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.

5.5.11

Take a story you know extremely well, such as how my parents met, my first kiss, or the night I was born and fictionalize it by writing it from a distinct or unlikely point of view. For example, using the story how my parents met, write it from your father's perspective or from the perspective of the bartender at the bar where they met.
This week's fiction prompt comes from Joanna Hershon, author of three novels, including The German Bride (Ballantine, 2008).

5.2.11

Think back to yourself ten years ago—where you lived, what your preoccupations were, who your relationships were with, who you were. Write a letter in the form of a poem to yourself then from yourself now.

 

4.28.11

In a Paris Review interview, fiction writer Amy Hempel talks about a workshop she took with legendary editor Gordon Lish in which he assigned  the class to "write our worst secret, the thing we would never live down, the thing that, as Gordon put it, 'dismantles your own sense of yourself.'" From this came her story, "In the Cemetery Where Al Jolson Is Buried." Follow Lish's assignment. Write a story about your worst secret.

4.25.11

Write a prose poem, a poem that doesn't use line breaks to convey its meaning. Read [the siren's story] by Barbara Jane Reyes for an example.

4.19.11

Eavesdrop on two people having a conversation in a public place. (Avoid small-talk, conversations about the weather.) Write down exactly what they say, including their "ums," "uhs," "likes," and stutters for two pages. Then rewrite that page, using only dialogue, but making it more suited for the literary page; clean it up, keeping the sentiments, but getting rid of all the inconsequential words and lines, and even changing the language to make it more engrossing. (Try to find the subtext behind what they’re saying and what you observed about them while listening.) Compare the original and the revised dialogue. The revision will still be boring, as most people’s conversations are, but the point is to see how fictional dialogue is not the same as spoken dialogue.
This week's fiction prompt comes from fiction writer Teddy Wayne, author of the novel Kapitoil (Harper Perennial, 2010).

4.18.11

Write a poem that explores how you were named and the meaning of your name. Include at least one bold lie.

4.14.11

Choose a social-media Web site, and click on the profile of a person you don't know. Look at his photos, interests, and friends. Give this person a new name, and write a story about something you imagine happened to him ten years in the past, an event that altered the course of his life.

4.11.11

Snip apart a draft of one of your poems, line by line or in chunks. Rearrange the elements and rerecord the original work.

4.7.11

Take a standard medical form from a doctor's office and fill it out in the persona of a character you're working on. Generating even basic information—the name of her street, her family's medical history, her emergency contact—may lead to new insights about her life and her background that you can explore later.
This week's fiction prompt comes from fiction writer Eleanor Henderson, whose first novel, Ten Thousand Saints, will be published by Ecco in June.

4.4.11

Take a cue from Raymond Queneau's Exercises in Style, which tells a single narrative in ninety-nine ways, and write a poem based on what happened just after you got up this morning. Then use one or more of these filters to revise the poem: onomatopoeia (integrating the sounds of your morning into the language of its telling), litotes (a supremely understated start to the day), overstatement (embellishing every detail), olfactory (emphasizing the morning's smells), tactile (emphasizing the morning's physical feel), gustatory (emphasizing the morning's particular taste).

3.31.11

Take a book off the shelf and write down the opening line. Then substitute as many words as possible with your own words, keeping the syntax and parts of speech intact. Then keep writing. Performing this kind of literary "Mad Lib" often creates a useful starting place for a story, especially when the sentence contains an intersection of character, setting, and situation. Or try using these opening lines, from Faulkner, García Márquez, and Plath, respectively:

Through the [concrete noun], between the [adjective] [concrete noun], I could see them [verb ending in "ing"].

It was inevitable: the scent of [adjective] [plural noun] always reminded him of the [noun] of [adjective] [noun].

It was a [adjective], [adjective] [season], the [same season] they [transitive verb, past tense] the [family name, plural], and I didn't know what I was doing in [city].

This week's fiction prompt comes from fiction writer Eleanor Henderson, whose first novel, Ten Thousand Saints, will be published by Ecco in June.

3.27.11

Spend a few moments examining an old photograph—a found image, a photo from childhood, an iconic shot from history—and give it a title. Then put the photo aside and write a poem using this title.

3.24.11

In the third person, write a scene using three different modes of narrative distance. First, using an objective point of view, describe a woman boarding a bus. Use only actions, expressions, and dialogue; make no judgments about the scene or about her interior life. Then, using the omniscient point of view, describe the woman striking up a conversation with the person sitting next to her. You can still describe what you see on the "outside," but now, reveal something "inside" that only a privileged narrator would know. (Is she late for work? Is she worried about something? Is she bored by the conversation?) Finally, shift into stream of consciousness as the woman gets off the bus. Continue to access the woman's thoughts, feelings, and memories, but use the language of the character herself, revealing "the process as well as the content of the mind," as Janet Burroway says. This wide range of voices may be extreme, but it allows for a full portrait of a character's inner and outer life—and reminds us that no point of view is static.
This week's fiction prompt comes from fiction writer Eleanor Henderson, whose first novel, Ten Thousand Saints, will be published by Ecco in June.

