20.14: Third Person Limited

20.14: Third Person Limited

Author: Mary Robinette Kowal, DongWon Song, Erin Roberts, Dan Wells, and Howard Tayler April 6, 2025 Duration: 26:35
Third person limited is one of the most popular storytelling lenses. Yet it is often understood differently by various authors and readers. So today we’re diving into the complexities, intricacies, and beautiful constraints of third person limited—don’t worry, we’ll be tackling third person omniscient in our next episode! With third person limited POV, you get to use some of the tools of first person, while being able to back away from the character a little. We’re going to address the various levels of interiority and proximity that characters are afforded, why this matters, and what it would look like in your own writing. Homework: Take a scene that you’ve written and write it in the closest third person limited that you can possibly stand. Then, write it again at a slightly more distanced, but still limited, third person. Look at these two scenes side-by-side and ask yourself: what did I do differently in each? What did I emphasize? Then, figure out which perspective you want to use when actually writing this scene. P.S. Our Writing Excuses cruise is over 50% sold out! Secure your spot today at www.writingexcuses.com/retreats Sign up for our newsletter Credits: Your hosts for this episode were DongWon Song, Mary Robinette Kowal, Dan Wells, Howard Tayler, and Erin Roberts. Our guest was Chuck Tingle. It was produced by Emma Reynolds, recorded by Marshall Carr, Jr., and mastered by Alex Jackson. Join Our Writing Community! Patreon Instagram Threads Bluesky TikTok YouTube Facebook Our Sponsors: * Check out HomeServe and use my code homeserve.com/excuses for a great deal: https://www.homeserve.com * Check out Talkiatry and use my code Talkiatry.com/WX for a great deal: https://www.talkiatry.com Support this podcast at — https://redcircle.com/writing-excuses2130/donations Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

It’s a common piece of advice: if you want to be a writer, you should write. But what happens when you’re staring at the blank page, or when the business side of publishing feels like a maze? That’s where Writing Excuses comes in. Each week, hosts Mary Robinette Kowal, DongWon Song, Erin Roberts, Dan Wells, and Howard Tayler gather not just to talk about writing, but to dissect it. They move quickly, respecting your time while packing episodes with actionable discussions on technique, from character voice to plot structure. But this podcast understands that a writing life isn’t just about craft-it’s also a career. So conversations naturally pivot to the practicalities of the business, navigating careers, and sustaining creativity in a demanding field. You’ll hear five distinct professional perspectives blending into a single, focused conversation designed to get you past excuses and back to your work. It’s like a regular, invigorating workshop session delivered directly to you, meant to equip you with tools for both your manuscript and your professional path.
Author: Language: en-us Episodes: 500

Writing Excuses
Podcast Episodes
21.23: Barrier Breaking: Interruptions [not-audio_url] [/not-audio_url]

Duration: 29:38
In this episode, our hosts explore one of the most persistent barriers to writing: interruptions. From family members and pets to emails, meetings, fatigue, and neurodivergence, they discuss how disruptions can derail cr…
21.22: The Order of the Telling [not-audio_url] [/not-audio_url]

Duration: 27:20
*Time-Sensitive* Our final WXR cruise is almost sold out, grab your spot before June 4th, 2026 here! This week, we are talking about the order in which we present information to the reader as contrasted with the order, i…
21.21: Rhythm and Words [not-audio_url] [/not-audio_url]

Duration: 23:34
*Time-Sensitive* Our final WXR cruise is almost sold out, grab your spot before June 4th, 2026 here! Today, we’re continuing the conversation on sequencing by focusing on rhythm—how the musicality of language shapes paci…
21.20: Sequencing from Mega to Micro [not-audio_url] [/not-audio_url]

Duration: 33:51
Today, we explore why writers place information in the order they do. From broad-to-narrow framing and cause-and-effect to repetition, rhythm, and surprise, we discuss how sequencing shapes the pacing, emotion, and clari…
21.19: Getting Everything Connected [not-audio_url] [/not-audio_url]

Duration: 24:21
Today, our hosts discuss how to make every part of your story feel connected through causal chains, thematic resonance, and reader pattern recognition. We take the idea that each action in a story should lead naturally t…
21.18: Deconstructing the Three Act Structure [not-audio_url] [/not-audio_url]

Duration: 31:22
Today, we are joined by Margaret Dunlap as we dive into the three-act structure. This traditional framework—setup, confrontation, and resolution—is a tool to use rather than a formula to follow. We break down each act, e…
21.17: The Up and Down Escalators [not-audio_url] [/not-audio_url]

Duration: 28:16
Today we zoom out from moment-to-moment tension and look at how escalation and de-escalation shape a story at the structural level—how raising stakes, lowering pressure, and shifting focus can control pacing, reader emot…
21.16: Tension and Release as Call and Response [not-audio_url] [/not-audio_url]

Duration: 21:19
Today, we’re talking about tension and release as a kind of call and response, and how that dynamic can guide your reader through a story. It explores how different types of tension—conflict, unanswered questions, antici…
21.15: Using Contrast for Maximum Effect [not-audio_url] [/not-audio_url]

Duration: 23:28
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…
21.14: Because at First, They Don’t Succeed [not-audio_url] [/not-audio_url]

Duration: 25:21
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 ag…