A couple of weeks ago, I wrote a post about how I’d recorded an episode of the Roundtable Podcast. (Follow the link to learn more!) Today, the first of the two resulting episodes is live and ready for you to listen!
This is Dave Robison’s and Heather Welliver’s interview with Kat Richardson about her background, writing, and processes. Good stuff!
Next Tuesday, the brainstorming part, with me, will go live. I’ll post then, as well. :)
As you may know, I adore podcasts. I listen to a lot of them. (There’s a not altogether up-to-date list, even.) They are my primary form of entertainment, learning, and news.
The Round Table Podcast has been around since early 2012, although I didn’t discover it until spring of 2013 or so. As I am wont to do, I started at the very beginning and worked my way forward.
RTP is hosted by Dave Robison and a “random” co-host. Dave, his co-host, and a pro-writer guest host invite a guest writer to come on with a pitch for a story. The guest writer pitches their story for five to eight minutes, and then, for the next forty-five or so minutes, the three hosts take the story apart, suggesting ways to make it better, where “better” is according to the needs of the writer. For instance, it might need more world-building, or better characters, or something exciting to put in Act 2. Whatever the guest writer is looking for, Dave, his co-host, and the guest host help, starting many phrases with “What if…” and offering up “literary gold.” (Or, as their disclaimer states, “complete bullshit.” I have found that disclaimer to be somewhat disingenuous, because even in the parts that don’t mesh with what the guest writer has in mind, there are nuggets of literary gold. If not for the guest writer, then for some of the listeners. :) ) The guest writer is involved, of course, answering questions, and clarifying any confusion on the part of the hosts.
It takes a while to work through the back episodes of a new-to-me podcast, because I have many podcasts I do the same thing with, simultaneously. When I discovered RTP, I put the first four or five episodes on in the car when me and my housemate were on the road to visit my mother a few hours away. I remember saying to her (the housemate), “I need to be on this podcast!” Listening to them brainstorm other people’s stories often gave me ideas for my own.
A couple of months into my catch-up activity, I noticed that no new episodes had appeared in iTunes for a while, and I went to their site to check and — Oh, no! They had gone on indefinite hiatus! (For good reasons, mind you.) I was heartbroken, because I really, really wanted to pitch my novel and be on the show. Crud!
After about a year (summer, 2014), they came back! I continued catching up. Again with the goal of becoming a guest writer in my mind, but not feeling like I knew enough about what my story was about to pitch it, effectively.
In February of this year, I decided to make my move. I had enough of an idea what my novel was about that I felt like I could coherently describe it to people. I started slamming episodes, listening to four or five of them at a time. Meanwhile, I went on their site and filled out the form to be a guest writer.
I got in! :) I won’t try to reproduce the sound I made when I got the email from Dave saying he was interested, but it resembled “squee,” and may have involved (since I was alone at the time) in-chair happy-dancing. I’m sure it was very dignified happy-dancing. You’ll have to trust me, as no video feed of the event exists.
We recorded my episode last Thursday night (4/12/2016). My “random” co-host was Heather Welliver and my guest host was Kat Richardson, one of my favorite writers in my genre (Urban Fantasy; her Greywalker series is very good and you should read all nine of them). She was one of two names I mentioned in my application under “Who would be your dream guest host?”
On Tuesday, May 31, an episode called “20 Minutes With Kat Richardson” will go live, and it will involve Dave’s patented stalkery introduction (which can go on for a good fifteen or twenty minutes) of Kat and then a forty- to forty-five-minute interview with her, with questions from both Dave and Heather. Then, a week later, on Tuesday, June 7, Episode 102, with me as the guest writer, will go live. Squee!
I invite all of you reading this to please go subscribe to The Round Table Podcast. It really is excellent. It’s basically a recorded session of “novel breaking” as practiced at Taos Toolbox and in the unofficial ‘free-time’ parts of Paradise Lost.
I got some really awesome suggestions. I’m still letting them swirl around in my brain to see what comes of them. I took roughly eight and a half pages of notes, and will end up archiving and listening to my own episode a time or two to get probably a couple more pages.
Now, a warning. Some people may or may not want to know the full plot of my novel, as they are expected to critique it at some point, and they won’t experience the twists if they listen to the episode and hear me outline the entire plot in 8 minutes. Assuming I don’t completely throw out my current plot based on what Dave, Heather, and Kat said. :) So if you’re among that crowd, just know that listening to the episode will spoil my novel. I’m not sure how badly, because after last Thursday, it may or may not end the same way. :)
<vague>. . . and not all of my characters may end up being the same people as they are currently.</vague>
As a side note: I’m a little miffed that I didn’t get to make my joke “on air,” as it were. Before the recording, co-host Heather remarked that we had three -sons on the show: Henderson, Richardson, Robison. Expecting her to make the same comment during the actual recording, I was ready to quip to Heather, “So, does that make you Fred MacMurray?”
