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.

3.21.13

Write a micro essay of 1,000 words in which you incorporate a series of footnotes. Strive to create the footnotes so that they both propel the essay forward and layer it with meaning.

3.20.13

From Mary Shelley's Frankenstein; or, The Modern Prometheus to Anne Carson's Autobiography of Red, there is a long tradition of fiction about monsters. Write a story of your own in which a monster is the main character. The monster could be based on another monster from literature or popular culture or it could be one from your imagination.

3.19.13

Collect phrases and words that you see throughout the day today. Arrange them on the page, using line breaks where they seem to naturally fall. Next, above the lines you’ve recorded, write words and phrases that are somehow related to those on the page, such as synomyms, antonyms, or words that sound or look similar. Rewrite what you’ve recorded replacing the new words with the old. Use this as the first draft of a poem and continue revising it into a finished draft.

3.14.13

Create a timeline that marks the major events of your life. Analyze it, looking for patterns or events that led to a series of others. Based on what you see, write an essay that explores one period of time—it could be a year, two years, a decade, or more. Think about how that time period informs the narrative of your life that you present to your friends, family, and acquaintances.

3.13.13

You walk into a dimly lit room at a party where you’ve arrived with a friend. The walls of the room are lined with reptile cages. Across the room you see someone you recognize, and when you turn to your friend he or she is gone. What happens next?

3.12.13

Today there are fifteen lines of poetry that will present themselves to you in various ways. Some will be visual, some will be spoken. Look and listen carefully. Take the time to record them. Then refine them and use them to craft a poem. 

3.5.13

Write an essay about a story or anecdote from your family lore that has never added up. Imagine various details of or revisions to the story that would make it make more sense.

3.5.13

Write a contemporary adaptation of a fairy tale using first-person narration from the point of view of the villain.

3.5.13

Write a poem in the form of a letter to an imaginary friend in which you ask them for help that begins, Dear Friend. Keeping the person or creature or entity you’re writing to in mind, include details and images that reveal your imaginary friend’s characteristics as you craft your entreaty.

2.27.13

One of the challenges of writing memoir is balancing truth and one’s subjective experience of the past. Write an essay about something that happened in your past that involved family or friends who you trust. Send your essay to one or more of these people, and ask them to read it and to point out any differences between how you presented the event and how they remember it. Use their input to revise the essay.

2.27.13

Dialogue, when it’s working well, moves the story forward and more fully develops your characters. Keeping this in mind, write a scene for a story that is only dialogue between two characters. Let what the characters say reveal the plot and their personalities and motives. 

2.25.13

As poet Ted Kooser writes in The Poetry Home Repair Manual: Practical Advice for Beginning Poets (University of Nebraska Press, 2005), “When it comes to the form your poem takes, you can determine it as you write....As you work on your poem, try to see what shape the poetry wants to assume.” Following Kooser’s advice, write a draft of a poem and analyze its structure. How many lines does it have? How many stanzas? How many stressed syllables per line? Look for a dominant pattern in what you’ve written and revise the poem to fit that pattern consistently.

2.21.13

Read through your past writings—drafts of essays, journal entries, letters, stories—looking for themes or images that are repeated. Choose one of these and write an essay about it, exploring as much of it as you can. Incorporate your personal connection to it, as well as outside sources, such as definitions in the dictionary, historical information, and/or cultural and literary references. The idea is to dive deeply into this theme or image to discover the root of your obsession with it. 

2.20.13

Choose a short story by a writer whose style is very different from yours. Type out the story, reading it out loud as you go. Then analyze the opening of the story: Does it begin with dialogue? An anecdote? Setting? Begin a story of your own, modelling its opening after the one you've read and incorporating its style and rhythm.

2.19.13

Choose two favorite lines from a working draft of a poem that needs revision. Write a villanelle, using those lines for the refrains. See the Academy of American Poets' website for more about the villanelle form, a poem of nineteen lines made up of five stanzas with three lines each. 

2.14.13

To celebrate Valentine’s Day, write a love letter to an inanimate object that explores why you appreciate what you're writing about, what its special qualities are. Title it as you would address the letter: Dear Subway, Dear Keychain, Dear Gloves.

2.13.13

Write a scene for a story with two characters. One character has kept a secret from the other, and the other has recently discovered it, but not yet revealed her discovery. Have the characters engaged in an activity—shovelling out from a snowstorm, preparing for a party, looking for a lost ring. Use the dialogue and the action to express the tension between the two, without having them directly discuss the secret.

2.12.13

Send a line of poetry to a friend via text message or e-mail and ask her to compose a line in response. Collaborate on drafting a poem in this way, building it line by line until you both agree that it's reached its end. Using the final product as a draft, revise the poem and have your friend do the same. Compare your final drafts.

2.6.13

In Good Prose: The Art of Nonfiction authors Tracy Kidder and Richard Todd describe how in "The White Album," an autobiographical essay by Joan Didion about the 1960s, Didion "uses her own responses to the times as a means of trying to capture a broad truth about events." Choose a period in your life, and write an essay about loosely related events you experienced that together offer insight into a certain time or place.

2.6.13

Write a story of 1,000 words from a main character's perspective about the moment his or her life took a significant turn. Keep the description about the moment sparse, focusing on what happened versus how it happened. For an example, read Denis Johnson's short story "Car Crash While Hitchhiking."

2.5.13

Using scissors, cut up one of your poems that needs revision into its lines or parts of lines. Rearrange these clippings in various combinations and create a new draft. Write a revision of your poem based on this new draft.  

1.31.13

In honor of the 100th anniversary on February 1 of New York City's famed Grand Central Station, write an essay about a time in your life when you travelled—it could be daily travel, such as the commute to and from a job; seasonal travel, such as heading to a beach community every summer; or a vacation, such as a trip to a foreign country. Focus on what compelled you to go and the transition of leaving one place and arriving in another.

1.30.13

Write about a main character for a story, focusing on his or her occupation. Freewrite for five minutes about this character, considering the following: What is his or her job? How did the character get it? How long has he or she held it? What does he or she like and dislike about it? Set your freewriting aside, then research details about this occupation, taking notes along the way. What kind of language would a person with this job use? What kind of equipment? Where would the office be located? Who would be the boss? What would the job title be? Use your freewriting and your research to inform a story about this character.

1.29.13

Today is the fiftieth anniversary of the death of American poet Robert Frost. To honor this day, read Frost's poem "Stopping by Woods on a Snowy Evening" on the Academy of American Poets' website. Analyze the poem's structure, and write a poem with the same rhyme scheme and number of lines.

1.24.13

Think about an important conclusion or insight that you've had at some point in your life but that took time to fully realize. It could be anything—the need to end a relationship, the decision not to pursue a certain career, or the hard truth about a life challenge. Write an essay structured around the many moments that led you to your final conclusion or insight. Consider using headings for each section, such as The First Time I Realized X, The Second Time I Realized X, etc.

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