Writing Roots

S23E7 – A Story Within a Story

“Story within a story” is a fun framing device for writing your novel in a unique way. The idea behind this structure is that the narrator is actually a character. We get to see what is happening in their life as well as what’s happening in the tale they’re telling.
This structure is anything but new. One of the oldest uses is in the 12th century tale One Thousand and One Nights. The main character, Scheherazade, begins to tell her husband, the king, a new tale every night. She stops before finishing the tale with the promise to continue the next night, which keeps him from beheading her in the morning. The story is of Scheherazade, while the stories within are tales such as Aladdin’s Wonderful Lamp.
We also see modern uses of this structure in shows like The Simpsons with their Treehouse of Horror episodes, The Princess Bride, and even in The Emperor’s New Groove.
This structure doesn’t always have to be a framework for the entire plot. Sometimes it’s a simple as a single scene, like Shakespeare’s famous use of a play within a play.
There are things to consider, though, before jumping into this structure. We discuss how to and how not to use a “story within a story” structure in this episode.
First aired August 23, 2021.
We’re still buying your books to celebrate our two-year anniversary and thank all of you listeners for your support! Hosts Leigh and Ley are buying self-published books from our listeners and followers. We’ll keep buying until our fund runs out. Find out more on our Facebook or Instagram. Don’t forget to sign up for our newsletter (found on our homepage) while you’re here.
The post S23E7 – A Story Within a Story appeared first on Writing Roots.

S23E6 – Structuring a Paradigm Shift

A paradigm shift structure is more than a simple plot twist. As the definition states, it’s a fundamental change to the underlying assumptions. One of the most famous uses of this structure is The Sixth Sense, a film by M. Night Shyamalan. In the movie, both the audience and the main character experience a paradigm shift that completely reframes the entire story.
Authors who want to use this structure must be prepared to plan how the story will unfold. In the beginning, the audience needs to make key assumptions about the story. In The Sixth Sense, that assumption was that Dr. Malcolm Crowe (Bruce Willis) is a child psychologist assigned to help a young boy who sees dead people. The paradigm shift comes when both Crowe and the audience discover that he’s been dead the entire time. Suddenly, the whole story is different. Events that took place earlier suddenly make more sense. And if you read or watch it a second time with the knowledge of that paradigm shift, it becomes a whole new experience.
The difficulty, though, comes in making sure that second read still makes sense. In this episode, we discuss using this paradigm shift structure to tell a unique story.
First aired August 19, 2021.
We’re still buying your books to celebrate our two-year anniversary and thank all of you listeners for your support! Hosts Leigh and Ley are buying self-published books from our listeners and followers. We’ll keep buying until our fund runs out. Find out more on our Facebook or Instagram. Don’t forget to sign up for our newsletter (found on our homepage) while you’re here.
The post S23E6 – Structuring a Paradigm Shift appeared first on Writing Roots.

S23E5 – Using Amnesia in a Story Plot

Amnesia has been used in storytelling for a very long time. Soap operas and telenovelas use lost memory frequently to ramp up the drama in their stories. You can use it to, and for more than just a subplot in your own story.
There are lots of ways to use amnesia. It can be a witness to a crime having to remember what exactly they saw, or a character who lost their memory once they passed through a portal to a new fantasy world. This device is not limited to any genre in particular, which is another reason any author can use it.
Another benefit is that readers usually forgive authors for unrealistic representations of amnesia. In fact, that’s almost guaranteed. Amnesia is rarely accurate in fiction, though it helps to still understand the different kinds in order to tell a good story.
In this episode, we discuss amnesia in fiction and how you can use it for your own plot.
First aired August 16, 2021.
We’re still buying your books to celebrate our two-year anniversary and thank all of you listeners for your support! Hosts Leigh and Ley are buying self-published books from our listeners and followers. We’ll keep buying until our fund runs out. Find out more on our Facebook or Instagram. Don’t forget to sign up for our newsletter (found on our homepage) while you’re here.
The post S23E5 – Using Amnesia in a Story Plot appeared first on Writing Roots.