3.21.11

Write a poem on a page of today's newspaper, allowing your eye to wander slightly and take in the language on the page, and for your text to overlay the text on the page. If you fix your eye on a specific word or phrase, incorporate it into the composition.

3.17.11

Find a story you admire, one with a tight, linear structure. Stories by Flannery O'Connor or Tobias Wolff would be good choices. Read the story slowly and thoroughly five times, so that you are emotionally detached from the narrative, so that you are able to recognize every sentence as a moving part that contributes to the overall design. Then read it again, for a sixth time, with a notebook next to you. Chart the architecture of the story. Indicate a new paragraph with a dotted line running across the page. Separate every instance of white space with a bold line. Track each paragraph, noting every relevant element. Example: Opens with a description of setting that clues us in to the mood of despair. Character A introduced with a line of dialogue that reveals his selfishness. And so on. When you finish, write your own story that bears no resemblance to the original except in its design. Paste new flesh on an old skeleton. For canonical examples of this, compare "Mexico" by Rick Bass to "The Prophet From Jupiter" by Tony Early or "The Lady With the Pet Dog" by Anton Chekhov to "The Man With the Lapdog" by Beth Lordan.
This week's fiction prompt comes from fiction writer Benjamin Percy, whose most recent novel, The Wilding, was published in September 2010.

3.14.11

Choose a poem that you are in the process of revising. Draw a map of that poem, paying attention to the details of its landscape, its realities and abstractions, its landmarks, the spacial relationships among its features. Use the map to guide a revision of the initial work.

3.10.11

Think of a piece of gossip you've heard and identify the least sympathetic person involved. Maybe it's the adulterous mother of two? Or the Salvation Army bell ringer who, during the holidays, pocketed some of the donations he'd collected? Write a story from the perspective of the least sympathetic person with the piece of gossip as the narrative climax. You might also try writing the story with the piece of gossip as the inciting action of the story, as the event that sets everything in motion.
This week's fiction prompt comes from Bret Anthony Johnston, fiction writer and editor of Naming the World: And Other Exercises for the Creative Writer.

3.7.11

Choose a clichéd phrase ("fit as a fiddle," "think out of the box," "running on empty," etc.) and turn it around. Use the new meaning created by this reversal to fuel a poetic meditation.

3.3.11

Make a list of five physical artifacts that seem to lack emotional weight, the more mundane the better. A donut, a vacuum cleaner, a pair of socks, etc. From your list, choose one of the artifacts, and use it as the emotional linchpin of a story. Write a story in which, say, a vacuum cleaner takes on enormous and surprising emotional significance to a character. For an example of how this can work, read Ann Beattie's story "Janus" from her collection Where You'll Find Me and Other Stories (Scribner, 2002).
This week's fiction prompt comes from Bret Anthony Johnston, fiction writer and editor of Naming the World: And Other Exercises for the Creative Writer.

2.28.11

Flip through the dictionary and randomly choose ten words. Write a poem with each word in every other line.

2.24.11

Write a scene for a story, set in a kitchen, with two characters. One of the characters is keeping a secret from the other. (The secret can be as big as, "You're adopted" or as small as, "I forgot to pay the cable bill.") The character with the secret doesn't reveal it, but still the secret bears down on everything the characters say to each other, the way they touch or don't touch each other, the things and places they turn their eyes to. Let the secrets either emerge or disappear, depending on the way the story evolves.
This week's fiction prompt comes from novelist Lauren Grodstein, author most recently of A Friend of the Family (Algonquin Books, 2009).

2.21.11

Write a sonnet, a fourteen-line poem made up, typically, of three stanzas of four lines, and a fourth of two lines, or a couplet. Use the following rhyme scheme: In each of the first three stanzas, rhyme the first and third lines and the second and fourth lines (a, b, a, b, c, d, c, d, e, f, e, f); and rhyme the lines of the couplet (g, g). For a traditional example, see Shakespeare's "From you have I been absent in the spring...." For a contemporary example, see Denis Johnson's "Heat."

2.17.11

Make a list of traditionally happy occasions: Weddings, children's birthday parties, trips to the beach, promotions at the office, etc. Choose one of the occasions and write a story that subverts the reader's expectations by engaging the opposite emotions. How might a children's birthday party turn frightening? (Hint: clowns!) How might a trip to the beach turn sad? Why would someone be angry about a promotion? The answer is always in the story.
This week's fiction prompt comes from Bret Anthony Johnston, fiction writer and editor of Naming the World: And Other Exercises for the Creative Writer.

2.14.11

For one week, collect words and phrases you encounter throughout the day from signs, advertisements, menus, overheard conversations, radio programs, headlines, television, etc. At the end of the week, write a found poem, using these snippets.

2.10.11

Newspapers are filled with compelling headlines that often include one or two people and describe the final outcome of an event: Man Jumps Off Bridge After Wedding, Woman Kidnapped as Baby Reunites With Family, Flight Attendant Receives Proposal Mid-flight. Read your local newspaper or peruse local newspapers online, and choose a headline. Use it to write a story about what led up to the final outcome the headline describes.

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