Did one of your characters have a major turning point in her past? Is this event or decision crucial for this character's development? This week, take a scene you're stuck on and rewrite it as if that turning point had never occurred, and an alternate option was chosen. If your character moved to London because she was transferred by her company instead of moving back to her parents' house in Florida, how would this outcome deepen the evolution of this character? Think about what this character needs to face—what shortcomings, fears, and hindrances she needs to overcome—and force her to come to terms with these obstacles.
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.
This week, have a character stumble upon an abandoned object that is oddly out of place. Perhaps a wedding ring is spotted dangling from a tree branch on an afternoon hike, or a stack of family photographs is found stuffed in a handbag for sale at a thrift store. Write this scene into one of your stories. Does your character recognize this item? Does he or she keep it, or try to find the owner? Consider how this scene might help develop your character or unexpectedly affect the main plot of your story.
This week, think about what types of stories you write most often and the elements you tend to use when building your story. Then, write a story in a genre you've never tried before being sure not to employ any of your usual techniques. If your stories don't often include romantic themes, make romance a main plot point. Instead of always writing in the first person, try third person omniscient. Even if you've already discovered your favorite style of writing, it's good to dust off other instruments in your literary arsenal every now and then.
Sometimes we pick up a book or read an article at the exact moment it's so needed. This week, write a story in which one of your characters is going through a difficult time and picks up a book that changes his outlook. Have your character become so connected with the book that he feels like it was written for him. Who knows, maybe it was?
Do you have a buddy that also enjoys writing? This week, write something in the voice of your friend. Ask her for a particular topic to focus on, or just let your imagination run wild. It may be fun to have your friend do the same for you and swap stories once you’re both finished.
C. S. Lewis used a wardrobe, J. M. Barrie used the second star to the right, and Lewis Carroll used a rabbit hole—each a gateway to another world. This week, pick an object that is important to you and transform it into a portal to an alternate world. Write a story about someone discovering the portal and adjusting to life where everything is foreign. Take into consideration where this secret passage is located and what it feels like to pass through it.
Gold is one of the most valuable metals on this planet. People have been unearthing it, stashing it, and fighting over it for centuries. This week, write a story about a character who creates a large amount of imitation gold so convincing it passes for real gold. What circumstances compelled him to produce this form of counterfeit currency? What will he do with his “fool's gold?”
Have you been writing about a character who seems stuck? Shake things up a bit and have him move to a new town. It could be the next town or the next state over. Make the new setting just different enough to make your character an outsider to the residents, but familiar enough that he feels he should fit right in.
Just as we often have a favorite t-shirt, sandwich, or brand of coffee, we also have favorite words; the ones we use in everything we write without even realizing it. Think about why you use these words so often. Is it because they reflect your personal writing style, or because it’s become a habit? This week, read carefully through one of your stories, circling the words that keep popping up. Then explore different options for expressing the same sentiment.
We can imagine that animals have a very different concept of life than we do. To a lobster gazing through the glass of his tank at humans in a seafood restaurant, the world looks very different. An ant, whose average life expectancy is sixty days, most likely does not fear death the way humans do. This week, write a story from the perspective of your favorite animal. Watch Tim Seibles read his poem “Lobster for Sale” for inspiration.
Children’s stories are often allegorical and presented in a straightforward manner. This week, take your favorite children’s story, fairy tale, or myth and complicate it. Use the original as a jumping-off point to introduce wild elements, unlikely back stories, and off-center characters.
So many great films have been released over the past year, many of which have been adapted for the screen from works of fiction and creative nonfiction. This week, think of a movie you love that isn’t based on a book and try to write a short story version of it. Examine the types of shots used, the lighting, how scenes are staged, and try to translate these visuals into the structure of your story. For inspiration, read this article in Electric Literature.
This week, dream up some technical advancement and incorporate it into the story you’re working on. It could be an improvement on something in use today, like smartphones or television sets, or it could be something completely new. Perhaps one of your characters is prescribed an experimental new medication that improves his memory. Write about how this new technology affects him and the potential impact it has on society as a whole.
Is one of your characters overwhelmed by all the tasks she needs to do on a daily basis? Have her hire a family member as a personal assistant. Maybe her retired father or grandmother needs a part-time job. Write about the kinds of things she would have the assistant do for her, and all the wacky situations that result from this new relationship.
