to introduce his famous arch-nemesis.   When we first see a criminal wearing a clown mask our natural inclination is to think, this has got to be the joker, or someone who works for him, right? Turns out these guys are working for him, but it's not a close association. He planned this heist, and he wants a cut.   He calls himself The Joker because he wears makeup to scare people, like war paint. We'll come back to this. It's a shock when one robber is killed by another as soon as he's finished his work on the security system. And it would seem to make sense at first. One less person to split the money with, and these are hardly moral people. Unless something goes wrong and you need that guy again, or if you get a bad reputation for killing your team members and nobody wants to join your crew for future endeavours.   Turns out, this is a mob bank. One of the workers has a shotgun. I have to admit, the idea of the mob owning a bank is a concept I'm struggling to get my head around.   Looks like none of these crooks really know the full plan. Half of them are instructed to kill the other half.   The mob guy makes a good point. If you work for someone like the joker, who orders his own people dead, he'll only do the same to you.   Except the guy he's talking to ends up being the joker. In the end, he doesn't have to share the money with anyone. But who's gonna want to work with him? So taking a more active role than it appeared. He definitely has a flair for the dramatic in the way he kills people.   Using the school bus as a getaway vehicle to blend in with all the other school buses is clever, but it would require expert timing, and wouldn't the back of his bus be banged up from crashing through the wall?   I was surprised to see someone wearing the scarecrow mask from the last movie.   It's not surprising, however, that there would be a copycat batman or two. But this guy doesn't compare to the real thing.   And It seems it's actually Doctor Crane himself. Has he escaped from jail? And why would he now be playing vigilante? That's a bit weird. There's a story-telling reason to do this. The idea is you show the villain who was such a threat last time as being ineffectual compared to the new villain, thus emphasising how powerful and threatening the new villain is. Except, Doctor Crane was never much of a threat to Batman. Ra's al Ghul was the main threat. The big difference, of course, between Batman and these fakes, is competence. He's got the skills, the experience, and the equipment. They don't.   Bruce has obviously affected some upgrades to the tumbler. It has some auto-drive features, which are not so unbelievable in 2022, but were still science fiction 2008.   Batman doesn't always come when Gordon turns on the signal, because he's busy. But Gordon likes to do it anyway, to remind people that Batman is out there.   That one scene when Alfred brings breakfast into an empty bedroom speaks volumes without a line of dialogue. Of course, the next scene has the dialogue which is almost redundant. Bruce has set himself up with a temporary batcave under a Wayne Enterprises facility while the mansion is being rebuilt. It's a massive empty area with white ceiling. It looks somewhat unreal. Alfred warns Bruce that he needs to know his limits. Bruce says Batman doesn't have any, and Alfred points out that Bruce does. What's going to happen on the day when he realises them.   And that's a clear ominous warning about a coming theme in this movie. And while Bruce likes to think that Batman has no limits, he clearly does, because even as a symbol, he's portrayed by a human being. Batman is built on the flaws of that human.   We meet the exciting new DA. Harvey Dent. And for those who haven't picked up on it, we see him making decisions by flipping a coin. Rachel is not only working for Dent, she is apparently dating him. She gave Bruce a little sliver of hope that maybe they could be together someday when Gotham no longer needs Batman, but at the same time, it doesn't seem that she's willing to wait for him. I'm not saying that she should, but by dating someone else it makes her offer kinda hollow.  So now we have to talk about Katie Holmes. Because Rachel has mysteriously changed her face like a timelord.   Katie Holmes didn't return for this movie. And we don't know exactly why. We probably never will. We know that Christopher Nolan wanted her to return and was reportedly a bit upset that she didn't. She was quite busy at the time and has said publicly that it was a decision that was right for her at that moment but would love to work with Nolan again someday.   I was disappointed when I learned that the character had been recast. I quite liked Katie Holmes in Batman Begins. The role went to Maggie Gyllenhaal. And I have to say, having just re-watched this movie, she did a fantastic job. It can't be easy to come in and portray a character previously played by someone else, especially if you're supposed to be in the same continuity as the previous. But Maggie made me believe. And while I really liked Holmes in Batman Begins, I think I can say that Maggie Gyllenhaal gave a better performance in The Dark Night. She plays Rachel as a little older, a little wiser. And I really enjoyed what she did.   The new head of Falcone's crime organisation, Maroni, who's played by Eric Roberts, an actor I quite like, has apparently got a fall guy to admit to being in charge, much to the amusement of everyone in the audience. I'm sure that's not what they're called in a court case, but you know what I'm talking about.   This guy has smuggled a gun right into the courtroom, even up to the witness stand, which is a little hard to swallow, but at least this movie gives an explanation. It's made of carbon fibre, which I'm guessing doesn't set off metal detectors? Last movie, both Bruce and one of Falcone's men got guns into the courtroom and that was never explained.   Dent comes across as very cocky, but also very capable. He disarms the witness without a single hint of anxiety.   Gordon and Batman are trying to cripple the mob by depriving them of their money. They plan to raid the mob banks before the Joker and rob them. The Joker is a side-problem at present.    Bruce is falling asleep in board meetings because he's out all night being Batman, but that doesn't mean he's neglecting the company. He's keeping a tight eye on things, more so than appears. I like that.  This is his father's legacy, after all.   The rivalry between Bruce and Harvey over Rachel is kind of embarrassing to observe. I guess I can't blame him. Bruce and Rachel are not together, but not by Bruce's choice. Often in Superhero stories, you'll have the hero tell his love interest that they can't be together but then get all moody and belligerent when the woman pursues something with someone else. I believe Smallville did this once or twice. But you can't have it both ways. Anyway, nothing quite so angsty is going on here. Bruce would have Rachel in a second if she'd have him, and Harvey is in the way of that. This is a point we'll connect back to later when we talk about character goals.   As far as we know, Harvey has no beef with Bruce, but when another guy puffs out his chest at you in a passive-aggressive kinda way, you're gonna puff back. That's just how it works, right. So there's this mutual ribbing that's going on during the conversation. I mean, it was quite rude of Bruce to intrude on their date the way he does. But he doesn't really care.   They begin debating the merits of Batman. Ironically, Harvey is in defence, and Bruce against. I like how Bruce's date isn't just portrayed as a bimbo. She has considered opinions and she's the one who brings up the topic.   Rachel points out the example of Cesar, who was appointed by the people to defend them but then never gave up his power. Could the same end up being true of Batman? Harvey's answer is important. This is his thematic sentence. “You either die a hero, or you live long enough to see yourself become the villain.”   Let's see how this particular theory plays out with our main characters throughout the story.   But Harvey thinks Batman doesn't want to do this forever. He's looking for someone to take up his mantle. Maybe even somebody like him.   And he'd be shocked to learn just how right he is about this. Bruce is sold. He wants to throw his financial support behind Dent. But he has his own ulterior motives.  What if Harvey Dent is the hero that can solve Gotham's problems in a more ‘by the book' kind of way? What if he could take over the mantle from Batman? That would then leave Bruce free to pursue a relationship with Rachel - one she claims she'd be interested in once Batman is a thing of the past.   Ultimately, Batman is thinking more about his own personal wants and needs here than about what's best for the city. It's hard to blame him. He's an imperfect person who does have wants of his own. But we'll have to see what he ultimately puts priority on when the time comes. That will determine what kind of man he is.   So surprise, Lau, the guy that Wayne Enterprises was thinking of doing business with, the guy that Bruce decided not to work with, is involved with the Gotham Mob. The Joker has stolen a few million dollars from them. But Maroni isn't convinced that the Joker is the real problem. The cops are the bigger issue. They're trying to seize the rest of their cash. Lau hides the money for them so when Gordon gets in there, there's nothing to find.   And that's when the Joker barges into their little meeting. This scene is the first introduction we really get to Heath Ledger's Joker. His first act is to kill one of the mob guys who tries to throw him out, using a pencil. Now, this whole pencil in the eye stunt really disturbed me the first time I saw it, and it really stuck in my memory. I remember cringing in revulsion. That wasn't something I needed to see. This time around, it didn't affect me as much, possibly because I knew it was coming. That first time, when it happened, I really thought through the implications. Really disturbing.   It's clear to the Joker that the mob are afraid of Batman. Despite what they say, they're not having their meetings in broad daylight because of Harvey Dent.   The Joker makes an offer. I'll kill the Batman, but not for free. That's why he's here.   But can they take him seriously? He's shown he's clever. He's shown he can pull off a heist. He's demonstrated his competence and his boldness by stealing some of their money.   But does that mean he's capable of killing Batman? That's quite a different task than stealing money from a mob bank. The outspoken gangster, Gambol, isn't impressed and says he's putting a price on the Joker's head, but I think their new leader is seriously thinking about it all.   So let's talk about this version of The Joker. I see Heath Ledger as the definitive on-screen version of The Joker. I know a lot of people will point to Mark Hamill, but I'm just not really into a lot of animated stuff. So to me, Ledger was the ultimate portrayal of what I traditionally thought of as The Joker. His personality is creepy. He comes across as somewhat unhinged, but at the same time capable, and a worthy adversary for Batman. The make-up is dishevelled and badly done, and he has big scars on his cheeks, extending into a sickening smile, covered crudely with lipstick. It gives a wonderfully creepy vibe that works wonderfully for me. If the makeup was applied better, it would lose all its power. Incidentally, that's why I didn't like Joaquim Phoenix's look for the Joker in the trailers, although when I watched the movie and understood the character's backstory, I realised that it worked for that version of the character.   But some people took issue with the whole make-up idea. I know a friend of mine has talked at length about how he didn't want a joker wearing makeup. He wanted a joke with chemical-bleached skin.   Now because I don't have much of a comics history in my youth, I was simply unaware of this aspect of the character. I'm bingeing on DC comics now, but that didn't help me in the past. You see, I always thought The Joker wore makeup. My main previous exposures to the character were Ceasar Romero, who wore makeup right over his moustache, and Jack Nicholson.   As I explained last time, I completely misinterpreted what was going on in the 1989 Batman movie. I thought that Nicholson's Joker wore makeup to cover his disfigurement from landing in the chemicals. It was only very recently that I learned that the natural skin tone was in fact the makeup, and the clown face was his real skin. And I'm sorry, but I just find that kind of silly. Especially the hair. I can buy the idea of bleached skin from chemicals, but not if it just looks like white makeup. And green hair from landing in chemicals. No. That doesn't work for me at all.   So to me, The Joker has always been, and probably always will be, a creepy guy who wears clown makeup. I'm sorry, but I didn't know any different before, and now that idea is solidified in me.   Anyway, it goes without saying that Heath Ledger's performance in this movie is outstanding. He won an oscar for it. It's just such a tragedy that he died before even receiving it.   So Dent and Gordon meet Batman on the rooftop. There's a lot of blame going around for what happened, but what really matters is they need to get Lau back. He's fled to Hong Kong. Harvey can get him to talk if Batman can get him back somehow.   Is it just me or are all the actors in this movie really young?   When Bruce goes to Lucious for help. The scene always plays like a Bond film, where 007 gets his latest gadgets from Q. But somehow, that works.   The Joker comes to see Gambol, but his method of arrival is suitably theatrical. He arrives in a body bag, pretending to have been killed. And that's when we hear his question for the first time. “Do you want to know how I got these scars?” It's not the last time he'll ask somebody that question, and each time, he'll give a completely different story, each as dark and twisted as the last. Of course, at this point in the movie, we don't realise that, so we take the story about his wife-beating mother at face value. Ah, so that's why The Joker is so messed up. But that's too easy. Too trite. Does a tragic childhood justify the person The Joker is? It certainly doesn't excuse it. Does it explain it? Plenty of people have had horrible childhoods like the story he tells, but they don't grow up to be psychotic serial killers. Ultimately, I think the reason the writers had him give all these conflicting stories is that they're showing that no one incident really truly explains or justifies what he is. He's just insane.   Normally, I don't like it when explanations are not fully given, when stuff like this is left hanging as a mystery that's never resolved. Often, it's done badly so it leaves me feeling unsatisfied. But here, it works wonderfully. So I'm with it.   The Joker is slowly taking over the criminal underworld in Gotham. But he's doing it in such a Joker way. He has Gambol and some other goons fight it out, to the death, for the privilege of joining his team.   This guy really is sick.   Fox has a clever way of getting into the interior of Lau's building and planting another jamming device in there. I quite like seeing these two working in the field together.   This part of the movie really does feel like a spy thriller. Batman usually confines himself to Gotham. I think this is the first time I've seen him operating in another country on screen.   The method of extracting Bruce and Lau from the building into the plane looks awesome, but man it would be terrifying.   It seems strange to me that Rachel - a lawyer for the DA's office, is interrogating Lau, not a police officer. Is that normal in America? Because here, it's the police who interview people. Then, when they think they have sufficient evidence, they charge the suspect. Then they appear in court. Although, interestingly, we don't have District Attorneys, like in America. As far as I understand, it's actually the police themselves that prosecute criminal cases. You hear the term police prosecutor.   Gordon makes mass arrests. Rachael and Dent have worked out some legal options where if you get a conviction on one, you can get a conviction on a bunch of their accomplices. I don't fully understand, but it's looking pretty nice for the good guys at the moment.   Until the Judge finds a playing card, a joker, amongst her papers. The Joker makes a direct challenge to Batman by dumping the dead body, in Joker makeup, of one of the copycat batmen into the Mayor's window.   The Joker wants Batman to step up and take off the mask. Every night he doesn't, people will die.   Despite the jokes and ribbing, Bruce is genuine when he says he believes in Harvey Dent. Yeah, he's got his ulterior motives, but he genuinely believes Harvey is what the city needs, maybe even more than it news Batman. Gotham needs a hero with a face. Bruce opens up to Rachel. He believes that day is coming very soon when Batman won't be needed. And when that day comes, he's asking her to be there for him.   The people The Joker plans to kill tonight are quite important. The judge and Commissioner Loeb are among them. Harvey Dent may be another. The Joker crashes Bruce's fundraiser for Dent.   Rachel stands up to him and that's when he tells his second scar story. This one is about a wife who was disfigured. He disfigured himself to be like her, and she left him.   When Batman shows up, The Joker throws Rachel out the window. Batman has to jump out, catch her, and reach the ground safely. His cape barely opens as he's seconds from crashing into a car uncountable stories below. This is even more unbelievable than the fall out the window in Batman Begins. It's laughable to expect us to believe that Batman and Rachel are still alive. That's a real problem for me.   Alfred seems to have a greater understanding of The Joker. This is not a man with a rational goal. He's not after the things that most criminals are after. Some men just want to watch the world burn.   So how do you understand a man like that? How do you defeat him? Batman has been called the world's greatest detective. We get to see him doing a little detective work. Specifically, some forensic work, analysing gunshots into brick.   