Your Hosts: Dan Wells, C.L. Polk, Charlotte Forfieh, and Mary Robinette Kowal Our eighth and final M.I.C.E. Quotient discussion will explore using M.I.C.E. as a diagnostic tool. So... your manuscript is done, but something isn't working. How do you figure out where the problem is? If the ending isn't satisfying, M.I.C.E. can tell you whether the ending itself is actually at fault, and in this episode we'll show you how. Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson

Writing Excuses

16.42: M.I.C.E. Quotient, After the Fact

Your Hosts: Dan Wells, C.L. Polk, Charlotte Forfieh, and Mary Robinette Kowal With the M.I.C.E. elements (Milieu, Inquiry, Character, and Event) explained, and the concept of nesting, or braiding the M.I.C.E. threads, we're ready to dive into that most difficult part of the story: the middle. Enough of us dread (or at least struggle with) middle-of-story writing that the promise of a structural tool to make it easier is kind of glorious. Our seventh  installment in M.I.C.E. Quotient discussions talks about how to use M.I.C.E. elements to inform try-fail cycles, ask/answer sequences, and conflicts in general. Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson

16.41: Middles and Conflicts with M.I.C.E. Structure

Your Hosts: Dan Wells, C.L. Polk, Charlotte Forfieh, and Mary Robinette Kowal Now that we've drilled down into each of the M.I.C.E. elements (Milieu, Inquiry, Character, and Event) it's time to explore nesting them. This sixth installment in our M.I.C.E. Quotient series focuses on the "FILO" (first-in, last-out) or "nested parentheses" method for symmetrically creating a story using M.I.C.E. elements. Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson

16.40: Nesting Threads in the M.I.C.E. Quotient

Your Hosts: Dan Wells, C.L. Polk, Charlotte Forfieh, and Mary Robinette Kowal Our fifth M.I.C.E. Quotient episode focuses on the “Event” element, and explores how to use disruption of the status quo as the driving element for story. From plumbing problems to alien invasions, event stories are often structured by telling how difficult it is to return to normal, whether you're getting the aliens off the planet, or the water back into the pipes. Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson

16.39: Deep Dive into Event

Your Hosts: Dan Wells, C.L. Polk, Charlotte Forfieh, and Mary Robinette Kowal Our fourth M.I.C.E. Quotient episode explores the “Character” element, and how these angsty, navel-gazing voyages of self-examination can serve either as complete stories or as elements in other stories. Also, we talk about how to do this in ways that don't result in readers complaining about "navel-gazing" or "angsty." Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson

16.38: Deep Dive into Character

Your Hosts: Dan Wells, C.L. Polk, Charlotte Forfieh, and Mary Robinette Kowal Our third M.I.C.E. Quotient episode asks about the "Inquiry" element, and the ways in which we can use this element to structure our stories—whether we're writing murder mysteries, thrillers, or anything else in which the turning of pages asks and eventually answers questions. Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson

16.37: Deep Dive Into “Inquiry”

Your Hosts: Dan Wells, C.L. Polk, Charlotte Forfieh, and Mary Robinette Kowal The M.I.C.E. Quotient is an organizational tool which categorizes story elements as Milieu, Inquiry, Character, or Event. In this second  episode we cover "Milieu," and how stories can be driven by a sense of place. Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson

16.36: Deep Dive into “Milieu”

Your Hosts: Dan Wells, C.L. Polk, Charlotte Forfieh, and Mary Robinette Kowal The next eight episodes are a deep dive into the M.I.C.E. Quotient, so we'll begin with a definition. M.I.C.E. is an organizational tool which categorizes story elements as Milieu, Inquiry, Character, or Event. It helps authors know which elements are in play, and how to work with these elements effectively. Obviously there's a lot more to M.I.C.E. than that, and in this episode we'll lay it out in a way that makes the subsequent seven M.I.C.E.-related episodes much easier to navigate. Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson

16.35: What is the M.I.C.E. Quotient?

