The Time Is Now

Write a scene in which two characters who are close (friends, relatives, a couple) are secretly angry at each other about something that has happened in the past. Decide what they are angry about before writing the scene but don't write about it directly. Instead, reveal the tension between them in the dialogue and in the actions involved in accomplishing a mundane task they are doing together, such as moving a couch, setting up a tent, making dinner, or painting a house.

Compose a poem collaboratively with a friend. Write one line and send it to your friend via e-mail, or by passing a notebook back and forth, and invite your friend to write the next line, building on what you wrote. Continue composing the poem together, line by line, until you have at least twenty lines. Then each of you consider the draft and revise it independently. Compare your final versions.

Choose a bureaucracy: the Department of Motor Vehicles, the Post Office, the Army,etc. Imagine two people who work there, one a supervisor, the other an underling, and write their letters of resignation. Then write a scene where the two former co-workers meet for coffee three years later.

Choose a sentence from a newspaper whose meaning gets larger and stranger when taken out of context. Use it as the first line of a poem. If you get stuck partway into the poem, try repeating just part of the line and vary how you complete the rest of the sentence, changing the meaning and music of the line each time. When you have a draft you like, try moving the full sentence to the end of the poem, or somewhere to the middle, or maybe take it out entirely. Stir, and see what happens.
This week's poetry prompt comes from Idra Novey whose debut collection The Next Country received the Kinereth Gensler Award from Alice James Books and was included in Virginia Quarterly Review's list of Best Poetry Books of 2008. She teaches in the School of the Arts at Columbia University.

Take a story you know extremely well, such as how my parents met, my first kiss, or the night I was born and fictionalize it by writing it from a distinct or unlikely point of view. For example, using the story how my parents met, write it from your father's perspective or from the perspective of the bartender at the bar where they met.
This week's fiction prompt comes from Joanna Hershon, author of three novels, including The German Bride (Ballantine, 2008).

Think back to yourself ten years ago—where you lived, what your preoccupations were, who your relationships were with, who you were. Write a letter in the form of a poem to yourself then from yourself now.

In a Paris Review interview, fiction writer Amy Hempel talks about a workshop she took with legendary editor Gordon Lish in which he assigned  the class to "write our worst secret, the thing we would never live down, the thing that, as Gordon put it, 'dismantles your own sense of yourself.'" From this came her story, "In the Cemetery Where Al Jolson Is Buried." Follow Lish's assignment. Write a story about your worst secret.

Write a prose poem, a poem that doesn't use line breaks to convey its meaning. Read [the siren's story] by Barbara Jane Reyes for an example.

Eavesdrop on two people having a conversation in a public place. (Avoid small-talk, conversations about the weather.) Write down exactly what they say, including their "ums," "uhs," "likes," and stutters for two pages. Then rewrite that page, using only dialogue, but making it more suited for the literary page; clean it up, keeping the sentiments, but getting rid of all the inconsequential words and lines, and even changing the language to make it more engrossing. (Try to find the subtext behind what they’re saying and what you observed about them while listening.) Compare the original and the revised dialogue. The revision will still be boring, as most people’s conversations are, but the point is to see how fictional dialogue is not the same as spoken dialogue.
This week's fiction prompt comes from fiction writer Teddy Wayne, author of the novel Kapitoil (Harper Perennial, 2010).

Write a poem that explores how you were named and the meaning of your name. Include at least one bold lie.