This week, have one of your characters become disillusioned with football (or another major sport) and inspired to invent a new sport. The possibilities are endless. Think of what the objective will be, whether or not it will be team-based, what sort of equipment or arena will be necessary, and so on. Imagine a world in which this new sport catches on and becomes more popular than any other sport in history.
"Glitter bombing" is an act of protest in which activists throw glitter on specific targets at public events. You can also "glitter bomb" people through the mail. Many websites offer to ship your enemies spring-loaded letters filled with the invasive craft supply, for a nominal fee. This week, write a scene in which one of your characters gets glitter bombed. Consider the location, the method used, the perpetrator, and how this character would respond to being covered in glitter. Was this act just a harmless prank, or something more serious?
In the story you’re writing, is one of your characters confronting a major obstacle? Think reasonably about the obstruction, and whether your character is equipped to push on through. Some obstacles can’t be overcome without retreating back to the start. What does your character notice now that he or she missed before? What side streets and detours were not on the map the first time around? Write about this unexpected journey.
This week, take a straightforward scene you’ve been working on and insert an awkward mistake made either by a major or minor character. You know the kind, in which you suddenly find yourself apologizing for walking in on a private conversation, and when backing out of the room, you knock over an expensive vase. Or perhaps an innocent typographical error causes an incredible uproar that, even once corrected, isn’t quickly forgotten. Use this mistake to forward the main plot, introduce a subplot, or inject some lighthearted slapstick into your narrative.
Do you have a time period you routinely set your stories in? This week, choose a story you’re struggling with and reimagine it in a different decade or century. Perhaps setting your story further in the past will help you get your point across in a more engaging way. Maybe placing your main character in the future will enable him or her to accomplish a goal that would otherwise be unfeasible. Although it can be easy to become fixated on a certain era, think about the story holistically and consider how the setting can help direct your writing.
Strong characters are key elements in any well-constructed story. You may have clearly illustrated their history, occupation, likes, and dislikes, but to make them truly compelling you must have a basic understanding of these characters' psyches. Choose a story you've written and make a list of the characters you don't really know yet. Next to each name, jot down notes about what that character's aspirations and motivations are. How do these characters see the world? Who are the people they look up to, want to impress, or model themselves after? Where do these characters want to be in the next five years—or in the next fifty? Will they reach their dreams, or are they destined to get sidetracked? Let this information serve as a reference when you are deciding how a character should react in a situation, or how the plot should progress.
This week, pick a character and write a passage describing the childhood bedroom he or she grew up in. Consider the smells, the angle of sunlight through the blinds, the faint murmer of the television in the living room. What secrets are hidden under the floorboards, or etched in the closets? If the house still stands, and his or her family still lives there, have your character return for a visit.
Jorge Luis Borges once said, “I have always imagined that paradise will be a kind of library.” Libraries are fascinating places, full of knowledge and mystery. Think of a library you’ve been to in the past. It could be the local library you went to as a kid to look at picture books, or a library you visited once to kill time. Take this library and use it as the setting for the beginning of a new story. Consider the librarian on duty, the regulars, the dark corners, and old books with strange, scribbled notes. What brings people to this library? What are they trying to find?
It has never been easier to learn how to cook with culinary shows on television, tutorials on the internet, and an abundance of cookbooks and food blogs specializing in all sorts of cuisines. This week, write a scene in which one of your characters has sparked an interest in cooking. Does cooking come naturally to her, or is it difficult for her to master? Does she set lofty goals, like winning a competition?
Do you remember how you used to play with toys as a child? If you sat down today with your blocks, your old train set, or your favorite doll, the way you’d interact with these toys would probably be very different than when you were five or six years old. This week, try and enter the mind of a child crouched on the living room floor, building a world fueled by imagination, and translate it into a short story. Think of the weird names kids give to their toys, and the strange logic that comes from the innocence of trying to grasp mature concepts. Good examples can be found in The Lego Movie, which came out earlier this year.
When writing, we usually employ as many senses as we (or our characters) typically experience. Take a scene you’ve already written and tally how many times touch, sight, sound, taste, and smell are used to describe the environment, characters, and action of the story. Which one do you rely the most heavily upon in your writing? Remove all of the instances in which that sense is used, and use an alternative sense in its place. How does this affect the tone, the action, or the scene as a whole?