What do you do when "take a break" isn't the answer? We’ve all ahd that feeling, "I’m just too tired to concentrate." This can be because you're worn out from work, or due to chronic fatigue or pain. This week, our hosts talk about working with the brain and body you actually have instead of expecting every writing day to look the same. We explore queuing up tasks for our tired future selves, falling back on craft, using placeholders, and shifting from productivity goals to satisfaction goals. Plus, how to recognize diminishing returns and build systems that help us stop before pushing ourselves into burnout.

Liner Notes:

Writing Bingo Card Generator

Homework:

Write down five things: three writing tasks you can do when you’re really tired, and two signs that tell you you’re approaching burnout—including the lies you tell yourself that keep you pushing when you need to stop. Keep the list close at hand and see if it helps when you can’t even.

Credits: Your hosts for this episode were Mary Robinette Kowal, DongWon Song, Erin Roberts, and Howard Tayler. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

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What if a character arc had a structure you could actually map? This week, our hosts break down the DREAM arc: denial, resistance, exploration, acceptance, and manifestation. We look at how characters move through these stages—and why stopping at acceptance can make an arc feel incomplete. From Casablanca and Avatar: The Last Airbender to Parasite and Kylo Ren, we explore how the structure can create heroes, villains, and characters who change in messier ways.

Homework:

Take the DREAM arc out to play with your current WIP: denial, resistance, exploration, acceptance, and manifestation. For each stage, write down one action your character can take to reinforce who they believe they are at that point in the arc.

Credits: Your hosts for this episode were Mary Robinette Kowal, DongWon Song, Erin Roberts, and Howard Tayler. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

Your life is probably weirder—and more useful to your writing—than you think. This week, our hosts explore how to turn lived experience into fiction, from borrowing sensory details and emotional reactions to reshaping real people and events. We dive into the feelings wheel, specificity, and the layers of belief, feeling, thought, and action that can make characters feel human. Plus, how journaling can become a surprisingly useful bank of material for your future self.

Homework:

Journal about a significant emotional moment in your life. Write down the physical sensations, specific feelings, thoughts, conclusions, and choices you made. Then rewrite it as a third-person scene, giving your protagonist different biographical details while keeping the emotional experience.

Credits: Your hosts for this episode were Mary Robinette Kowal, DongWon Song, Erin Roberts, and Howard Tayler. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

Today, we’re celebrating Erin’s birthday by talking about a topic of her choice. Which means we’re flipping “tools, not rules” its head. Our hosts revisit the Turkey City Lexicon, a snarky collection of writing “rules” that circulated widely among speculative fiction writers in 1988, and ask what still holds up—and what happens when useful terminology turns into rigid prescription. From “show, don’t tell” to white room syndrome and TV Tropes, we look at our recurring desire for an easy answer to what makes writing work. Then everyone picks a writing hill they’re willing to die on.

Homework:

Make a time capsule of who you are as a writer right now. Write down one piece of writing advice that’s working for you, one you disagree with, and one writing hill you’ll die on. Pick a meaningful future date to revisit them and see what’s changed.

Liner Notes:

Turkey City Lexicon

“Crystallization” was correctly attributed to David Gerrold by Mary Robinette

Credits: Your hosts for this episode were Mary Robinette Kowal, DongWon Song, Erin Roberts, and Howard Tayler. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

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How do you keep writing when the world is on fire? This week, our hosts talk about protecting our narrative energy when the news, social media, or our own lives feel overwhelming. We explore boundaries, boredom, intentional information consumption, and why sometimes the most useful thing a writer can do is log off. We also look at how writing can become a place to process what’s happening around us—giving our characters our emotions, interrogating difficult systems through worldbuilding, and making space to imagine something different.

Homework:

Log off. Put yourself on a strict social media diet (of your choosing) for the week and make the boundaries concrete. When you feel the urge to reach for your phone, sit with the discomfort for at least ten minutes. Let your boredom develop within you, and see what thoughts emerge.

Credits: Your hosts for this episode were Mary Robinette Kowal, DongWon Song, Erin Roberts, and Howard Tayler. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

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A great twist shouldn’t just surprise us—it should make us rethink everything that came before. This week, our hosts explore reader expectations, misdirection, and hiding clues in plain sight. We look at twists from The Sixth Sense, The Matrix, Ocean’s Eleven, and O. Henry, and ask why some twists make a story even better on a reread.

Homework:

If your work in progress has a twist, write out all the logical steps that lead to the reveal. Then start removing details until the twist stops making sense. Play with what’s truly load-bearing and what you can hide or leave out.

Credits: Your hosts for this episode were Mary Robinette Kowal, DongWon Song, Erin Roberts, and Howard Tayler. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

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This week, our hosts explore kishōtenketsu, an Asian story structure that appears under different names in China, Korea, Japan, and Vietnam. Unlike the Western three-act structure, it isn’t built around conflict. Instead, it moves through four stages: introduction, development, twist, and conclusion. We dig into how stories like Parasite and The Tatami Galaxy create tension through discovery, contrast, and changing perspective, rather than direct confrontation. And don’t worry, we find time to get delightfully nerdy about poetry, RPGs, Star Wars, and why a “twist” can be less about surprise and more about seeing the story in a new way.

Homework:

Take something you’ve already written and map it onto a kishōtenketsu structure. See what opportunities emerge when you group the story into introduction, development, twist, and conclusion.

Liner Notes

Video explaining the argument that Super Mario follows Kishōtenketsu

Credits: Your hosts for this episode were Mary Robinette Kowal, DongWon Song, Erin Roberts, and Howard Tayler. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

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How close is your reader to the story? Should they be closer? Today, our hosts get nerdy about narrative distance: the space between reader, narrator, character, and world. We talk POV, sensory detail, and familiarity—and how each can zoom a reader in or pull them back. From The Lord of the Rings to Severance, we look at what changes when we experience one person’s pain up close versus an entire battle from afar.

Homework:

Write an action scene where the heroes violently dispatch their enemies. Then rewrite it with a perspective and distance shift so it becomes a horror scene about those enemies being miserably dispatched.

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Credits: Your hosts for this episode were Mary Robinette Kowal, Howard Tayler, DongWon Song, and Erin Roberts. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

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