Your Hosts: DongWon Song, Mary Robinette Kowal, Dan Wells, and Howard Tayler Novels deliver a lot of information, and it's helpful to consider that delivery in terms of layers. Novels are layer cakes, and we're not talking about a three-layer birthday cake. We're talking about a dobosh torte, or a mille crepe cake. And if we've made you hungry for stratified pastry, that's okay, because we made ourselves hungry, too. Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson

16.34: Novels Are Layer Cakes

Your Hosts: DongWon Song, Mary Robinette Kowal, Dan Wells, and Howard Tayler Few pieces of writing advice get repeated as much as that old saw "show, don't tell." We're here to show tell you that it's not only not universally applicable, much of the time it's wrong¹. Tell, don't show, especially in the early pages of the book when so very, very much information needs to be delivered² quickly. Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson ¹ Fun fact: this advice comes to us from silent film, when it made great artistic sense to put things on screen rather than on title cards. ² If you need new terminology, Dan uses "demonstration vs. description." 

16.33: Tell, Don’t Show

Your Hosts: DongWon Song, Mary Robinette Kowal, Dan Wells, and Howard Tayler In this episode we explore the first page of The Killing Floor, by Lee Childs, with the goal of learning how to build  good first pages for own own work. Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson Liner Notes: here is the 1st paragraph of The Killing Floor, for reference. I was arrested in Eno's diner. At twelve o'clock. I was eating eggs and drinking coffee. A late breakfast, not lunch. I was wet and tired after a long walk in heavy rain. All the way from the highway to the edge of town. The diner was small, but bright and clean. Brand-new, built to resemble a converted railroad car. Narrow, with a long lunch counter on one side and a kitchen bumped out back. Booths lining the opposite wall. A doorway where the center booth would be. I was in a booth, at a window, reading somebody’s abandoned newspaper about the campaign for a president I didn’t vote for last time and wasn’t going to vote for this time. Outside, the rain had stopped but the glass was still pebbled with bright drops. I saw the police cruisers pull into the gravel lot. They were moving fast and crunched to a stop. Light bars flashing and popping. Red and blue light in the raindrops on my window. Doors burst open, policemen jumped out. Two from each car, weapons ready. Two revolvers, two shotguns. This was heavy stuff. One revolver and one shotgun ran to the back. One of each rushed the door.

16.32: First Page Fundamentals—THE KILLING FLOOR, by Lee Childs

Your Hosts: Dongwon Song, Mary Robinette Kowal, Dan Wells, and Howard Tayler In this episode we explore the first page of Moby Dick, by Herman Melville, with the goal of learning how to build  good first pages for own own work. Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson Liner Notes: here is the 1st paragraph of Moby Dick, for reference. Call me Ishmael. Some years ago—never mind how long precisely—having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off—then, I account it high time tozz get to sea as soon as I can. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me.    

16.31: First Page Fundamentals—MOBY DICK

Your Hosts: Dongwon Song, Mary Robinette Kowal, Dan Wells, and Howard Tayler In this episode we explore the first page of The Haunting of Hill House, by Shirley Jackson, with the goal of learning how to build  good first pages for own own work. Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson Liner Notes: here is the 1st paragraph of The Haunting of Hill House, for reference. No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. Hill House, not sane, stood by itself against the hills, holding darkness within; it had stood so for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.

16.30: First Page Fundamentals—THE HAUNTING OF HILL HOUSE

Your Hosts: Dongwon Song, Mary Robinette Kowal, Dan Wells, and Howard Tayler How do we build trust with our readers? What does that even mean? In this episode we discuss ways in which we let our readers know what they can expect from the book they're holding, and how we set about getting the to trust us do deliver on those expectations. Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson

16.29: Building Trust

Your Hosts: Dongwon Song, Mary Robinette Kowal, Dan Wells, and Howard Tayler Let's have a frank, and possibly painful discussion about the ways in which the first page can go wrong. It may seem like hackneyed writing advice, but rules like "don't start with the main character waking up" are rules for a reason.  In this episode we'll talk about those reasons, and why it's so unlikely for books which break them to succeed with readers. Credits: This episode was recorded by Marshall Carr, Jr., and mastered by Alex Jackson

16.28: Common First-Page Mistakes

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

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Writing Excuses

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