I really like how the movie acknowledges that somebody in Wayne Enterprises is going to notice their own tech from applied sciences being used out there by Batman. That's only logical. But Lucious is quite capable of dealing with that.   What's harder for me to swallow is that Bruce gets a fingerprint of the shooter off the hundreds of shards that were once a bullet.   The Joker's next target is the mayor, who is giving a speech at Loeb's funeral. It's interesting to see the Joker out of makeup as he pretends to be one of the cops giving a rifle salute.   Gordon has been shot, but we know he can't die because he hasn't become commissioner yet. Still, they play it for real. And they portray the emotion of it very well.   Rachel is the next target. Harvey needs someone he can trust, and Rachel suggests Bruce Wayne.   So, you know the trope, where the vigilante holds the crook out a window, threatening to drop them. We know they won't. The crook knows they won't. In this case, Batman has specifically chosen a height that won't kill Maroni, so that he can make good on his threat when Maroni calls his bluff.   Maroni makes a good point. Batman has rules. The joker has no rules. Nobody is gonna cross The Joker for Batman. The only way to find him is to take off his mask and let the Joker come to him. Or he could just let more people die while he makes up his mind. Harsh truth.   Dent is trying a different tactic. Putting a gun to the mobster's head. But Maroni was right. This guy won't talk. Dent offers a toss of the coin. But is he really gonna kill the guy? I know he's worried about Rachel being the next target, but is the DA really ready to take a life in cold blood? Turns out, this guy is a paranoid schizophrenic. There's not a lot Dent is gonna learn from him. Batman has some words for Harvey. He is a legitimate voice standing against the crime in Gotham. Doing it by the book. That's the first ray of light this city has seen in decades. What would happen if people saw their white knight holding a gun to a man's head? Bruce is convinced that the people need someone better than a vigilante in a bat mask. They need somebody working on the correct side of the law with his face uncovered. That's something Batman can never be.   I love how all of this is building toward the conclusion of this movie. It's like a tapestry where all the threads are coming together to make something greater. There really is some great writing in this one. It's all very thematic.   Bruce is ready to pass on the torch. Right now. He's going to unmask himself so nobody else dies on his behalf.   Dent considers giving up. Even Rachel isn't convinced that this will keep The Joker from killing people. But it may flush him out and allow somebody to stop him. I understand Bruce's perspective. What choice does he have? He can't just keep watching while people die. Is protecting his secret identity really more important than all those lives? I think he's making the only call he can under the circumstances.   Rachel admits she meant what she said to him at the end of Batman Begins. If he ends Batman, she'll be with him. But she believes that if Bruce turns himself in, they won't let them be together. “They” could refer to a lot of people. The Joker, any criminal with a grudge against Batman. The police.   Bruce is destroying any evidence that could lead back to Lucious or Rachel. Today, Bruce has found out what Batman can't do, but as predicted, Alfred doesn't want to say “I told you so.”   At a press conference, Dent debates whether Batman should be turned in with the crowd. They all want his head, so he gives in. As Bruce begins to step forward, Dent falls on his sword. “I am the Batman,” he says.   Bruce hesitates. He doesn't turn himself in. What should he do?   Rachel isn't impressed. Dent reveals how he makes his own luck - both sides of his coin are heads.   The Joker makes his move to capture Dent from the prison transport. But Batman makes his move as well, essentially proving that Dent is not Batman by appearing in the tumbler.   Action scenes with The Tumbler are always fun. But sadly, it's been damaged beyond immediate repair. So…..Bruce ejects in a motorbike.   This is a problem. I can't believe that the bridging vehicle was designed to come apart and partially transform into a motorbike. Clearly, Bruce and Lucious have made a lot of alterations. But I just can't buy that. I mean, the bike with the massive wheels looks cool and all, but this breaks the believability a bit too much for me. This is no ordinary bike, though. It can do some really cool things. Despite all he has done, Bruce still holds to his rule. He doesn't kill The Joker.   Just when all hope looks gone, who should show up but Jim Gordon. Alive and well. Now they have The Joker in custody. Gordon says he couldn't risk his family's safety, which is why he went through this ruse. But he still put them through the heartbreak of thinking he was dead. And that's pretty bad. And they haven't even found out the truth yet. Gordon is on his way home to tell his wife he's alive now. She gives him the slap that I think he deserves. But in all the commission, one thing that I missed in my first watching all those years ago. The mayor names Gordon Commissioner. So he's finally reached the position he's known for.   They've found no Id on him. No idea what The Joker's true identity is. His name.   How do you charge someone without knowing their name? It's not like they can just call him “The Joker.”   But there's some bad news. Dent didn't make it home. So who has him? Gordon lets Batman do the interrogation. This is where we see the beginning of the nemesis relationship. The Joker doesn't want Batman dead. What would he do without Batman? Go back to knocking off mob bosses? The Joker needs a worthy adversary. Batman completes him.   The Joker tells Batman he's going to have to break his one rule tonight - his rule against killing. And he's already been considering it. But it seems the Joker knows who Batman is, or at least, he knows there is a connection between Batman and Rachel. Batman is going to have to choose between Dent and Rachel. One life or another. The Joker tells Batman where each of them are. Batman's decision is made without even thinking. He's going after Rachel. The police will go for Dent.   It's a sick setup. They're both wired to bombs, but there's a speakerphone between them, so they can talk to each other. Hear each other's screams.   The Joker's method of escaping is clever, but disturbing.   Rachel doesn't want to live with Harvey, so he finally gives him the answer he's been waiting for. The question is obvious. Her answer - yes.   So…seems she's not willing to wait for Bruce after all. She'd already decided that, as we'll learn from her letter. She's convinced a day will never come when Bruce doesn't need Batman.   And now comes the real tragedy of this whole thing. Batman bursts into the location where he was told Rachel would be. But it's Harvey. The Joker gave him the wrong addresses. He switched them. So that by thinking he saved the one he chose, he'd actually be killing them.   Harvey is not happy that Batman came for him instead of Rachel - which of course he didn't mean to do.   And Rachel has to calmly accept it. It's that moment when you realise you're about to die and there's nothing you can do to stop it, so there's no use struggling. But at least the one you love is safe.   And then it happens. The buildings explode. Harvey is saved, but Rachel is not.   Rachel is dead. And Batman unknowingly killed her. This is a heart-breaking tragic moment. It was a gutsy move. It was not normal, especially at the time, for a superhero to actually kill off the love interest like this. That was dark.   Of course, I'm not against tragedy or darkness in stories. But ouch. This hurts. But sometimes stories are supposed to hurt. That's what makes them powerful.   Before she died, Rachel gave Alred a letter for Bruce, telling him she'd decided not to wait for him. She was gonna marry Harvey Dent. Alfred ultimately decides to destroy this letter rather than give it to Bruce. I think he reasons that the rejection on top of the death is just another level of grief he doesn't need. He'll at least let Bruce keep the hope that Rachel was going to be with him. It's hard to say which would be more painful, knowing that you could have been with her if only she'd survived, or knowing that no matter what, you'd never have been able to be with her.   Harvey's face is half-burned in the explosion. We know what that means. When I first saw this movie, I was embarrassingly unfamiliar with Harvey Dent, and who he was destined to become. I think the coin gave me some hints but I remember being surprised when I realised where this was going.   So…..Two Face is born. The makeup effects are very well done. But….it looks really gross. Not something I actually want to look at. Harvey is not accepting skin grafts. I'm no doctor, but I don't think he's going to be able to just walk around with a big hold in his cheek, with his eyeball all exposed like that, without getting some serious infection.   Maroni claims he can tell Gordon where the Joker will be tonight.   The Joker proves he's a different kind of criminal when he burns all the money. He's an agent of chaos. Then he calls the talkback show that's about to reveal Batman's identity and threatens more chaos unless someone called “Coleman Reese” isn't dead within the hour. It wasn't entirely clear to me at the time, but Coleman Reese is the guy who has figured out Batman's identity.   Rese is not dead, so true to his word, The Joker sets off a bomb destroying the entire hospital.   They managed to clear it, fortunately.   Bruce has developed a system where he can use every mobile phone in the city to listen in and pinpoint people of interest. As Lucious points out, it's a clear violation of privacy and potentially gives too much power to one person, even though the only person Bruce trusts to use it, over even himself, is Lucious.   It's an interesting dilemma. It may help Bruce find The Joker, and Lucious is willing to help him this one time, after which, he'll resign.   Batman is a vigilante. He operates outside the law. It's interesting that this is the line that Lucious feels so strongly about.   What do you think? Has Bruce crossed a line here? And if it helps him stop The Joker, is it worth it?   Havey is after the people that took Rachel. Moles within the police department. The Joker has threatened more chaos and death in the city, and half the population are evacuating Gotham via ferry.   The joker is running a sick social experiment. Two boats. One full of criminals. Another full of evacuating civilians. Each rigged with a bomb. Each with a detonator to destroy the other boat. At midnight he blows both boats up, unless someone on one of the boats pushes their button - destroying the other. The Joker will let that boat live. So by sacrificing (murdering) the people on the other boat, they'll save themselves. The civilian boat is taking a vote. The guards on the criminal boat are desperately trying to stop the prisoners from rioting and pushing the button.  This kind of sick game is exactly the kind of thing that The Joker delights in.    Meanwhile, Harvey has taken Gordon's family. It's all happening.   There's lots of fantastic drama as the crews of the boat try to make their decisions. It's really interesting how it all develops.   Thanks to his invention, Batman has found The Joker. And so begins their epic showdown. In the end, neither crew destroys the other. Likewise, Batman and the Joker won't kill each other, Batman because of his morals, and the Joker because fighting Batman is too much fun.   The joker is fighting for the soul of Gotham. That's not gonna be won with a fistfight. Much  like Lex in Batman V Superman, he's trying to make a philosophical point about morality. But the people in those barges have just proven that the city is full of people willing to do good.   But for how long? The Joker has taken the white knight - Harvey Dent, and transformed him into something ugly. I'm not talking about his face. He's turned Dent into a killer. The beacon of hope that Bruce so believed in. When people see that, their idealism, their hope in good, will evaporate.   THAT is the joker's victory.   But the Gotham police arrive and arrest him. He'll spend the rest of his life in a cell, and that's the last we see of him in this movie. But there's still a good 20 minutes left of the film. How can you have a climax without your primary villain? Isn't that The Joker? Well, he may in fact be the primary villain, but putting aside that word, he's not the primary antagonist. Harvey Dent is the primary antagonist. The antagonist is the one who stands opposed to the protagonist's goal in the story. Our protagonist is Bruce Wayne. And what does he want? Ultimately his goal in this movie is to stop being Batman, so he can be with Rachel. He wants to raise up Harvey Dent as a different kind of hero, a better hero, a white knight who can do the things Batman can't.   Harvey opposes Bruce's goals the whole way through. First, simply by being with Rachel, keeping her from a relationship with Bruce. But ultimately, by becoming bad. By failing to be the hero Bruce wanted him to be. By constantly making bad choices, proving that he's not the good person Bruce so desperately wants him to be. And that's what we're about to see play out in this final sequence as Harvey threatens Gordon's family.   So if the Joker isn't the antagonist, what role does he place in this movie? I learned this from an old episode of the Writing Excuses podcast about the Hollywood Formula with a guy named Lou Anders. The Joker is what is referred to as the relationship character. The relationship character is the embodiment of the story's theme. The Joker is constantly trying to convince Batman that he's more like The Joker than he is like the idealised hero he wants Dent to be. “You're a freak - just like me.” In the end, Batman fulfils this by accepting his role as The Dark Knight. This is fascinating stuff to me.   It's interesting to me that Harvey has chosen Gordon as the target of all his rage. I understand he failed to save Rachel, but there are bigger targets. The Joker is the most obvious, of course, but he has his reasons why he wants to go for someone more directly connected to the failure.   Batman is a more logical target. Batman was the one who went to the wrong place and saved Harvey instead of Rachel.   I could totally understand Harvey targeting Batman, but Gordon? I guess the difference is, Gordon is tangible. Gordon is a real person with an identity and a family. What is Batman? A persona. How do you hurt Batman? Who are his loved ones? You can't know that without knowing who is behind the mask.   And Harvey's approach is very Joker-like. He's playing games. He's gonna pick one of Gordon's family, the one he decides Gordon loves the most. That's the life he's going to take. One for one. He doesn't even want to escape from this, and that makes him especially dangerous.   Batman shows up, mercifully. Harvey feels betrayed not just on a personal level because of Rachel but on a larger leve., “You lied to me. You said we could be decent men, in an indecent time. You were wrong. The world is cruel. And the only morality in a cruel world is change.” In his mind, that's fair.   The Joker chose Harvey because he was the best of them. Joker wanted to prove that even a man like Harvey Dent could fall. Sadly, Harvey has proven him right. That's the tragedy of this whole story.   The heavy drama here is powerful. Doubly so because I'm a parent.   So Batman rescues the boy, and Harvey dies in the struggle, leaving Gordon and Batman with a dilemma. The Joker has won. Any hope for saving Gotham dies with Harvey's reputation.   So Bruce does the only thing he can. There is only one way left to defeat the Joker, and he can't let the Joker win. Batman claims responsibility for Harvey's crimes. “Tell them I did it,” he says to Gordon. Batman takes the fall for Harvey so that Harvey's reputation can remain untarnished, thus preserving hope for the people of Gotham.   Batman calls back to something Harvey Dent said early in the movie. He has now grown old enough to see himself become the villain. But not in the way anyone expected.   As Bruce rides off on his bike, Gordon's son says “But he didn't do anything wrong.”   I can't help but see strong Christ parallels here. An innocent man taking on the crimes of the guilty, for the good of others. And Christ parallels always hit me right in the heart, because of my own personal beliefs.   This is a tragic but beautiful ending.   So Bruce has now become The Dark Knight. The hero Gotham deserves, but not the one it needs. The name takes on so much new significance at the end. It wasn't just a case of “well, we can't call it Batman, so what's another name for Batman?” No. The Dark Knight has deep meaning, especially when contrasted with Harvey Dent as the White Knight. Love it.   Critics of DC films, particularly the ones that get a reputation for being dark, tend to say that the movies are without hope, without optimism. Nothing could be further from the truth. This movie is dripping with hope. It's all about hope. I feel the same way about Man of Steel and Batman V Superman. I love this movie. It's so well written. It all fits together so nicely. Events are foreshadowed. Themes are set up and then paid off satisfactorily. It's almost poetic.   So, having now re-watched both Batman Begins and The Dark Knight, I might still say that Batman Begins is my favourite because I really like the origin story aspect, but I think I might have to say that The Dark Knight is actually the better film. But we're talking about the difference between two awesome movies, so what does it really matter? The point is, they're both fantastic.   Next time, we'll conclude our look at this trilogy by watching The Dark Knight Rises, which I've also only seen once.   And then after that, we launch into our new series on Star Trek Continues.   Have a great two weeks Live long and prosper   Make it so  

