“I am glad it cannot happen twice, the fever of first love. For it is a fever, and a burden, too, whatever the poets may say,” writes Daphne du Maurier in her 1938 Gothic novel, Rebecca. First love between characters who meet and bond at a young age has often been depicted in literature as feverish obsession sustained over the course of many years. Consider the monstrously toxic romance between Catherine and Heathcliff in Emily Brontë’s Wuthering Heights and the fifty-plus-year separation of lovers in Gabriel García Márquez’s Love in the Time of Cholera. Write a story that revolves around a character’s experience of first love. Explore your character’s perceptions of love and how they evolve over time.
The Time Is Now
The Time Is Now offers a weekly writing prompt (we’ll post a poetry prompt on Tuesdays, a fiction prompt on Wednesdays, and a creative nonfiction prompt on Thursdays) to help you stay committed to your writing practice throughout the year. We also offer a selection of books on writing—both the newly published and the classics—that we recommend you check out for inspiration, plus advice and insight on the writing process from the authors profiled in Poets & Writers Magazine. And don’t miss Writers Recommend, which includes books, art, music, writing prompts, films—anything and everything—that has inspired other authors in their writing.
“The stories that we tell ourselves and the stories we learn from others are a matter of life and death. Literature has the ability to literally change our minds—to change how we act, how we grow, what we believe, how we vote, how and when we speak,” says Morgan Parker in “Portraits of Inspiration” in the January/February issue of Poets & Writers Magazine. Write a short story that revolves around a subject, topic, issue, or idea that feels intensely important, urgent, or vital to you. How can you create a character that becomes a source of empathy for what matters to you?
In E. L. Konigsburg’s 1967 classic children’s book From the Mixed-Up Files of Mrs. Basil E. Frankweiler, two young runaways hole up in New York City’s Metropolitan Museum of Art for some adventure, but what would happen if it were a museum of food instead of art? Browse through National Geographic’s roundup of food museums and food factory tours—including ones for bread, Coca-Cola, Ben & Jerry’s ice cream, chocolate, and ramen—and write a short story in which your protagonist has a memorable experience in one of these gastronomically focused places. Does the experience leave nothing—or everything—to be desired?
“There is no market, school, doctor, or shop, and from late-autumn until mid-spring the village is inaccessible by car and uninhabited,” Alex Crevar writes in National Geographic about Lukomir, Bosnia and Herzegovina’s highest village and home to just seventeen families. Write a story set in such a place (real or imagined) that is similarly caught between modernity and the social and technological isolation of its landscape. What does living in this world do to alter the interactions and daily concerns of its inhabitants? Is there a generational shift or a longing for change?
In “How to Write a Family Newsletter Your Friends Will Actually Read,” New York Times writer Anna Goldfarb offers suggestions for the dos and don’ts of penning a family holiday newsletter. Perhaps you receive these missives annually from a friend or relative with a curated list of their accomplishments that year, or you participate voluntarily or involuntarily in one. For this week’s exercise, write a fictionalized holiday dispatch—maybe from someone with mischievous and beloved pets, parents that detail each of their children’s achievements, or that pays tribute to a departed relative. For tone, take in consideration Goldfarb’s advice: “Figure out whether you want this piece of writing to be preserved for future generations—a keepsake—or if you want this to be a throwaway piece of mail—scan, chuckle and toss.”
Holiday window displays have long been a tradition for stores to show off their best gift-giving ideas, window dressers to demonstrate their creativity with tableaux of festive decorations and scenes of wintry activities, and for shoppers and strollers to look for inspiration and cheer. Write a short story in which your main character catches sight of something in a holiday window display that serves as a catalyst for a surprising course of action. Does something depicted in a window unravel a forgotten memory? Is there a gift that would be perfect for a long-lost friend?
Studies in the past several decades have repeatedly demonstrated that the placebo effect is quite real and, though unpredictable, has the potential to alleviate symptoms even when people know they’re taking a placebo. It’s been theorized that this efficacy is connected to an individual’s expectations for positive results. Write a short story in which your main character recovers from an ailment and then discovers it is due to a placebo effect. Who was responsible for prescribing the placebo? Does this discovery lead to a darker truth?
Coauthoring a book with another human being might have its challenges, but what about coauthoring a book with a robot? Robin Sloane is currently at work on his third novel set in a near-future California, and with an artificial intelligence computer as one of its main characters. To help write this character’s lines, the author enters snippets of texts he composes into a computer program he designed that draws from a database of texts, such as old science fiction magazines, a range of California-related novels and poetry, wildlife bulletins, and oral histories. Write a short story in which your character decides to embark on a new project with the help of artificial intelligence. Does the machine stay under control and remain useful, or does something go unexpectedly wrong?
