“A cliché is thoughtless, whereas love is thoughtful. A cliché reproduces ideas originating in the culture, not in lived experience; it is antithetical to love because whereas love is alive, a cliché is dead. It’s an empty husk,” writes Sarah Gerard in “On Falling in Love With Your Characters” published in Literary Hub, an essay that explores the writing process of her second novel, True Love (Harper, 2020), as she experienced the end of one love and the beginning of another. Write a personal essay that examines a cliché about love, or a conventional cultural “truth” that is often associated with love. How has this played out in your own life, with your own past or present experiences of love?
The Time Is Now
“I regret that my fondness for cows, combined with an overactive imagination, may have carried me beyond what is comprehensible to the average Far Side reader.” In the fall of 1982, cartoonist Gary Larson published his “Cow Tools” cartoon, which confused so many readers that he was compelled to issue a public statement, revealing that even his own mother was puzzled by the meaning of the cartoon. Write a story that centers around an object, maybe even a tool, that becomes integral to your character’s survival. Perhaps you explain what the object does or you keep it a mystery as to why your character needs it so badly. Either way, have fun with your overactive imagination.
What can you tell from a kelp’s DNA? In a paper published earlier this month in the journal Proceedings of the Royal Society B, scientists reported findings that the genes of bull kelp found in New Zealand bear different genetic markers because of an earthquake that occurred eight hundred years ago, a reminder of how nature has the power to recover from a disruption. Write a poem that revolves around a specific idiosyncrasy or personality trait, and imagine its connection to an ancient ecological disaster. You might take inspiration from the undulating forms of seaweed waving underwater as you braid in themes of history, continuation, inheritance, and the twinning of destruction with renewal.
In “What We Found in Writing: Authors on Creativity in Quarantine” in the July/August issue of Poets & Writers Magazine, thirteen authors describe their experiences of writing and not writing during the past several months of quarantine. Ada Limón writes: “What struck me, almost immediately, is that fear was more incapacitating than despair. I could surrender to a hopelessness and still make something. Even if it felt like a last gasp of my own humanity or love or tenderness, I could still write it. However, if I focused on fear, I was always silenced.” Write a personal essay that examines how your own creativity has ebbed and flowed during this time. Are there things that have been easier or more difficult to write about? Where have you found inspiration? What has been unexpected?
“Like other artistic endeavors, garden making can be a response to loss. Creating a garden can be as much a re-creation as a creation; an idea of paradise, something that reconnects us with a landscape we have loved and which compensates us for our separation from nature,” writes Sue Stuart-Smith in The Well-Gardened Mind: The Restorative Power of Nature (Scribner, 2020). Write a short story in which a garden is created in response to a loss. Is the garden a gift? What is the character or community’s connection to nature? Include details of what is grown in the garden and how it is used.
“Rituals—or the tasks we perform repeatedly, not for what they accomplish but for what they mean to us—help athletes prepare their minds for the unknowns they’ll face when they perform,” writes psychiatrist Neha Chaudhary in a New York Times article about how rituals—such as “Steph Curry’s sinking a shot from the tunnel before each basketball game” or “Serena Williams’ bouncing her tennis ball five times before her first serve”—can help instate feelings of connectedness and calmness during anxiety-inducing times. Write a poem about a ritual that’s a part of your everyday life, or perhaps one that you performed regularly during a past phase of your life. How can you play with repetition, pacing, sound and rhythm, and white space to mimic the enactment and aftereffects of a ritual?
This week, take a look at a photo essay by Jared A. Brock of one hundred well-known authors in their writing spaces and write a personal essay about a particular spot where you have written a significant amount of work. Perhaps the space is at a desk in the same corner you’ve retreated to for years, or a specific seat on a certain bus during a commute, or a summer cabin you visited a handful of times years ago. What was one writing project you worked on in that space that you remember particularly well? Describe your mindset in that space versus outside of it. Incorporate the sounds, smells, and other details needed to create a sensorial experience of the space.
In a recent report in Current Biology, researchers published findings that the white-throated sparrow’s birdsong, which originally sounded like “Old Sam Peabody-Peabody-Peabody,” had evolved over the last fifty years to sound more like “Old Sam Peabuh-Peabuh-Peabuh-Peabuh.” In the New York Times, Ken Otter, a professor at the University of Northern British Columbia, says this unexpected shift related to the migration patterns of the sparrow is “kind of like an Australian person coming to New York, and all the New Yorkers start suddenly deciding to adopt an Australian accent.” Write a story about a character who has moved to a new city, and whose behavior has an outsize influence on the town’s citizens. Does the change happen gradually, going largely unnoticed for a long period of time, or does your character set off a rapid-fire chain reaction of transformations?
In “The Untranslatable” published on the Paris Review website, the translators of poems featured in the magazine’s summer issue write short essays about their processes. Patricio Ferrari and Susan Margaret Brown, who translated António Osório’s poems from the Portuguese, write about choosing between words in the English language that have Latin versus Germanic origins: “Most words representing abstract ideas stem from the Latin while the majority of words exemplifying concrete ideas come from the Saxon. In a newspaper article, the choice may be irrelevant; in a poem, the choice matters.” Rewrite or draft a new version of a poem you’ve written in the past, switching out some of the Latinate words for those with Germanic roots, and vice versa. How does this change the sound, tone, and other nuances of your poem?
“Search YouTube with the word ‘commercials’ and the decade of your choosing, and you will find hundreds of compilations, including transfers of old broadcasts,” writes Eve Peyser in “In Vintage TV Ads, a Curious Fountain of Hope (and Cheese)” in the New York Times, about her habit of watching old television commercials in order to “make believe that I live in a world I never got to inhabit but is still familiar.” Browse through some old commercials from the decade of your choice, and write a personal essay that explores how the viewings lead you to thoughts about the past and the future. What emotions are evoked as you think about broader themes such as the passing of time, the omnipresence of consumerism, and the trends and values of different eras?