"Spring is the time of year when it is summer in the sun and winter in the shade,” wrote Charles Dickens. As we prepare for a long-awaited spring, it’s interesting to reflect on the role that spring plays in literature. This week, try to write a scene that incorporates a spring tradition. It can be something as ancient as a maypole festival, as commonplace as “spring cleaning,” or it can be a new tradition, made up for the purpose of your story. If you need some inspiration, research how different cultures welcome the spring months.
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 prospect of shopping excites some, while others find the experience tedious or even stressful. This week, write a scene in which your character is faced with a big purchase, perhaps one that requires some prior research. Is your character impulsive or thorough? Does he or she approach the experience with excitement or unease? What does your character ultimately end up purchasing?
“My business is to create,” wrote William Blake. This week, write a story whose protagonist is also in a creative enterprise. Your character can be an artist, or he or she can be involved in a field your typical reader may not initially think of as creative. Try to find and describe this creative impulse.
Some of the most revealing scenes in fiction occur when characters gather for an event. The Super Bowl offers an opportunity for friends, whether they are sports fans or not, to do just that. This week, write a scene in which your protagonist is watching the Super Bowl. Is he or she playing host? Begrudgingly attending an ex’s party? Which team does he or she root for? What happens during the commercials? Sporting events provide wonderful opportunities for tension and elation. How will your characters engage with this event?
Think of a deceased historical figure and make a list of his or her qualities and attributes. Then try to conjure a modern version of this person in a five-hundred-word story. For instance, a character based on Jean-Jacques Rousseau might be on a walking tour of a city; a character inspired by Marie Curie could be working in a lab. Make this figure your own by weaving in imagined details and context.
“Forgiveness is not an occasional act, it is a constant attitude,” said Martin Luther King Jr. Imagine a character who needs to forgive someone. Who does he or she need to forgive? What was the nature of the injury? What were its implications? Does forgiveness come easily to your character, or is retaliation a more natural impulse? Does your character try and fail to forgive initially? See how your character’s desire to forgive creates obstacles and ultimately fuels your plot.
Effective listening is imperative to effective writing. Listening carefully while sitting on a crowded subway, drinking coffee in a lonely diner, or asking a stranger for directions can lead to new characters, settings, and story lines. It is also important to listen to your own characters. Make a list of ten questions to ask a character you are developing. Listen to your character’s answers, diction, and inflection, and write down what you hear and see in your imagination. Most people, including fictional characters, will tell you who they are. You just have to ask.
“In literature as in love, we are astonished at what is chosen by others.” This quote from French author André Maurois underscores the importance of knowing who you are as a fiction writer. As in love, readers can’t genuinely fall for an author’s work unless the writing is sincere, open, and truthful. Clear your head. Forget about your significant other, your editor, and your audience. Place your protagonist and antagonist in a location familiar to you, and write six hundred words about their interaction. The characters are people unto themselves, but your mind creates the attitude, style, and tone of the world in which they live. In fiction, the writer is nowhere, and everywhere, at all times. This is the authorial being that readers come to love.
The promise of a new year is laden with expectations. Much of the conflict and drama that propels stories forward stems from a character’s passions and expectations. Some of those expectations are achieved, others bring heartbreak and despair. Write a scene in which your protagonist deals with unfulfilled expectations. Describe in detail his or her reaction, whether it is expressed by a simple downward gaze or a violent tirade. Contending with failed expectations reveals much about the inner worlds of our characters.
This is a difficult week for fiction writers. Like athletes, writers must maintain a disciplined daily regimen to ensure their creative muscles are strong, productive, and functioning at peak levels. The holidays, however, can derail even the most committed writers as our lives submit to the drama of meddling family members, long lines at airport security, or a lovingly made apple pie dropped on the front steps. Give yourself the gift of time this holiday. Take twenty minutes to disappear and write. Hide if you must. Report from the eye of the holiday storm. Create characters from the people around you. Develop fictional stories from their real experiences. Stay creative.
"I read newspapers avidly. It is my one form of continuous fiction." This humorous quote from Aneurin Bevan, the architect of Britain's National Health Service following World War II, is also packed with advice for fiction writers. Newspapers—whether online or print—offer a wealth of story ideas, inspiration for character development, and engrossing portrayals of humanity and inhumanity. Read the local section that highlights everyday people confronting the ordinary trappings of life. Choose a person, event, or experience that captures your attention. Begin your next story there.
Tension is critical in fiction. Tension is the difference between a story about a boy flying a kite and a story about a boy flying a kite in an electrical storm. Tension often is created through conflict—which means your character must want something desperately: an apology from a lover, respect from a father, a cup of water on a crowded lifeboat. Revisit your writing and read it carefully for tension, which keeps readers engaged and propels the story forward. If you stop reading, check for lapses in tension.