Have you ever, out of impatience or curiosity, turned to the last page of a novel you were in the middle of reading in order to relieve your anxiety about the ending? This week, if you are staring at a blank page or screen unsure of where to begin, soothe yourself by fast-forwarding to the final page of the story. Write a stand-alone conclusion without halting to examine plausibility or the actions that could have gotten your characters to this place. Perhaps this exercise will lead you to write an origin for the story and flesh out your characters and the setting.
“I would still like to know things. Never mind facts. Never mind theories, either,” the narrator states in Alice Munro’s short story “The Turkey Season.” The comment refers to a mysteriously heated altercation between coworkers that occurred decades ago, when the narrator was fourteen and spent the holiday season working as a turkey gutter. Although the details of the dramatic fight remain unknown and continue to haunt her, the bulk of the story rests on descriptions of mundane recollections: learning how to clean turkeys; coworkers’ personal lives and habits; issues surrounding labor and class as well as gender and sexual dynamics; and the expression of each person in a photograph of the work crew. Take inspiration from Munro’s story and write a short story with an ambiguity at its core and a narrator who looks back on a period of time during a holiday season. Use this larger theme of puzzling over something unresolved to explore the nuances of an uncertain time in adolescence when personal value systems are tentatively being formed.
“Graffiti Palace was the amazing confluence of three worlds that crashed together: The Odyssey, graffiti, and the Watts riots,” writes A. G. Lombardo in “5 Over 50” in the November/December issue of Poets & Writers Magazine. Lombardo describes the circumstances in his life, such as his job as a high school English teacher, that combined to form “this strange brew of ideas” around which his debut novel revolves. Write a short story that combines several elements of your life, perhaps including hobbies or passions, political events of national importance, and favorite works of art or entertainment. How can you crash these disparate interests together to form a cohesive narrative arc?
This week, create your own cinematic adaptation. Select a movie or an episode from a television series in a language you are unfamiliar with, but do not turn on any subtitles. Instead, pay close attention to the body language, vocal intonations, and facial expressions of the characters in order to uncover, and invent, your own narrative. Don’t be concerned with accuracy; allow uncertainty to make way for creativity. Then, write a short story based on your interpretation of the events. How will you choose to describe the body language and atmosphere in a scene? What dialogue will you create for the characters?
In her New York Times essay “The Ghost Story Persists in American Literature. Why?,” Parul Sehgal writes about how ghost stories throughout American literature have functioned as social critique, manifestations of protest and redress that reveal “cultural fears and fantasies,” and which understand “how strenuously we run from the past, but always expect it to catch up with us.” Write a story that uses a dark or troubling part of history as the impetus for an appearance of a ghostly presence. How does the ghost serve “as a vessel for collective terror and guilt, for the unspeakable” in your story?
Have you ever found yourself peering over a nearby stranger’s shoulder to see what’s on the phone’s screen? In a recent study, researchers at the Ludwig Maximilian University of Munich analyzed findings from a survey and found that “shoulder surfing was mostly casual and opportunistic” and was “most common among strangers, in public transport, during commuting times, and involved a smartphone in almost all cases.” Write a short story in which your protagonist peeks over the shoulder of a bystander and catches a glimpse of something unexpected on the person’s phone. Is it something vaguely suspicious that captures your main character’s imagination or is it something downright implicating?
Ligaya Mishan’s essay “In Literature, Who Decides When Homage Becomes Theft?” in the New York Times Style Magazine examines instances in which the authors of historical and contemporary literature have been accused of plagiarism or cultural appropriation, and questions the imbalance in response and criticism. Explore your thoughts on the boundaries of theft and homage with your own project. Write a short story that pays tribute to one of your favorite authors and offers a new perspective, such as how Kamel Daoud’s novel, The Meursault Investigation (Other Press, 2015), reimagines Albert Camus’s The Stranger or Preti Taneja’s novel, We That Are Young (Knopf, 2018), sets King Lear in contemporary India.
In an interview with Louisiana Channel, Zadie Smith talks about her interest in the way many young authors portray emotional distress or anger in their novels. The characters, often women, will “pinch a bit of their skin until it bleeds” or “hold their jaw” or perform some other quiet act of defiance, rather than letting their feelings surface. “The idea of verbalizing an emotion is quite distant. And the body is treated like this strange thing you have to drag around after you’ve finished your text messages and e-mails and your virtual life,” says Smith. Write a scene in which your protagonist is faced with an immediate conflict involving a partner, family member, friend, boss, or stranger. Instead of silently raging, find a way to describe these emotions that allows your character to engage fully and vocally in the moment.