S23E4 – Structure with Recursion

One way to play with structure and step outside the normal bounds of linear storytelling is to consider the recursion structure. You may know this best from the film Groundhog Day. Recursion is when at least one character relives the same day (or other period of time) again and again.
This structure really lends itself to a story focused on the character development and story arc. Outside conflicts are usually secondary to the need of the main character to change in some way. The recursion storytelling technique is incredibly flexible, which makes it perfect for nearly any genre.
It’s not, however, a simple and straightforward structure. There are a lot of things to consider and include, like making sure your readers are following easily when the timeline resets. Listen to this episode for suggestions and a full breakdown of what recursion can mean for your story.
First aired August 12, 2021.
We’re still buying your books to celebrate our two-year anniversary and thank all of you listeners for your support! Hosts Leigh and Ley are buying self-published books from our listeners and followers. We’ll keep buying until our fund runs out. Find out more on our Facebook or Instagram. Don’t forget to sign up for our newsletter (found on our homepage) while you’re here.
The post S23E4 – Structure with Recursion appeared first on Writing Roots.

S23E3 – Rashomon Stories

If you’re looking for a unique way to tell a story – especially a crime story – consider the Rashomon structure. Originally a Japanese film, Rashomon told the storyh using the subjective views of those involved in the events. The same scene was shown several times from all different perspectives.
Using the Rashomon structure means digging into the characters and how they view the world. People often see and notice what they know or what they want to see. Those with tactical training – military and police for example – will see threats and weapons. The bookworm that would rather be home than out on a Friday night would probably notice the dogs or cats at a party. Telling a Rashomon story will help you convey what matters to the character. Who they really are at the core.
It is not an easy structure, however. You need to plan out not just the event, but how each character perceives that event. It takes thought and deep knowledge of your character. No viewpoint should be completely accurate.
Listen to this episode to learn more about the Rashomon structure and how it can be used in your own story.
First aired August 9, 2021.
We’re still buying your books to celebrate our two-year anniversary and thank all of you listeners for your support! Hosts Leigh and Ley are buying self-published books from our listeners and followers. We’ll keep buying until our fund runs out. Find out more on our Facebook or Instagram. Don’t forget to sign up for our newsletter (found on our homepage) while you’re here.
The post S23E3 – Rashomon Stories appeared first on Writing Roots.

S23E2 – Parallel Structure

It’s about time. Stories about time. Throughout August, we’ll be talking about the use of time within story structure, as well as less common structures available.
Story structures are the framework used to build a fiction novel or even short stories. Common ones include the three-act, five-act, seven point, or the hero’s journey. Some stories, though, allow for more creativity in the way the story is presented. It’s not all linear, but could be a “big ball of wibbly-wobbly, timey-wimey stuff.” It’s difficult to pull off in a sensible way, but worth at least trying.
This episode is about the use of parallel structure in creating a style that has readers leaning toward the end of your story without knowing exactly how you’re going to get there.
Listen now to learn how to use multiple points of view and play with timelines – even across centuries – to tell your story in a fresh and interesting fashion.
First aired August 5, 2021.
It’s also our two-year anniversary! We’re celebrating by buying your books! Hosts Leigh and Ley are buying self-published books from our listeners and followers. We’ll keep buying until our fund runs out. Find out more on our Facebook or Instagram. Don’t forget to sign up for our newsletter (found on our homepage) while you’re here.
The post S23E2 – Parallel Structure appeared first on Writing Roots.