Brandon Sanderson is an American author of epic fantasy and science fiction, and also a Professor at BYU. He is a 15-time New York Times bestselling author and is best known for the Cosmere fictional universe, in which most of his fantasy novels, most notably the Mistborn series and The Stormlight Archive, are set. Outside of the Cosmere, he has written several young adult and juvenile series including The Reckoners, the Skyward series, and the Alcatraz series. He is also known for finishing Robert Jordan's high fantasy series The Wheel of Time and has created several graphic novel fantasy series including the White Sand and Dark One. He created Sanderson's Laws of Magic and popularized the idea of "hard magic" and "soft magic" systems. In 2008, Sanderson started a podcast with author Dan Wells and cartoonist Howard Tayler called Writing Excuses, involving topics about creating genre writing and webcomics. In 2016, the American media company DMG Entertainment licensed the movie rights to Sanderson's entire Cosmere universe. Sanderson's March 2022 Kickstarter campaign became the most successful in history, finishing with 185,341 backers pledging over $40 million dollars. He is strong in his faith and served a mission to Seoul, Korea for the Church of Jesus Christ of Latter-day Saints.

Your Hosts: Dan Wells, Mary Robinette Kowal, Peng Shepherd, and Howard Tayler One common structure—both macro and micro—is the "story within a story," or "framing story" structure, and yet somehow we've never really explored it on Writing Excuses. Guest host Peng Shepherd is here to help us set things right. Liner Notes: Here are some examples of story-within-a-story structure... Canterbury Tales, by Geoffrey Chaucer Cloud Atlas, by David Mitchell Hyperion Cantos, by Dan Simmons Neverending Story, by Michael Ende One Thousand and One Nights Sun the Moon and the Stars, by Stephen Brust Ten Thousand Doors of January, by Alix E. Harrow Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson

