Every story has been told. Okay, maybe not, but most stories have a tradition/ influence/ history/ genre/ style that they draw upon, even if only slightly. How do you know what traditions you're bringing to your work, and how can you use them to make your story both resonant and unique?

We’re exploring the lens of “why” right now. Why do we write the stories that we write? And what did we read that influenced us to write our work— that is, what are our narrative traditions?

Homework: Make a list of five narratives of any type—a ghost story, a barber shop tale, a game, a movie—that form part of your storytelling tradition. Write them down, look at them, and then think: how is your current work influenced by the list? And is there one that you would like to bring even more to bear on the current story you’re working on?

P.S. Our 2025 writing retreat (on a cruise! In Mexico!) is over 50% sold out! Learn more and sign up here.

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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We are joined by author Mark Oshiro, who primarily writes YA and middle grade books and was a guest teacher aboard our 2024 cruise! (Our 2025 cruise is over 50% sold out! Learn more and sign up here.) We ask the question, “Why did you write this book?” while focusing specifically on theme and meaning. We discuss how authors ask questions through their work while readers bring their own answers and interpretations. The hosts and Mark emphasize the value of leaving space for readers to engage and find their own meaning in your work.This conversation also highlights how discovering a story’s true theme mid-draft can lead to major rewrites that strengthen the narrative.

Homework: Take a popular book-to-film or book-to-TV adaptation and ask yourself if the film changed the meaning or themes of the book. Then, ask yourself in what ways it did it.

P.S. Our 2025 writing retreat (on a cruise! In Mexico!) is over 50% sold out! Learn more and sign up here.

Credits: Your hosts for this episode were Mary Robinette Kowal, Dan Wells, and Howard Tayler. Our guest was Mark Oshiro. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson.

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What separates the way we experience a game versus the way we experience a prose narrative? Erin Roberts has written for many games, and she loves games particularly because they give the person experiencing the narrative more choice and more direct agency over what happens. This changes the way that we experience story. When you’re writing a game, the main thing you have to figure out is the actions: what are the potential things that could happen—and therefore, what are the verbs? We dive into decision, audience buy in, and ultimately try to answer the question: what does gaming teach us about making and finding meaning?

Homework: Take a project you’re working on and imagine that someone is making a game of it. What would that game be? What would be the actions that the characters would be doing? What would be the part of the world that the game would be focused on? Feel free to look at examples of this (like the games that were made based on Lord of the Rings.)

P.S. Our 2025 writing retreat (on a cruise! In Mexico!) is over 50% sold out! Learn more and sign up here.

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

Join Our Writing Community!

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