“I still maintain that the times get precisely the literature that they deserve, and that if the writing of this period is gloomy the gloom is not so much inherent in the literature as in the times.” This quote from author William Styron, who died in 2006 at age eighty-one, addresses the role of tone in fiction. People are the products of their times; they are influenced by the economic, political, and cultural climate that surrounds them. Write five hundred words that bring to life the mood of the society your characters inhabit. A bloody sunset, a tarnished silver fork, or a character’s stoic posture can make vital intangible forces accessible to your readers.
Details are critical to character development, especially when describing a character’s face. A glass eye, a crooked nose, or thin lips can convey more meaning than exposition or action. Describe the face of your protagonist, and then describe the face of your antagonist. What qualities do they share? How are they different? Write so that a comparison of the characters’ faces provides both symmetry and juxtaposition that symbolizes the nature of their relationship.
Sleep deprivation can make any person act strangely. A barking dog, a leaky faucet, or a loud and unruly neighbor can own the night, turning pleasant people into frazzled malcontents. Write five hundred words about a protagonist who is prevented from sleeping by an outside force, and describe how this character handles the stress and resolves the challenging situation.
Class is often characterized by how an individual treats others when no one is looking. Without interference from societal judgment, family expectations, or peer pressure, people often act very differently—revealing much about their true natures. Some become selfish and ruthless. Others shine with empathy and magnanimity. Place your protagonist in such a situation. Allow your character to take the lead. As a writer, it is your job to follow and relay what happens. Write five hundred words.
Fiction writers know that conflict drives plot. Tension and drama imbue life into our characters and propel their stories forward. Human nature, however, craves tranquility and clarity. Write five hundred words describing your protagonist at peace—truly one with the universe, even if only for several seconds. Perhaps your character is sitting on a park bench and staring at a bruised cloud, or on a crowded subway car listening to the rails below, or walking out of a cemetery with a beer in hand. Peace is unique to everyone.
Halloween evokes the power of tradition, superstition, and society. Our children dress up as heroes, goblins, and villains and scamper along our neighbors’ sidewalks, lawns, and driveways beseeching candy. Write six hundred words about a confrontation between an adult homeowner and a group of children. Allow the colors, tones, noises, smells, and feel of Halloween to inform—if not define—your writing. Be funny. Be scary. Be creative.
“Fiction is experimentation; when it ceases to be that, it ceases to be fiction,” storyteller John Cheever once stated in an interview. Place your protagonist in an unexpected situation—trapped in a chimney, confronted by a ghost, or suddenly penniless. Unforeseen conflict reveals hidden character flaws and virtues. Don’t self-edit. Though it may not make the final draft, experimental writing deeply informs both style and character. Writing is the act of failing forward every time you sit down.
Our characters reveal themselves through their actions—not only in dramatic scenes that involve death, injury, or heartache, but in small, subtle ways too. Show how a character in your fiction eats. Is the character’s demeanor ravenous and paranoid or slow and sophisticated? How your character eats, appreciates, and relates to food reveals much about his or her upbringing, emotional state, and intellectual disposition.
Pets are playing an increasingly important role in the lives of many people and families in our society. Pets offer companionship, unconditional love, or simply represent a welcome living force in our imperfect homes. Write a scene where an animal or pet stops a character from feeling lonely, stressed, or on the brink of madness. Explore the complex, but very deep and real, relationship between animals and people.
Life is stressful. How our characters handle—or don’t handle—stress reveals much about them. Write a scene in which your protagonist is stressed due to a death in the family, a financial crisis, or an unraveling relationship. Place your protagonist in a grocery store at the express lane for customers with fewer than 10 items. Have a lady, pushing a cart full of groceries, jump in line just before your protagonist. “Sorry, but I’m in a hurry,” she explains. Write six hundred words.
As children our imaginations ruled the land. However, years of life, love, and loss erode our creative shores and the rustling trees and vibrant animals that inhabited them. The unstoppable dinosaurs and steaming teacups in our small hands suddenly become pieces of plastic from a toy store. Write a short story through the eyes of a four-year-old child. Go on an adventure.
People are complex. So are believable characters. Much of what comprises our characters stems from the writer’s knowledge of the universe and writing’s miraculous universality. Think of Don Quixote de la Mancha, Jane Eyre, and Oscar de León—or your own favorite characters. What about these notable literary figures gives them life and humanity? Write a paragraph that defines the complexities of each character you are developing. Tack these paragraphs to the wall beside your desk, and use them as guidelines for your characters whenever their voices are muted by the harsh winds of creativity.
Dialogue is about economy of words. Less means more. Dialogue should reveal characters through tension. Write a scene in which your protagonist must convince a stranger to divulge his or her social security number. The context is irrelevant. Use the conversation to show readers who, exactly, this protagonist is. At the end of the scene, have the stranger whisper the number into the protagonist’s ear.