You may know him as the author of the John Cleaver, Partials, or Mirador series (among many others), cohost of Writing Excuses, an iconic Game Master, or that other guy joking around with Brandon Sanderson on Intentionally Blank. In this episode, the SICS hosts are fortunate enough to get to sit down for a long chat with Auther, Dungeon Master, and all-around great guy Dan Wells. So join us! You'll be glad you did. ___ This episode's show notes can be found here: https://docs.google.com/document/d/10UI44kcFU492Qb8dJ2zTv3QNl2NSStJzlzOW9oGSD6A/edit?usp=sharing ___ You can support The Sandersonian Institute of Cosmere Studies by becoming a Patron at http://www.patreon.com/cosmerestudies SICS patrons make the show possible and gain access to additional content and early access to bonus episodes. ___ Want some SICS merch? Check out our merch store at https://store.streamelements.com/cosmerestudies  ___ You can email us your questions about the Cosmere at cosmerestudies@gmail.com. We will occasionally select emails to respond to during the show, so we'd love to hear any theories you have, no matter how far-fetched, or anything else you may have to say about Brandon Sanderson's work. ___ Follow us at www.twitch.tv/innkeeperstable for our live shows, which stream on Mondays, every two weeks, at 8:30pm Mountain Time. VODs will be posted on the Cosmere Studies YouTube account here at https://www.youtube.com/cosmerestudies. ___ We'd like to thank the following artists for granting us permission to use their artwork in our opening video. Be sure to check out their websites! Stephan Martiniere - Elantris - http://www.martiniere.com/ Sam Weber - The Mistborn Trilogy - http://www.sampaints.com/ Chris McGrath - Alloy of Law - http://www.christianmcgrath.com/ Dan dos Santos - Warbreaker - http://www.dandossantos.com/ Michael Whelan - Words of Radiance and Oathbringer - http://www.michaelwhelan.com/ David Palumbo - Arcanum Unbounded - http://www.dvpalumbo.com/ ___ The Sandersonian Institute of Cosmere Studies is a biweekly podcast for fans of Brandon Sanderson's Cosmere novels. Bill, Amy, and Jordan discuss Brandon's work and dive a bit too deep into theories and speculation. So put on your aluminum foil hats and join us for the ride as we discuss Brandon's work and your emails, and remember—there's ALWAYS another secret! ___ Write to us! The Sandersonian Institute of Cosmere StudiesPO Box 970063Orem, UT 84097 ___ Find SICS online: Twitch: http://www.twitch.tv/innkeeperstable Youtube: https://www.youtube.com/cosmerestudies Patreon: http://www.patreon.com/cosmerestudies Twitter: http://www.twitter.com/cosmerestudies Facebook: http://www.facebook.com/cosmerestudies Instagram: http://www.instagram.com/cosmerestudies

