Paint A Vivid Setting

And now for something completely different!

The Prompt

Write a story in which the setting is key

Tips

  • Choose a setting for your story based on a real place that you know intimately. You can change details, of course, but this just makes it easier to summon up images in your mind. You can change it to be it futuristic, or historical, or on another planet, but base your buildings on building as you know, base the weather on whether you understand. Use your experiences to make this story shine.
  • Sometimes we worry too much about plot and forget the story is NOT just about the things that are happening. A reader wants to be sucked into the story. They want to be able to see and feel everything the characters are seeing and feeling. Having a strong setting, a strong sense of where they are in space and time, can really help with this.
  • In a short story we don’t have a lot of space. It’s important for every element of the story to serve multiple functions. Setting can provide atmosphere. It can echo or heightened emotions, and it can tell us a lot about the time, place, characters, and mood of your story.
  • Think about your grandmother’s house and how it was decorated and furnished. Didn’t that tell you a lot about who you were going to find living in that house? Think about the houses in Architecture Digest magazine. Who would you expect to find living in one of those houses?
  • Atmosphere, weather, climate, all of these things can enhance or echo your character’s situation and emotion. Storms speak of peril. Humidity makes things feel oppressive. If the trees are bare we know it’s winter.
  • Simple details like whether or not there are weeds growing up through the paving can tell is a lot about the neighborhood in which your character finds themselves.
  • Don’t worry about creating a complicated or original plot in this story. The exercise here is to practice using setting to enhance the simple story that you’re telling. Choose a character, give them a simple mission, and build the reader’s experience into a feast.
  • Use all five senses. “Cinematic writing” can be good, but it means you’re only using your eyes. Use sounds to hear things, use the feel of things, the smell of things, the taste of things — even if the person isn’t eating, the tang of something-in-the-air can tell us whether we are near the sea, or near a decomposing body, or whatever it is that your story needs. Using all five senses will make your reader unable to separate themselves from the story, which is what you want.

Leave a comment and share what kind of setting you used. How’s the challenge going? Got any tips for the rest of us? Share them now!

The Ugly Duckling Story Structure

Continuing our look at story structure, today I have a structure based on the story of the ugly duckling.

The prompt

Write a story based on the Ugly Duckling structure

The story of the ugly duckling is one when you probably know fairly well: Continue reading “The Ugly Duckling Story Structure”

Write A Story In Dialogue

We’re changing tack today: writing in dialogue!

The Prompt

Write a story containing only dialogue

  • You can write this in play format if you like, using each speaker’s name at the beginning of the line, but I would discourage you from using stage directions.
  • Try to convey everything from emotion to movement the setting in the characters’ words alone.
  • If you’re not using play formatting, limit the story to a dialogue between two characters, to keep things straightforward.
  • You could use the two characters you’ve been working on for the past two days since you already have their voices and a sense of who they are. Put them in a room together and see what happens!
  • As well as conveying setting, emotion and movement through words, concentrate on making each speaker sound different. If one is witty and speaks in one-liners, let the other be long-winded and speak in complex phrases with sub-clauses.
  • You can vary these rhythms throughout the story for each character. On character could start relaxed — using relaxed language rhythms — and become gradually more upset — using short choppy language, while the other one goes the other way. Or you could let one character go through a bell curve of these rhythms: starting upset, getting more relaxed, getting upset again; or vice versa.
  • A good way into a story like this is to have two characters discussing something, having an argument, or needing to reach a decision about something. Each should have a slightly opposing view. It can be more powerful emotionally if the two characters actually like each other and want there to be no conflicts between them.
  • You can resolve the story, or one character can storm off leaving everyone shouting “Where you going?” It’s entirely up to you.

Leave a comment to let us know how this went. Was it easy? Did it feel almost-impossible? Did your dialogue sound realistic?

When Your Character Is Not Like You

Today we’re turning yesterday’s prompt inside out.

