“I love the hour before takeoff, / that stretch of no time, no home / but the gray vinyl seats linked like / unfolding paper dolls,” begins Rita Dove’s poem “Vacation,” which appears in her 2021 collection, Playlist for the Apocalypse. The poem follows the speaker’s thoughts and observations of others in the airport waiting at the flight gate, from the “ragtag nuclear families” to “the heeled bachelorette” to “the lone executive.” Taking inspiration from Dove’s poem, write a poem that takes place in an airport, infusing the piece with the dynamic energy of different people on the move, traveling and waiting, perhaps impatiently with nervous energy or exhaustion. How might the sounds and textures of the airport play a role in how the poem conveys the atmosphere?

In the author’s note to his debut novel, The Copywriter, published by Scribner in February, poet and copywriter Daniel Poppick lists the types of writing that can be found in the work, a compilation of observations, questions, stories, lyrics, lists, fragments, and other forms that together constitute a portrait of contemporary life, language, and ideas, from the perspective of a poet sharing his notebook. “What follows is a work of fiction. But if it makes nothing happen, call it poetry,” writes Poppick. Spend a week keeping a journal or notebook of your own. Jot down bits and pieces of overheard, seen, or invented language as it occurs, allowing yourself the freedom to simply record without worrying too much about context or explication. Then comb through your notes and group your favorite snippets into a more coherent narrative, using recurrent themes or images to paint a portrait of your own life at this moment.

In Sarah Wang’s debut novel, New Skin (Little, Brown, 2026), a young woman named Linli Feng is drawn back to her hometown to tend to her mother in the aftermath of her latest string of disastrous plastic surgeries. Through the eyes of Linli, the environment around her reflects components of her own reality, full of signs of destruction and disrepair, including grass that is “as brown and dry as any in Los Angeles,” a fruitless fig tree that has been damaged after her mother backs her car into it, and a thicket of bougainvillea with “deep magenta bracts” dying and falling to her feet. Write a short story in which the setting displays characteristics that reveal both the mindset of your main character and themes you wish to interrogate in your narrative. How might elements that may conventionally be seen as positive or beautiful take on hints of menace or darkness through the story’s landscape?

“Zipping your skirt, you rustle past, / sand hissing through a glass, / with the bedouin snap and flash / of static-electric / sparks disturbing fabric.” In “Static,” which appears in Bright Thorn: Poems 2000–2026 by Devin Johnston, forthcoming in May from Farrar, Straus and Giroux, sound is a significant component of how meaning is expressed. The poet carefully observes a subject’s actions, capturing the ways in which a single movement or gesture can communicate a vast complexity of sentiment. From the tactility of fabric and the sibilant sounds and motions of “zipping” a skirt to the “sparks” of consonance, an intimate tone is set. Write a poem that employs a variety of sounds to convey the complex feelings within a resonant image or moment. How does the variance in sound and actions create a sense of productive tension?

In “Catfishing in Academe,” part of Lucy Ives’s Negative Utopia series published in the Believer, the author writes about her experience with a student’s AI-fabricated writing assignment in an introductory creative writing course. Ives considers the ways language models “threaten worlds” in the ways they “shave language of its messy connections to community, culture, history, poetry, and living bodies.” Spend some time jotting down notes about your favorite words, phrases, slang, or types of language you use with different people in your life. Then write a personal essay that explores how your own, idiosyncratic use of language has “messy connections” to community, culture, and history. How has your use of language evolved to reflect its particular associations with your own living body and those of others around you?