NaNoWriMo might be over for another season, but that doesn't mean you have to stop writing! In this week's episode, hosts Kristina and Liz discuss how to make writing a habit, how to not burn yourself out, and accountability in general.We also talk a bit about what's next for the podcast, so stay tuned for more!Follow us on Twitter: @howtowinnanoJoin our Discord server: https://discord.gg/u92vfhgAYmBecome a Patron: https://www.patreon.com/howtowinnano

“What is happening to you Gardo Yic Hama?” you ask in your steady voice. The old svirfneblin looks up at you and a single tear slides down his face. “I'm dying.” He pauses to cough a little. You hold a handkerchief to his mouth and dab a little blood that had escaped. “Soon I will be gone.” You look at his chest where a blade had impaled the deep gnome. You look at the two Drow warriors who had ambushed you both. You were able to dispatch them but Gardo Yic Haima was mortally wounded. “But I have so much to learn from you Gardo Yic Haima.” The gnome smiles and says, “As I told you, call me father.” “Father Gardo Yic Haima, I do not know what to do without you.” The Svirfneblin points up and says, “Follow your prime directive [cough cough]. Relieve suffering. Go to the surface. There you will find more people who need relief. Learn what you can and find out how to relieve as much suffering as possible. I am so proud of you. Though you are not flesh and blood… I still consider you my family. Good luck… Prophet….” And with that the eyes of the old gnomish face unfocus and a last breath escapes from his lips.  You sit there cradling the head of the gnome in silence. Moments pass and then you stand and look at your hands. They are purplish metal.  “I am to relieve suffering.” you say.  What would you like to do? Welcome back to the 21st episode of How to Be a Better DM. I'm your host Justin Lewis and I'm here to help you craft more memorable stories as you dungeon master a nice session of Dungeons & Dragons 5e. First thing I want to do is give a quick shoutout to Reid Cardwell who reached out to me on Instagram just to say hi! Reid, if you're listening, thanks for reaching out and I wish you luck on your next campaign. If you, like Reid want to reach out and say, “What's up?” then send me a message on instagram https://www.instagram.com/geronimolevis/ (@geronimolevis) . I look forward to hearing from you. Next, I want to remind that I am coming out with a Patreon pretty soon. We'll give you the opportunity to get shoutouts on the show, get access to bonus content and early access to these episodes, and even access to beta test homebrew content that I create! If you have any other ideas of stuff you want from the Patreon, send me your ideas on Instagram https://www.instagram.com/geronimolevis/ (@geronimolevis .)   Alright, that's enough announcements for one day right. Let's talk about making your stories better. Because that's what they are. Stories. D&D is just the continuation of one of the longest forms of entertainment in history, so luckily there are many resources  that help us craft better stories that aren't D&D related. If we could only use D&D stuff, I think the game would get pretty stale pretty fast. Instead, you can find inspiration from all sorts of place and so here are my top Non-D&D DM Resources Podcasts For the busy man or woman on the go, almost nothing is easier than consuming a podcast or audiobook through your earbuds or car stereo system. Even while washing the dishes you can listen to great podcasts about how to craft amazing stories. I even like to listen to a lot of my favorite tabletop play-through campaigns in podcast format because I'm not always in front of Youtube.  https://writingexcuses.com/ (Writing Excuses) Specifically I would encourage you to listen to a show called Writing Excuses. It features a handful of authors all talking about how to write better stories. If you want to be a great DM, then learn to write great stories. I like Writing Excuses in part because it features one of my favorite authors of all time, Brandon Sanderson. I also like Writing Excuses because it demystifies the writing process. We read stories like Mistborn or Harry Potter and feel the magic of the story and mistakenly believe that the story just happened. Not so. Instead it's the great result of a long process. The same...