The Prompt

Write a story about a character as unlike you as you can manage

Tips

  • All those characteristics about yourself that you thought of yesterday? Age, gender, etc. Today were going to throw them out of the window and you’re going to write a story about a character who is diametrically opposed to all of those things.
  • If you wrote about a woman yesterday today, you write about a man. If you wrote about a middle-aged person yesterday, today you write but someone very young or very old.
  • When trying to get inside the head of this person, it can be useful to think of someone you actually know who is very different from you. Think of someone who does things that you would never do, that you despise, or that you secretly admire. Start with their external actions (what do they do when someone cuts them off in traffic that is so different from what you do, for example.) Backtracked from there to try to figure out what is going on in their head and their heart in that moment.
  • Put this character in a situation where there is conflict or stress and where their reactions are going to be really different from how you would react. Write the reactions, and as you’re doing so, unpack the story behind this person.
  • Don’t worry about trying to have a clever plot in this story. It can be something as simple as: this person gets cut off in traffic and how they react. The point of this exercise is to investigate the psyche of somebody very different from you. There’s a danger in always writing characters that are too sympathetic or similar to yourself.
  • Writing about somebody you dislike or someone unlike you can be very difficult. To make them more sympathetic, give them something there really, really good at. They might be charismatic. They might be really good engineering. But everyone has some areas where they are competent even if they are incompetent in every other sphere that matters to you!
  • This is not an exercise in writing a villain. This is an exercise in writing someone very different from yourself. It could be someone you admire.

Leave a comment, letting us know what you did with this prompt!

Guest Writing Prompt from Jerry B. Jenkins

Today’s guest prompt is from the legendary Jerry B. Jenkins, co-author of the Left Behind series and many, many other best sellers, and host of the fabulously generous writing resource: JerryJenkins.com. I’ve been poking around inside his new Writers’ Guild (a memership site for writers). It’s well worth a look, and I’ll be posting a review of it later in the summer.

Updated: As a bonus, Jerry’s asked me to share this article with you:How To Become An Author

The Prompt

You head the credit union at a company that requires employees to explain needs for loans. One pleads privately for confidentiality, and you talk the the board into his loan, based on their trust in you. You go to your grave without revealing his secret, which is…

Jerry Jenkins, author pictureJerry B. Jenkins has written 187 books with sales of more than 70 million copies. He’s had 21 New York Times bestsellers, including the Left Behind series. He now shares his writing knowledge with aspiring authors at JerryJenkins.com.

Guest Writing Prompt from Jonathan Maberry

JONATHAN MABERRY is a NY Times bestselling novelist, five-time Bram Stoker Award winner, and comic book writer.

Today we’re kicking off StoryADay May 2016 with a prompt from the fabulous Jonathan Maberry.  (If you have a chance to hear him speak at a writer’s conference/group/signing, go! You’ll be inspired to run home and write!)

The Prompt

When Terry began scrolling through her phone, none of the photos she found were hers.

Jonathan Maberry, Author pictureJONATHAN MABERRY is a NY Times bestselling novelist, five-time Bram Stoker Award winner, and comic book writer. He writes the Joe Ledger thrillers, the Rot & Ruin series, the Nightsiders series, the Dead of Night series, as well as standalone novels in multiple genres. His new and upcoming novels include KILL SWITCH, the 8th in his best-selling Joe Ledger thriller series; VAULT OF SHADOWS, a middle-grade sf/fantasy mash-up; and MARS ONE, a standalone teen space travel novel. He is the editor of many anthologies including THE X-FILES, SCARY OUT THERE, OUT OF TUNE, and V-WARS. His comic book works include, among others, CAPTAIN AMERICA, the Bram Stoker Award-winning BAD BLOOD, ROT & RUIN, V-WARS, the NY Times bests-selling MARVEL ZOMBIES RETURN, and others. His books EXTINCTION MACHINE and V-WARS are in development for TV. A board game version of V-WARS was released in early 2016. He is the founder of the Writers Coffeehouse, and the co-founder of The Liars Club. Prior to becoming a full-time novelist, Jonathan spent twenty-five years as a magazine feature writer, martial arts instructor and playwright. He was a featured expert on the History Channel documentary, Zombies: A Living History and a regular expert on the TV series, True Monsters. He is one third of the very popular and mildly weird Three Guys With Beards pop-culture podcast. Jonathan lives in Del Mar, California with his wife, Sara Jo.

[Write On Wednesday] Dreadful Dialogue Tags

Conventional writing wisdom (these days) says that the mark of an amateur writer is to use colorful dialogue tags instead of a simple ‘she said’. Nevertheless, teachers continue to foist alternatives to ‘said’ on our children. Today’s assignment is designed to show you just how ridiculous that can become.