Oh, no, you don’t! That was damned funny! And now only people who read this site will know the comedy gold they missed out on.
- This may seriously be the most pretentious phrase I have ever typed in my life.
- Until the extended hiatus, the co-host was almost always Brion Humphrey. After the hiatus, Brion had a new baby and other responsibilities, so now the co-host role is filled by different people in each episode, with a good bit of repeat “offenders.” ;) And “random” is in quotes because they’re selected at least partially based on the genre of the guest writer’s story.
- Oh, how wrong I was. Luckily, Dave is good at his job, and gave me some pointers to get my haphazard pitch streamlined and to focus on the parts that mattered, and damn! It worked. I couldn’t be happier with my pitch.
- Serially, you goofball, not simultaneously. But on 1.77x speed, which is the fastest I can listen and still understand and get anything out of it.
Pictured to the right are the attendees/students, instructors, and organizers of Paradise Lost 6, held in San Antonio, TX, from April 28 to May 1, 2016. I have been very slug-like in getting around to posting about it, in spite of the fact that it ended a week ago. But I’ve been busy. That’s my excuse.
That’s me on the left, peeking out from between Anna and Rosie. I loathe pictures of me, but everyone else looks fantastic, so I’ll allow it.
Paradise Lost is open to writers who have been to the Viable Paradise or Taos Toolbox writing workshops, or who are members of the online Codex writing group (which has membership requirements including juried workshops (such as Viable Paradise, Clarion, Taos Toolbox, Odyssey, etc.), or publication).
For reasons that remain opaque to most everyone who knows me, I decided to drive from Atlanta, GA to San Antonio, TX. It’s a 16-ish-hour drive, so, heeding advice from a good friend, I split it into two days and took it slightly easier. Both there and back.
Four other graduates from my year at Viable Paradise XVI (2012) were there. It was great to see them all again. I won’t do a lot of name-dropping here, because there were 20 others besides me there, and, frankly, it would take a long time to find and link all those sites. :)
The highlights: the lectures by the pros (one of which was an exercise about supply lines that actually made me think about something that needed to be thunk about in my novel, so yay!), the social times, the dramatic (some might say ‘melodramatic’) reading of Chuck Tingle’s Hugo Award Nominated Space Raptor Butt Invasion. It was . . . special. Very . . . special.
I pretty much can’t say enough positive things about this experience. If you have the means and the opportunity to go, do look into it. It’s four days of being around amazing people who are also all writers, story breaking, talking shop, drinking, playing games, playing music, dramatic readings of really bad erotica . . . I’m told there was even some actual writing that got done! :)
There are two “tracks”: a critique track and a retreat track. The critique track is just what it sounds like: you submit up to five thousand words of something you’ve written and (this year) two instructors/pro writers and six fellow workshoppers read and critique it. This year, the critiques for all seven manuscripts took place over two sessions (before and after lunch) on one day. The Milford method was used: the author stayed quiet while each of the critiquers got up to 3 minutes to hit their main points. It went in a circle, then the professionals each got . . . basically as long as they liked to make their points. There was a lot of dittoing and anti-dittoing. And bad puns. :) Then, at the end, if the author wished, s/he could briefly address any comments brought up during the critique. It’s a handy method, and one I’ve used before that works if everyone’s kind of on the same level, and there aren’t too many people in the group. :) As it was with seven authors per group, each person had to read and critique about 30,000 words in the two(ish) months leading up to the workshop. Not too bad.
The retreat track is there to just get away from all the big, hairy nonsense that interrupts their writing when they’re at home (kids, spouses, bills, work, laundry . . . life) and just write. I think next time, this is what I’m going to do. There was still puh-lenty of time to do all the social stuff and get writing done, or so I was told.
The best part for me was that two of my fellow Paradisians were able to give me some inside information on some things I need to know about aspects of my novel that I know nothing about: government and law enforcement. A bonus I’m over the top about, and which I was totally not expecting. This is why critique groups are so useful! People have a very particular set of skills, skills they have acquired over very long careers. Skills that make them a rainbow-farting unicorn-dream for people like me, who don’t have those skills, but need to sound convincing in my manuscripts. Or, as one instructor said, you have to do the research to know what you’re talking about before deliberately breaking the rules for the sake of story. (Paraphrased.)
Anywho, as I said, you should definitely give it a go if you can, and you write science fiction, fantasy, or horror. Or, to put it in Internet terms everyone will understand: A++++++++++++!!!!! Would attend again!!!!!!!
- Which means sixteen uninterrupted(ish) hours of podcasts I got to listen to. It barely made a dent in my backlog, but it was a nice start.