First of all, YOU DID IT. Another NaNoWriMo has come and gone and whether you wrote 50,000 words or not, you've now got another draft to add to the pile of "now what" novels. These tend to stack up if you've being writing for awhile, and that's okay!In this episode, hosts Kristina and Liz discuss some options for how to next the next step on your writing project.Follow us on Twitter: @howtowinnanoJoin our Discord server: https://discord.gg/u92vfhgAYmBecome a Patron: https://www.patreon.com/howtowinnano

There are a whole bunch of reasons why a person might write more than 50,000 words for NaNoWriMo: maybe you're just a naturally fast writer, maybe you're trying to finish the book, or maybe you just need a bigger challenge! In this week's episode, hosts Kristina and Liz get into the nitty-gritty of being NaNo over-achievers.Follow us on Twitter: @howtowinnanoJoin our Discord server: https://discord.gg/u92vfhgAYmBecome a Patron: https://www.patreon.com/howtowinnano

Up until now, I've wanted the seasons of this podcast to be evergreen and act as a resource on how to write a particular element of a story. My desire to create short evergreen episodes focused on a single topic is the reason this podcast tends to be free of interviews. However, throughout season three, I will share short interviews with other writers discussing how they write stories, and in particular, I will try to interview as many writers who "pants" novels. But these interview episodes will be treated as bonus episodes and will not be the focus of the podcast season.In light of that, in this bonus episode, I chat with Michaelbrent Collings on how he writes his fiction novels. Before we dive into the interview, here is a brief introduction to Michaebrent Collings.About Michaelbrent CollingsWhile he is best known for horror (and is one of the most successful indie horror authors in the world), Michaelbrent Collings has also written internationally-bestselling thriller, fantasy, science fiction, mystery, humour, young adult, and middle grade works, and romance. In addition to being a bestselling novelist, Michaelbrent has also received critical acclaim: he is the only person who has ever been a finalist for a Bram Stoker Award, a Dragon Award, and a RONE Award, and he and his work have been reviewed and/or featured on everything from Publishers Weekly to Scream Magazine to NPR. An engaging and entertaining speaker, he is also a frequent guest at comic cons and on writing podcasts like Six Figure Authors, The Creative Penn, Writing Excuses, and others.What to Expect From this EpisodeIn this episode, I chat with Michaelbrent about the following topics:Where Michaelbrent gets ideas for his books.How to know whether a horror novel is scar enough for the reader.Characters in horror movies that are too stupid to live.Transitioning from having that initial idea to getting to a place where you feel ready to write the first draft.How much detail Michaelbrent includes when he outlines his novels.The trick of becoming a professional author.Tips on how to tackle writer's block when you're writing the first draft.The trap most authors fall into when writing and measuring success.Dealing with negative reviews.Stores weighing low rating reviews over higher ratings.Writing is quite emotionally taxing.The value of a supportive partner or friends.Thanks for listening, and happy reading and writing, everybody.Podcasts, Books, and Tools MentionedCheck Out the Show NotesThe Previous EpisodeGenre Tropes Cheat SheetMichaelbrent Collings WebsiteMichaelbrent Collings Books on AmazonThe Authorpreneur Podcast Community on FacebookSupport the show by buying me a coffeeWant the podcast straight to your inbox?My ServicesTry The Formatting Wizard Book Formatting Services for FREE **The Formatting Templates offered by my services.Le Villain Book Covers (Affordable Premade Book Covers) **My Books Get My Short Story, the Lawn for FREEMy Novella, MissingThe Candidate (Pre-order)The Candidate (ARC on BookSprout)Become a Beta Reader and Start Reading DuplicityEntitled to Murder on my blogEntitled to Murder on WattpadConnect with Me on Social MediaTwitter: @WriterADHayFacebook: www.facebook.com/authorpreneurpodcastFB group: The Authorpreneur Podcast CommunityInstagram: @authorpreneurpodcastYouTube: www.youtube.com/c/authorpreneurpodcast/videosGoodreads: www.goodreads.com/authoradhay* This is an affiliate link where I receive a very small commission if you purchase this product.** This is a service offered by me

Something you might find yourself asking is, "how important is theme when writing my story?" Should  theme come before you start writing, or is it something I can figure out along the way?Like most things with writing, there's no wrong way! In this episode, Kristina and Liz discuss different approaches to story theme and why it's sometimes something you might be already doing without even realizing it!Follow us on Twitter: @howtowinnanoJoin our Discord server: https://discord.gg/u92vfhgAYmBecome a Patron: https://www.patreon.com/howtowinnano

Have you outlined your book, but then once you start writing everything falls apart? How do you push through when feeling disorganized? What if the urge is strong to go back and edit?In this week's episode, hosts Kristina and Liz discuss a number of tips to help you through this frustrating experience.Follow us on Twitter: @howtowinnanoJoin our Discord server: https://discord.gg/u92vfhgAYmBecome a Patron: https://www.patreon.com/howtowinnano

Book covers definitely aren't the MOST important thing to be thinking about during NaNoWriMo, but since the NaNo site gives you a nice spot to upload one, it's something that's likely on your mind! In this week's episode, hosts Kristina and Liz share  some great tips on making your own!Follow us on Twitter: @howtowinnanoJoin our Discord server: https://discord.gg/u92vfhgAYmBecome a Patron: https://www.patreon.com/howtowinnano

Why this is going to be the best year of NaNoWriMo ever and how you're going to absolutely crush it. Or something like that. In this week's episode, hosts Kristina and Liz do their very best to get you pumped.Follow us on Twitter: @howtowinnanoJoin our Discord server: https://discord.gg/u92vfhgAYmBecome a Patron: https://www.patreon.com/howtowinnano

Have you ever thought about using tarot cards to help inspire your novel? Or just want to find out what's in store for your writing future? On this special Halloween episode, hosts Kristina and Liz do just that.Follow us on Twitter: @howtowinnanoJoin our Discord server: https://discord.gg/u92vfhgAYmBecome a Patron: https://www.patreon.com/howtowinnano

It's almost November, and maybe you're worried that your tank is ALREADY empty! Whether that be creatively, physically, of just straight burnout, the idea of finding any sort of creative reserves to draw from might be daunting.In this week's episode, hosts Kristina and Liz discuss a number of options for how to fill that tank and get the words written.Follow us on Twitter: @howtowinnanoJoin our Discord server: https://discord.gg/u92vfhgAYmBecome a Patron: https://www.patreon.com/howtowinnano

