Today, we’re talking about how to use contrast to make key moments in your story hit harder, especially in the middle. We explore how pairing light and dark beats, shifting expectations, or placing opposing elements side by side can deepen the emotional impact and keep your readers engaged. Our conversation also looks at different kinds of contrast—from big structural turns to subtle tonal juxtapositions—and explores how managing distance, tension, and “loaded” moments can create that satisfying snap when a scene lands.

Homework:

Look at a pivotal moment in your story and add a beat before or after it that inverts some element of the original. This could mean changing the tone or mood, introducing a contrasting character, or shifting the setting in a way that highlights something new about the scene.

Locus Magazine Annual Fundraiser (ends April 14th, 2026)

Join us in supporting Locus Magazine– explore the campaign and fantastic rewards for donors online at locusmag.com/igg26.

Final WXR Cruise!

Our final WXR cruise sets sail for Alaska in September 2026—get your tickets here!

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

Join Our Writing Community!

Writing Retreats

Newsletter

Patreon

Instagram

Threads

Bluesky

TikTok

YouTube

Facebook

Today, we’re talking about the “try-fail cycle” and why failure is essential to making the middle of your story actually interesting. It allows readers to follow characters as they try something, fail, adjust, and try again until they finally succeed. Our conversation gets into how failure builds tension and empathy and how you can use “yes, but / no, and” to control your story’s momentum. We also address the difference between barriers and attempts, and how to keep things from feeling repetitive or stalled, whether you’re writing epic fantasy or a quiet coffee shop story.

Homework:

Look at the MICE quotient elements (milieu, inquiry, character, event) in your story and make a list of barriers for each. Then choose a smaller subset of those barriers that work well together, and use them to design try-fail cycles that keep your story dynamic without becoming repetitive or overcrowded.

Locus Magazine Annual Fundraiser (ends April 14th, 2026)

Join us in supporting Locus Magazine– explore the campaign and fantastic rewards for donors online at locusmag.com/igg26.

Final WXR Cruise!

Our final WXR cruise sets sail for Alaska in September 2026—get your tickets here!

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

Join Our Writing Community!

Writing Retreats

Newsletter

Patreon

Instagram

Threads

Bluesky

TikTok

YouTube

Facebook

Today, we’re taking on the idea of the “soggy middle” and why stories start to lose momentum—often because characters lack clear action, obstacles feel thin, or scenes repeat without meaningful change. We break down how stalled plots, predictable outcomes, and disconnected side quests can make the middle drag, and offer tools to fix it: focusing on what characters are actually doing, using “same but different” to keep repetition engaging, letting major events happen sooner so you can explore their consequences, and ensuring every subplot or detour creates real change in the character or world.

Homework:

Grab a book or short story. Read the first page, a page from the exact middle, and the final page. Track which story threads introduced at the beginning are still active in the middle, and how they evolve by the end.

Locus Magazine Annual Fundraiser (ends April 14th, 2026)

Join us in supporting Locus Magazine– explore the campaign and fantastic rewards for donors online at locusmag.com/igg26.

Final WXR Cruise!

Our final WXR cruise sets sail for Alaska in September 2026—get your tickets here!

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

Join Our Writing Community!

Writing Retreats

Newsletter

Patreon

Instagram

Threads

Bluesky

TikTok

YouTube

Facebook