The song “Emmenez-moi” by French Armenian singer Charles Aznavour, who died this week at the age of ninety-four, is played repeatedly in the soundtrack to the 2005 French Canadian coming-of-age film C.R.A.Z.Y. directed by Jean-Marc Vallée. Throughout the film, Aznavour’s songs are sung by the protagonist’s father, who is a big fan of the singer. Write a short story in which a song of your choosing appears over and over. What is the significance behind the musician or the song’s lyrics to the themes or plot of your story?
The first authorized prequel to the novel Dracula, written by Bram Stoker’s great-grandnephew Dacre Stoker and coauthor J. D. Barker, will be published in October by G. P. Putnam’s Sons. Titled Dracul, the book is based on an earlier, unedited draft of the Dracula manuscript, as well as on family legends and Bram Stoker’s journals, and focuses on events in the author’s youth that may have led him to write Dracula. Choose a classic horror story and write a short story that acts as a prequel to the main events in the original work. You may consider an element of structure or style to carry over, such as the use of the epistolary form in the prequel Dracul that is also prevalent in the original Dracula. Aside from setting the action of your story earlier than that of the original, how else might you create a sense of anticipation or homage?
Earlier this month, a pair of ruby slippers worn by Judy Garland in the 1939 film The Wizard of Oz was recovered by the FBI. The iconic shoes had been missing from the Judy Garland Museum since 2005 and details about the theft and suspects remain mysterious. Write a short story that revolves around the recovery, after many years, of stolen items that have great value to your main character. What speculative theories arise about the theft, and how do they match up with what actually occurred? Ultimately, does your main character learn exactly who took these items, or do mysterious elements and unanswered questions linger?
The technique of thematic threading, which can “provide a backdrop or a second story of resonance that runs parallel to the main story,” is a powerful tool for guiding readers through challenging stories as Tracy Strauss notes in “#MeToo: Crafting Our Most Difficult True Stories” in the September/October issue of Poets & Writers Magazine. By intertwining multiple themes, an author can imbue a story with additional nuance and allow for a narrative with more emotional balance. Write a short story that braids two story lines together, perhaps using one thread to explore an extended sequence of flashbacks or to focus more on sensory details.
What kind of story would you write for someone reading it one hundred years from now? For Scottish artist Katie Paterson’s Future Library project, which started in 2014, she has commissioned Margaret Atwood, David Mitchell, Elif Shafak, Sjón, and Han Kang to write manuscripts that will remain unread in storage in an Oslo library until 2114. The texts will then be printed on paper made from one thousand trees planted in a Norwegian forest when the project began. Write a short story with the notion that it won’t be read for one hundred years. While imagining a future generation of readers, explore themes involving time, eternity, and mortality.
Imagine a town with no Wi-Fi, no cell phones or cordless phones, where microwaves are kept in metal cages, and only 1950s and diesel engine cars are allowed on the road. All of these are real restrictions in Green Bank, a tiny West Virginia town situated inside a designated National Radio Quiet Zone, where data collection by astronomers at the observatory can be disrupted by the presence of electronic interference. Write a short story in which your main character resides in a town with similar restrictions. Is living off the grid a choice? How do the daily tasks and communication of your character differ without the convenience of the tools and technology we often take for granted?
How did your neighborhood get its name? Was it christened by long-ago settlers or spread slowly by local gossipers or journalists? Or might it have been cartographers at Google Maps, which often lists neighborhood names with seemingly no recognizable origin or historical basis, such as East Cut in San Francisco, Fishkorn in Detroit (a typographical error from what was formerly known as Fiskhorn), Midtown South Central in New York City, or Silver Lake Heights in Los Angeles. Invent a descriptive name for a fictional town. Then, write a short story based around the origin of this name. Does the geography or a consequential event play a part in the name and story?
“When I dream of afterlife in heaven, the action always takes place in the Paris Ritz,” Ernest Hemingway once wrote of the hotel he often frequented with F. Scott Fitzgerald. The hotel is used in his novel The Sun Also Rises, and is also the setting of his story “A Room on the Garden Side,” written in 1956 and published for the first time in this summer’s issue of the Strand magazine. Think of a short story you’ve written in which the setting plays a significant role, and write a new story that uses the same locale. How do different characters’ perceptions of the same setting add new dimension to the space?
In the mid-twentieth century, American publishing house Dell issued “Mapback” editions of paperback books, whose back covers were printed with detailed illustrations and diagrams of maps showing where story events took place. Oftentimes these books were mystery or crime novels, and the back covers displayed cross-sections, floor plans, or bird’s-eye view maps. Sketch out your own map for a short mystery or crime story that takes place in several rooms or floors of a building, or among several landmarks scattered around a specific locale. Allow the map to guide the narrative for your story. Do these visual cues help you plot out the action and your characters’ motives?