Are you writing a fantasy novel? Do you need to name way too many characters? Not sure where to start?In this week's episode, hosts Kristina and Liz give a few tips on how to tackle this very specific writing problem.Follow us on Twitter: @howtowinnanoJoin our Discord server: https://discord.gg/u92vfhgAYmBecome a Patron: https://www.patreon.com/howtowinnano

Picking which project to work on is the first challenging step in NaNoWrimo...especially for veteran wrimos! Do you always start a brand new project? Do you pick up something you've worked on before? In this episode, hosts Kristina and Liz weigh the pros and cons of each idea.Thank you to @froznmangos for inspiring this topic.Follow us on Twitter: @howtowinnanoJoin our Discord server: https://discord.gg/u92vfhgAYmBecome a Patron: https://www.patreon.com/howtowinnano

GuestGeorgie Codd has worked behind the scenes at a funeral parlour, taught English in a Himalayan nunnery, edited publications for the Tibetan Government in Exile, and shadowed drug dealers in Florida City. Winner of the Seth Donaldson Bursary, with an MA in Prose Writing from the University of East Anglia, Georgie's first book is We Swim to the Shark. Described by the Times Literary Supplement as an almost spiritual mission, We Swim to the Shark blends memoir, reportage, nature writing and insights into mental health. You can find Georgie at https://www.georgiecodd.co.uk/ and of course, hosting Nonfic Pod! In this episode we talk about BBC Storyville Documentary Collective, the book The Festival Organiser's Bible and of course, We Swim To The SharkWe also talk - a lot - about wildwordsfest.comFind the transcript here.Books, Articles, Pods, and Organisations Mentioned:Rebecca Foster, ‘Phobias', Times Literary Supplement review of We Swim to the SharkDouglas Adams, The Hitchhiker's Guide to the GalaxyThe Society of AuthorsSpread the WordNational Centre of WritingWriting Excuses podcastCollective, documentary directed by Alexander NanauThe Grenfell Tower Inquiry https://www.grenfelltowerinquiry.org.uk/Sherborne Literary Festival https://www.sherborneliterarysociety.com/eventsJudith Spelman, The Festival Organiser's Bible: How to plan, organise and run a successful festival Wild Worlds Festival, wildworldsfest.comZimFest https://www.zimfestlive.comFind Us Online- Patreon: https://www.patreon.com/nonficpod- Twitter: https://www.twitter.com/nonficpod- Ko-Fi: https://ko-fi.com/nonficpodCredits- Hosts: Emma Byrne and Georgie Codd- Producers: Emma Byrne, Beatrice Bazell- Guest: Georgie Codd- Composer: Mike Wyer Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Welcome back Lore Lovers! Today Laura and Lorin discuss their approaches to writing, things that work for them, and tips and tricks they've picked up along the way. This episode is mainly meant for those considering starting out with writing, or are early in their writing journey. Writing is a craft that takes many, many years to develop, and can at times be daunting. There are tons of resources available to learn, and Lorin advises to put aside time whenever possible to devote to learning. YouTube has tons of free channels, Brandon Sanderson has all of his BYU lectures there. Additionally his podcast Writing Excuses comes highly recommended. Facebook writers groups can be a great place for support when you need it. Laura recommends the Save the Cat book for screenwriting by Blake Snyder, and Lorin recommends the Fabula deck of cards, which is built around the Hero's Journey approach to plotting a story. Reading Now: Lorin is currently just finishing Kingdom of Flesh and Fire by Jennifer L. Armentrout, and is just about to start The Fate of the Sprectrums, a new SciFi novel by Nicholas Lawrence Carter on Oct 26th, available on Amazon and Kindle Unlimited. Laura is re-reading A Court of Wings and Ruin by Sarah J. Maas (because when is it not a good time to re-read that series??) and is just about to start The Invisible Life of Addie LaRue by. V.E. Schwartz. Join us weekly for bookish, animation, or other nerdy entertainment talks and author shout-outs. Follow us on IG: @lauralhoman and @lorinpetrazilka. Podcast and newsletter sign ups are available at www.lorinpetrazilka.com Remember to rate, like and subscribe so we can keep bringing you luscious episodes to your wanting earholes! Now go spread your love of lore and read a book, perhaps write a book, or put one in your earholes and listen to an audiobook!

Your Hosts: Brandon, Mary, Dan, and Howard, with special space-guest Kjell Lindgren Kjell Lindgren, flight surgeon, Expedition 44/45, joined us for an episode that perhaps should have been called "we ask the space-man all of the things." We asked him stuff that we wanted to know more about, and came away richer for the experience. If there's just one technical term worth bringing home from this episode, it's "expeditionary behavior." It's the sort of thing that can make us all richer for the experience. Credits: This episode was recorded by Benjamin Hewett at the Johnson Space Center in Houston, and mastered by Alex Jackson at Writing Excuses Mission Control in Chicago. BONUS: NASA invited us back to be on THEIR show, Houston We Have a Podcast, and that episode went live about three days before this did. More Kjell Lindgren!

Mary Robinette Kowal is a writer, professional puppeteer and an incredible narrator. She is also cast member of the award-winning podcast Writing Excuses and a three-time Hugo Award winner. Mary Robinette is with us today to discuss the Lady Astronaut novels, an amazing science fiction series that takes us on an alternate timeline after a... The post 56. Lady Astronaut Sci-Fi Series Writer – Mary Robinette Kowal appeared first on 15 Minutes With Chuck - podcast.

Your Hosts: Brandon, Mary, Amal, and Maurice This week we welcome Amal El-Mohtar and Maurice Broaddus to the Writing Excuses cast for a discussion of active characters. We cover characters who move stories forward, who make decisions that influence plot-critical events, and whose actions draw the reader into the book. Liner Notes: you'll be hearing from Amal and Maurice during the second week of each month of 2018. And if Maurice sounds familiar, he joined us at GenCon for episode 7.40 back in 2012. Credits: This episode was recorded by Andrew Twiss, and mastered by Alex Jackson, and despite the fact that both  Andrew and Alex are very active characters we never give them any dialog.  

It's the end of 2017, so let's talk about the things that we've tried to make work, and failed at. Not things that we tried before arriving at career-level measures of success—things that we've folded, spindled, and/or mutilated since then. There were a lot of them! This episode runs close to thirty minutes long...  

Elizabeth Bear  and Scott Lynch joined Howard and Dan at GenCon Indy to talk about fantasy food, and how we engage our readers' appetites with our fiction. We talk economics, logistics, sensory engagement, and we goof off quite a bit in the process. We might have been hungry at the time. There is good fun to be had here, and plenty of (pun intended) food for thought. Credits: This episode was mastered by Alex Jackson, and was made possible by the generous support of the GenCon Indy Writer's Symposium, and the Writing Excuses patrons at Patreon.

Three days late for the beginning of NaNoWriMo 2016, here's a bonus episode about maps. Because nothing says "keep writing" like "hey, let's draw a map now!" Dan and Howard were joined by Maurice Broaddus, Mur Lafferty, and James L. Sutter, who wanted to talk about maps. As Napoleon Bonaparte is rumored to have said prior to invading Russia, "geography is destiny." We talk port dwarves, rolling glaciers, star systems, and more. Liner links: Logarithmic star map Tolkien's map of Middle Earth Center-Pivot Irrigation (75 years old, not 50 as Howard said) Credits: This episode was mastered by Alex Jackson, and was made possible by the generous support of the GenCon Indy Writer's Symposium, and the Writing Excuses patrons at Patreon.