S23E1 – Stories About Time

It’s about time. Stories about time. Throughout August, we’ll be talking about the use of time within story structure, as well as less common structures available.
Story structures are the framework used to build a fiction novel or even short stories. Common ones include the three-act, five-act, seven point, or the hero’s journey. Some stories, though, allow for more creativity in the way the story is presented. It’s not all linear, but could be a “big ball of wibbly-wobbly, timey-wimey stuff.” It’s difficult to pull off in a sensible way, but worth at least trying.
This episode is about the use of time within stories. This could be through time travel, portals where time flows differently, or even having an immortal character.
Listen now to learn how to use time within the plot without simply confusing your listeners.
First aired August 2, 2021.
It’s also our two-year anniversary! We’re celebrating by buying your books! Hosts Leigh and Ley are buying self-published books from our listeners and followers. We’ll keep buying until our fund runs out. Find out more on our Facebook or Instagram. Don’t forget to sign up for our newsletter (found on our homepage) while you’re here.
The post S23E1 – Stories About Time appeared first on Writing Roots.

S22 Bonus – Favorite Moments

Every editing conversation should end with positives and those favorite moments your editor found while reading. An editor isn’t there just to tell you what you did wrong. They should also tell you what you did right, what you did well. This is part of constructive criticism. There will always be things that could be improved, but it is easy to get disheartened when all you see – and all anyone ever shows you – is what is bad.
This is also an important note for any editors out there. Make sure you’re looking and making note of those moments that are good. Especially for those moments that are great. Draw a smiley face. Circle it. Tell the author. Let them know when they are doing good things, so they can keep doing those good things. The last thing you want is to make an author feel like they need to change everything about the way they write because you neglected to point out what worked.
In this episode, Ley and Leigh conclude their editing discussion by doing just this. Leigh talks about her favorite moments and themes in The Modakku Anthologies, while Ley shows her favorites from K/D Ratio.
If you haven’t yet, check out for K/D Ratio by Leigh Hull and The Modakku Anthologies by Ley Esses on Amazon.
First aired July 30, 2021.
Stay tuned for August. We’ll be talking about different ways to play with time in your story structure. The first episode of Series 23 drops August 2.
The post S22 Bonus – Favorite Moments appeared first on Writing Roots.

S22E9 – Fog and Flame: Worldbuilding

Worldbuilding can apply to all types of writing, but it is essential for speculative fiction. Modern – and even historical – fiction is easy when it comes to worldbuilding. There is an expectation that the readers will know what you mean when you say a small town or big city. They have knowledge of our world already. When you’re showing a world that you created, there is some obligation to describe. To set the stage, so to speak, for your readers’ imaginations.
Ley requested an extra look at her worldbuilding and magic when she asked Leigh to edit. This episode continues our demonstration of the editing process by looking at how Ley’s worldbuilding in The Modakku Anthologies could be improved and where it worked.
First aired July 29, 2021.
The post S22E9 – Fog and Flame: Worldbuilding appeared first on Writing Roots.

S22E8 – K/D Ratio: Beats in Dialogue

Dialogue can be tricky for authors, especially if you’ve never heard of the idea of beats in dialogue. It can either feel stilted in an attempt to make it grammatically correct, or end up nonsensical with a lack of structure. What goes in the dialogue and what goes around it? What actually needs to be said out loud? These are all things writers work to improve over time. Unfortunately, they’re not the only things about dialogue that need attention.
There’s also a lot more to writing dialogue than just knowing the right words to put on the page. You need to find the beats in dialogue. Stage actors and others involved in the theater are familiar with the idea of beats. It’s the timing of the whole play. Pauses and actions need to be in just the right place to compliment the dialogue. Take the famous line “O Romeo, Romeo! Wherefore art thou Romeo?” from Shakespeare’s play. When said with the wrong beats as it often is in high school readings, it comes off as asking where Romeo is located. Skilled actors, though, convey the true meaning by maintaining the beats. “Why must you be Romeo?”
In this episode, Ley introduces this idea and how it applies to Leigh’s K/D Ratio. They discuss specific lines where the beats in dialogue, often demonstrated with a dialogue tag, is misplaced.
First aired July 26, 2021.
The post S22E8 – K/D Ratio: Beats in Dialogue appeared first on Writing Roots.