Writing Roots

S7E3 – Chekhov’s Gun

Across all forms of story, you can find similarities and themes. Plots have recognizable structures, main characters almost always fight for good in some way, and there is usually a change in status quo. Sometimes, though, those themes transform into tropes, whether good or bad. Tropes are devices or elements used in story-telling that become recognizable through their consistent use. Like any other literary device, tropes are tools. They are not inherently bad, nor inherently good. We are taking this month to talk about some of the more common tropes, what they are, how they can be used correctly, and why you should be aware they exist.
Writing should be done with purpose. The characters, events, and even object must have some reason to be there, to be mentioned. One common trope is Chekhov’s Gun, where an item is mentioned with seeming importance, but does not actually matter to the plot. As Chekhov said, if you mention the gun on the mantle, it should at some point be fired. This episode focuses on why even items should be written in with intention.
First aired February 10, 2020.
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S7E2 – Chekhov’s Red Herring and the Shaggy Dog

Across all forms of story, you can find similarities and themes. Plots have recognizable structures, main characters almost always fight for good in some way, and there is usually a change in status quo. Sometimes, though, those themes transform into tropes, whether good or bad. Tropes are devices or elements used in story-telling that become recognizable through their consistent use. Like any other literary device, tropes are tools. They are not inherently bad, nor inherently good. We are taking this month to talk about some of the more common tropes, what they are, how they can be used correctly, and why you should be aware they exist.
A Red Herring can be a wonderful tool, especially in mystery and suspense, to help you engage the reader. It opens opportunities for plot twists and unexpected endings. But it can also lead to the Shaggy Dog trope. That’s where a story leads the reader down a pointless road that ends in a lack of satisfaction. This episode is all about finding the balance to having the perfect Red Herring.
First aired February 6, 2020.
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S7E1 – The Mary Sue

Across all forms of story, you can find similarities and themes. Plots have recognizable structures, main characters almost always fight for good in some way, and there is usually a change in status quo. Sometimes, though, those themes transform into tropes, whether good or bad. Tropes are devices or elements used in story-telling that become recognizable through their consistent use. Like any other literary device, tropes are tools. They are not inherently bad, nor inherently good. We are taking this month to talk about some of the more common tropes, what they are, how they can be used correctly, and why you should be aware they exist.
It’s a trope you’ll see most often through the Young Adult and Romance genres: the Mary Sue. It’s the main character who is all-powerful, loved by all, and yet somehow described as plain or common. It’s a stand-in for the author, and in some cases (Twilight) an “everywoman” stand-in vague enough in all ways that the reader can be the main character. It’s one of the most dangerous tropes when it comes to having a story with depth.
First aired February 3, 2020.
If you’re wanting to learn more about tropes and the many different kinds out there, visit tvtropes.org.
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S6E9 – Writing Plot Twists

Authors can always be served by returning to the basics of writing. We spend so much time focusing on the grand scale of books – plot, themes, sequels – that the simple pieces of writing which make a story stand out can be lost. This month, Writing Roots is focusing on the nitty gritty, from writing dialogue and humor to developing character voice.
There’s nothing quite like reading a book, expecting you know what’s coming, only to have a twist that surprises you in a good way. Those stories pull you in further, make you want to keep reading, to never put the book down. Plot twists like that, though, are difficult to craft. We discuss some principles that will help as you add twists to your own writing.
First aired January 30, 2020.
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S6E8 – The Use of Three

Authors can always be served by returning to the basics of writing. We spend so much time focusing on the grand scale of books – plot, themes, sequels – that the simple pieces of writing which make a story stand out can be lost. This month, Writing Roots is focusing on the nitty gritty, from writing dialogue and humor to developing character voice.
Three is the magic number when it comes to establishing something in writing. Whether it’s to solidify a joke or create a theme, having it three times in your book can make the difference between a reader remembering it and a reader wondering why it was there in the first place.
First aired January 27, 2020.
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S6 Bonus Episode – What Makes a Good Villain

Authors can always be served by returning to the basics of writing. We spend so much time focusing on the grand scale of books – plot, themes, sequels – that the simple pieces of writing which make a story stand out can be lost. This month, Writing Roots is focusing on the nitty gritty, from writing dialogue and humor to developing character voice.
Writing a good – and by this we mean interesting and compelling – villain can be a challenge. Many new writers want the best and most talented character to be the protagonist. That usually ends with a boring story, since the protagonist never faces any real challenges. Writing a villain is more than just giving the good guy opposition. It’s about motivations, similarities, and so much more.
First aired January 25, 2020.
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S6E7 – Writing Humor

Authors can always be served by returning to the basics of writing. We spend so much time focusing on the grand scale of books – plot, themes, sequels – that the simple pieces of writing which make a story stand out can be lost. This month, Writing Roots is focusing on the nitty gritty, from writing dialogue and humor to developing character voice.
Writing humor, for many authors, is one of the most difficult things they could try. A joke may seem bland, or the writer may worry it will fall flat. They may also worry a character they perceive as being the comic relief may not be seen the same by the readers. Writing humor isn’t always easy, but there are things that can help ease those worries. In this episode we talk about how humor works and the best uses in a story.
First aired January 23, 2020.
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S6E6 – Writing Stories Which Aren’t Good vs. Evil

Authors can always be served by returning to the basics of writing. We spend so much time focusing on the grand scale of books – plot, themes, sequels – that the simple pieces of writing which make a story stand out can be lost. This month, Writing Roots is focusing on the nitty gritty, from writing dialogue and humor to developing character voice.
Not every story has to be a tale of good versus evil, or a moral tale reminiscent of Aesop’s Fables. There are a lot of different ideas that can make the basis for a story. In this episode we talk about and share examples of stories that aren’t always good versus evil, including chaos versus law and nature versus technology.
First aired January 20, 2020.
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S6E5 – Character Voice and Point of View

Authors can always be served by returning to the basics of writing. We spend so much time focusing on the grand scale of books – plot, themes, sequels – that the simple pieces of writing which make a story stand out can be lost. This month, Writing Roots is focusing on the nitty gritty, from writing dialogue and humor to developing character voice.
A character’s voice should be unique compared to the other characters in a story. Part of this comes from the author’s chosen point of view. Whether the book is written in first person or third person makes a large difference in the words and flow, not just in dialogue.
First aired January 16, 2020
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S6E4 – When to Kill a Character

Authors can always be served by returning to the basics of writing. We spend so much time focusing on the grand scale of books – plot, themes, sequels – that the simple pieces of writing which make a story stand out can be lost. This month, Writing Roots is focusing on the nitty gritty, from writing dialogue and humor to developing character voice.
Killing a character can be a difficult decision – or easy, if you’re that kind of author. If you need help, you need only look to simple principles in story structure. There are times in a story that make a death more meaningful to your readers and relevant to the plot. We discuss those principles in this episode, along with if and how to kill main characters.
First aired January 13, 2020
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