Robin Hobb joined us at GenCon Indy for a discussion of characterization and differentiation. And by "discussion," what we really mean is "we ask Robin all the questions." We learn about Robin's process for creating characters, wrapping stories around them, and making these characters distinctly different from each other. Credits: This episode was recorded by Joel Burnham, and mastered by Alex Jackson, and was made possible by the generous support of the GenCon Indy Writer's Symposium, and the Writing Excuses patrons at Patreon.

Humor is present as an element, at least to some degree, in a substantial amount of the media we consume. In this episode we discuss some stylistic tools for applying humor  to our work, and how these tools can best be employed. WX Trivia: Episode 11.34 represents a pair of firsts for us here at Writing Excuses. It's the first time we've had to resort to having Howard record a fresh intro to replace some missing minutes It's the first time we've had a graphic novel as the Book of the Week. Credits: this episode was recorded by Jeff Cools and an audio-eating gremlin, then mastered by Alex Jackson and a crossfade brownie.

The word "genre" has a lot of weight to it. Arguments about whether a particular work is, or is not, part of a given genre are long, and tedious. Season Eleven will not be engaging in those arguments. We're giving all that a wide miss by adding an adjective, and defining a new term: Elemental Genre. During 2016 we are going to explore what we write, why we write, and how we write in much the same way as previous seasons have, but our guidepost this year will be this concept of Elemental Genres. In January we'll stay high-level and firm up the framework. Starting in February we'll drill down on each of the Elemental Genres, and explore the writing process. Here's what the year will look like, month-by-month: January: Introduction February: Wonder March: Idea April: Adventure May: Horror June: Mystery July: Thriller August: Humor September: Relationship October: Drama November: Issue December: Ensemble We're really excited about this year's format, and we're confident that by examining our writing in this way we'll learn (and perhaps even teach!) some new things. Note: 2016 is a leap year, but this episode was recorded in 2015. When we said "it's not a leap year" we were confused. 

Ellen Kushner joins us for the last episode of Season 10. Per the title, folks, it's time to be done. What does "done" mean? How do you go about declaring a project "finished" when you know there are still things wrong with it? How do you clear your head, your work space, and your life for the next thing you need to do? Out of Excuses: Per Brandon's plug in the episode, registration is open for the 2016 Out of Excuses WritingWorkshop and Retreat!

Daniel José Older joins us for a Q&A on showing your work around. Here are the questions, which were submitted by attendees at the Out of Excuses workshop: What's the best way to meet editors and agents at conventions? How do you write a good query letter? What do you mention as credentials in your query letter? You didn't cover self publishing at all this month. Self publishing is legit, right? Can you submit the same work to more than one agent or editor at a time? Can you re-submit a revised work to an agent who previously rejected the piece?

Marco Palmieri and Michael Underwood took the stage with Howard and Dan at GenCon Indy 2015 to discuss hand-selling manuscripts. Marco Palmieri is a senior editor at Tor, and Michael Underwood is an author, and is also the North American Sales and Marketing manager for Angry Robot Books. We begin with a list of the things to avoid doing, including the classic mistakes like chasing editors into restrooms, but we quickly move on to where you get started, and what your task list is going to look like. We cover resources like Literary Marketplace, Locus, and Publishers Lunch, and the not-so-secret-anymore #MSWL hash-tag.

We're at the end of our Season Ten Master Class, and if you've been diligent about the homework, you may very well have a finished manuscript in your hands. What do you do with it? Daniel José Older joins us for a bit of reminiscence. We talk about some of our first submissions, and what we did right, wrong, and weirdly. We cover our criteria for selecting publishers to whom we'd like to send our stuff, and we include the shiny intangibles in that list.   This episode was engineered aboard The Independence of the Seas by Bert Grimm, and mastered in an abandoned missile silo by Alex Jackson.

Spoiler Alert! We'll be discussing the latest John Cleaver book from Dan Wells with author, podcaster, and unrepentant bacon-lover Dan Wells! If you haven't read it, and you want to be surprised by it, stop listening and grab a copy now!

And now for your questions about revision. Or rather, questions from the WXR attendees, who were aboard the Independence of the Seas with us (the answers to these questions are secreted away in the audio file...): During revision, when do you think it's acceptable to throw the whole thing out? How do you fit the whole structure in your head? What do you find you most often need to add? What do you do when your revisions have made things worse? How do you avoid over-writing during the revision process? When revising, how many passes do you make, and what order are they in? Do you take the sounds of words into account when writing and revising? This episode was engineered aboard The Independence of the Seas by Bert Grimm, and mastered in a concrete bunker somewhere in the midwest by Alex Jackson.

The microphones again find us aboard the Independence of the Seas*, to talk about how terribly ugly this manuscript is, and what we can do to make it pretty. In this episode we drill down on line-by-line, paragraph-by-paragraph revisions. This stage of the revision process is where our prose gets wordsmithed. This episode runs long, touching on: Punching up the pacing Turning things upside down Parallelisms Adverbial compression, The pyramid of abstraction Free and direct thought Replacing negative-information descriptions extreme editing exercises like "one sentence per concept." Obviously if you want more than just the bullet points you'll need to have a listen... *NOTE: Registration is now open for the 2016 Out of Excuses Workshop and Retreat! This episode was engineered aboard The Independence of the Seas by Bert Grimm, and mastered ashore in a volcanic caldera by Alex Jackson.

Dan and Howard are joined by Kameron Hurley, James L. Sutter, and Michael Underwood for an anything-goes Q&A at the GenCon Indy Writing Symposium. We had reached the end of our two-hour block, but the audience hungered for the chance to ask their questions of these guests, so the Symposium gave us an extra half hour in the room. The audience had already been in this room for 120 minutes, but they wanted more more more, so we ran a bit long. Can you advise us about Writing the Other especially regarding avoiding cultural appropriation? (yes, this question deserves an entire symposium all by itself. We answered as best we could.) If you were trying to break in right now, what would you do, and how would you do it? How do you best handle slithering out of making a commitment to help someone with their writing, and how do you deliver bad news to those writers if you end up committing to help anyway. How soon do you telegraph a plot twist? How do you, as a non-writer, be a good resource to the writers in your life? Do you know your title at the beginning of the writing process, or does it come to you later? How do you know when you need another revision pass, vs. when you need to simply rewrite the whole thing again? *NOTE: Back in July we attempted to record an episode on cultural appropriation with several guests hailing from marginalized and commonly misappropriated cultures, races, and backgrounds. The discussion was wonderful, but the recording itself was unusable due to an equipment failure. We wanted to share it with you, but even our brilliant mastering engineer Alex couldn't make it listenable. We promise to address this topic in the future, and we've purchased all new recording gear to ensure that we capture the discussion correctly. This episode was recorded and mastered by Alex Jackson

November is "Revision" month here in the Writing Excuses Season 10 Master Class, so while many of you may be tempted by NaNoWriMo, there's a different kind of work to be done... Delia Sherman joins us again, this time for a frank talk about the tools and techniques we use during our revisions.   This episode was engineered aboard The Independence of the Seas by Bert Grimm, and mastered in a cloud fortress above Lake Michigan by Alex Jackson.