Chris Csont - Inneresting @ Qapps

Inneresting

An Inneresting Digest: 2026 Q2

A look into the psyche of our readership, collecting the most popular links from the last three months of Inneresting!

Ralph Wiggum sits on a school bus seat. Captioned: (chuckles) I'm in danger.

Inneresting

⚠️ #300 - I'm in danger.

For our 300th issue, we're feeling the fear and writing about it anyway. We're looking at examples of the moment a character realizes that they're in trouble.

Deep Space Nine: Garak in close up, looking annoyed and about to pontificate.

Insidious Root Beer: Writing conversations with bite

Sometimes it falls on the writer to make two people sitting and talking a dynamic scene that pulls the audience in. We look at one such scene from Star Trek to find some potential writing strategies.

Spider-Man 2: In a destroyed building, Doctor Octavius talks to his tentacles and plans to steal money to complete his experiments.

Inneresting

➕➕➕ #299 - Scope Creep

How big does a story need to be? Inneresting asks the big questions about story scale this week.

Inneresting

🤷 #298 - Okay, but why?

Why is this the newsletter topic for this week? Why do we think we're the ones to write about it for you? Find out in this week's Inneresting!

Fight Club: The Narrator and Marla talk while hugging in a fluorescent-lit support group.

Inneresting

💬💬 #297 - Making a Good Conversation

This week's newsletter explores how active listening skills are part of what differentiates intersecting monologues from an Inneresting conversation.

Star Trek Generations: James T. Kirk lies under a collapsed metal bridge, blood on his face, but still somehow ready to talk and talk and talk...

Inneresting

💬 #296 - Strong Feelings. Few Words.

In the heat of the moment, characters are allowed to not know what to say. This week's Inneresting covers how stress and emotion change how we speak.

Inneresting

↔️ #295 - What a dilemma!

A difficult choice isn't automatically a dilemma, so this week's Inneresting looks at how time pressure raises the stakes and forces character action.