For the past fifty years, the Poetry Project at St. Mark’s Church in New York City has hosted its annual New Year’s Day Marathon, a day of readings and performances that has grown into a twelve-hour-long event with over a hundred artists and writers given a few minutes on stage. In a Washington Post article about last year’s gathering, poet Jameson Fitzpatrick explained that she was there to “bear witness to poetry’s being alive. Reports of its death have been greatly exaggerated.” Write a short poem that captures the exuberant potential of verse, one that celebrates its own form and would be exciting to read in front of an audience. Consider how diction, sound, rhythm, and subject matter might collide to create a sensation of language teeming with vitality.

The end of a year is often a time when we take stock of all that’s unfolded in the twelve months that have just passed. Popular top ten lists cover a wide range of experiences—such as the best music albums, books read, meals cooked, restaurant outings, films watched, museum visits, and sporting events—and looking back at photos from the year helps recall favorite moments with friends and loved ones. This week jot down a year-end list, selecting a topic whose items bring you particular joy as you recount what’s made it onto your top five or top ten roundup. Use this list to create a lyric essay loosely chronicling the year through one lens, writing a paragraph for each of your chosen items.

In many places around the world, from Coney Island to New Zealand to South Korea, there are groups of people who convene on the first of January to take a “polar bear” swim, plunging into frigidly icy waters to celebrate a new beginning. Participants will often wear fun accessories, such as wintry caps, warm gloves, and boots, or coordinate silly costumes, and some gatherings are annual fundraisers for charity. Write a short scene that involves a group of people gathering to participate in a New Year’s tradition, one that incorporates both acquaintances and strangers. Who among those present is eagerly looking for a fresh start? How do your characters’ personalities vary based on how they participate in this shared experience?

Last month, the Journal of Great Lakes Research reported findings from a study of goldfish—the common East Asian carp often kept as pets—found in the wild, likely released into local lakes and rivers by their former owners. When removed from constricting fish bowls and flake-based diets, the fish grew to nearly a foot-and-a-half long and were able to reproduce quickly, destroying local marine ecosystems. Write a poem about something in your life that has ballooned out of proportion in an unexpected way. This might be a relationship with someone, an aspect of a job or extracurricular activity, or a household object that has transformed into an increasingly epic collection. Has the growth been slow and gradual or haphazardly speedy? At what point do you think enough is enough?

In his sardonic essay “Santaland Diaries,” a reading of which NPR airs every year as a holiday tradition, David Sedaris tells the story of how he, as a struggling writer, spent a season working as a Christmas elf at Macy’s department store in New York City. In one scene describing the Santaland Maze, Sedaris channels the frustration and dark thoughts many retail workers experience during the holiday season. “I spent a few hours in the Maze with Puff, a young elf from Brooklyn. We were standing near the Lollipop Forest when we realized that Santa is an anagram of Satan. Father Christmas or the Devil—so close but yet so far,” he writes. Dip into the dark side of the holiday spirit and write an essay about a year when you experienced a particularly frustrating holiday season. Consider the feelings of stress and cheer that are often at odds at the end of the year.

Whether full of work mixers, gatherings with relatives, community-centered potlucks, or festivities with friends, this time of year is often busy with social events of all kinds. This week write a short story that revolves around a seasonal get-together. Perhaps there are pressures present associated with themes that surface around the end of the year, such as the winter blues, religion, childhood traditions, and social expectations. Is a spare and stark tone more fitting for your story, or is a maximalist, ornate narration more suitable? Are your fictional party scenes imbued with an atmosphere of joy and cozy lights, or chilly temperatures and disappointed hopes, or both? Have fun adding a dash of humor or menace into your convivial gathering.

“Cold, moist, young phlegmy winter now doth lie / In swaddling clouts, like new-born infancy,” writes Anne Bradstreet in the opening lines of her 1650 poem “Winter.” In her seasonal poem, Bradstreet traverses from the month of December to “cold, frozen January,” and finally to “moist snowy February,” cycling through the movements of the sun, the length of day, and the sensation of warmth or chill on the body. Though we often think of winter as one portion of the year’s seasons, how do the individual months of winter feel to you? Write a poem that tracks your personal memories from multiple Decembers, Januaries, and Februaries (or Junes, Julys, and Augusts in the Southern Hemisphere), perhaps thinking of these months as smaller, concentric or overlapping circles within a larger one.

The work of French novelist Édouard Louis concerns itself with capturing the past and its indelible effect on the present, as the author explores the facts of his life through novelistic means. In his first autobiographical novel, The End of Eddy (FSG, 2017), translated by Michael Lucey, Louis details the experience of growing up poor and gay in a homophobic, working-class French town; in History of Violence (FSG, 2018), translated by Lorin Stein, Louis endures a brutal attack and then overhears his sister telling her husband about the assault; and in A Woman’s Battles and Transformations (FSG, 2022), translated by Tash Aw, Louis tells the story of his mother’s moving to Paris to live a new life on her own terms. Inspired by Louis’s autobiographical novels, write an essay that considers a time in your life in which you felt the urge to change or become someone new. Try to capture the intricacies of the past—the difficulties, the hopes, the dreams—through a form that reflects the transformative urgency of that moment.

While a character’s backstory can often provide the engine to a plot, how much backstory is too much? In “The Case Against the Trauma Plot,” published in the New Yorker in 2022, Parul Sehgal discusses the prevalence of the “trauma plot,” which relies on a character’s past trauma to move the story forward. Citing examples such as Hanya Yanagihara’s novel A Little Life (Doubleday, 2015), Jason Mott’s novel Hell of a Book (Dutton, 2021), and the television series Ted Lasso, Sehgal argues that the trauma plot “flattens, distorts, reduces character to symptom, and, in turn, instructs and insists upon its moral authority.” In contrast, Sehgal cites instances in which omitting backstory provides an effective air of mystery to a character, or what Shakespeare scholar Stephen Greenblatt calls “strategic opacity.” Taking inspiration from this critique, write a story in which the backstory of your character is kept from the reader. What happens when you resist explanation for a character’s choices? What tools other than backstory can you use to create a dynamic character?