 Have fun!

And, if you’re near King of Prussia, PA, tonight, come out to the StoryADay Live! “Un-Dreadful Dialogue” workshop  hosted by the fabulous Main Line Writers’ Group!

Thumbnail of 100 words poster - alternatives to saidThe Prompt

Write a story featuring lots of dialogue. Every time you attribute speech to a person you must use one of the ‘alternatives to said’ from the sheet.
(Click to enlarge)

Tips

  • Make sure you rely entirely on the tags to convey the emotion, leaving the dialogue itself bland and without character.
  • Bonus points for making all your characters sound the same.
  • Be as ridiculous as you like.
  • This exercise works particularly well when your subject matter is serious or shocking.
  • This whole exercise is designed to show you how ridiculous dialogue tags can wreck a serious story.
  • (Remember, “he said” and “she said” become invisible when you use them well. These tags never will.)
  • Make sure every single utterance has a tag, whether or not you need one. (e.g. in the case of two people speaking, you can often get away with no tags at all, especially if the conversation is short and the voices are distinct.)
  • Read it (and weep).

 

Go!

[Write On Wednesday] Change A Headline

Did you ever, as a child, say a word so often that it lost its meaning? (“Basin”, anyone?)
Today I want you to stare at a news headline until it loses its original meaning and lets you play with it.

The Prompt

Take A News Headline And Change A Word Or Two, Sparking A Fictional Story.

Examples

For some reason, to me, this headline suggested some kind of epic fantasy with heroic quests, tasks the hero have been assigned. Continue reading “[Write On Wednesday] Change A Headline”

[Write On Wednesday] PostModern Pop Songs

The Prompt: Write A List Of Song Titles You’d Actually Be Interested In Listening To. Write The Story Behind The Song, for one of them.

After you reach a certain age — or stage — of life, it seems like no one writers songs for you any more. You’ve learned a lot of the lessons pop singers seem to be struggling with. Maybe you’re (gasp!) happily married. Maybe the things you struggle with are things other than love and boys and where to go on a Saturday night.

The Prompt

Write A List Of Song Titles You’d Actually Be Interested In Listening To.

Choose One.

Write The Story Of The Character In That Song.

Tips

  • Country music is probably a slightly better role model here than pop. I know there are lots of songs about a more mature kind of love, or about the kind of lifestyle people wish they were living. You could write a wishlist of how your life would look (similar to the country music odes to God, Guns, Mama, Girls and Trucks)

Continue reading “[Write On Wednesday] PostModern Pop Songs”

[Write On Wednesday] Write A Secret Story

Inspiration for this prompt came from the very wonderful How To Be A Writer by Barbara Baig, which I’ve only just started reading, but which echoes what I’ve been saying here for years (so naturally, I think she’s a genius!)

Not everything you write should be written with a view to showing it to anyone else.

Just as you would practice the piano in private for months or years before hoping to be able to bring any pleasure to a listener, writers must practice their craft too…sometimes in private.

The Prompt

Write A Story That Is You Will Never Show To Anyone

Tips

  • Don’t cheat and tell yourself that something magical is bound to happen and that you’ll end up writing a story so good that you’ll feel compelled to show it to people. Promise you will not show it to anyone and stick to that.
  • If you’re having trouble coming up with something to write about, dive into your stash of Story Sparks (you have been collecting them, haven’t you?)
  • If you haven’t been collecting Story Sparks out in the real world, take ten minutes right now and look deep inside yourself. What news story annoyed you this week? Which political candidate do you despise the most? Why? What did you see that was beautiful, recently? What is your strongest memory of your mother? Why? What did summer smell like when you were growing up? Who do you miss? What’s your favorite swear word? What frightened you when you were a child? What frightens you now?
  • Make a quick list of 30 Story Sparks. (If you don’t know what I mean by story sparks read this article)

Continue reading “[Write On Wednesday] Write A Secret Story”

[Write On Wednesday] Myers-Briggs-plosion

Myers-Briggs

Today I’m encouraging you to put some personality conflict into your story.

The Prompt

Put a particular personality type into a situation they would never choose

Tips

Use the Myers-Briggs personality types (hover over the table at the bottom of this page, to get a list of characteristics for your main character).

Take some of the traits that define your character and put them in a situation completely unsuited to those traits. See what happens.

For example, Continue reading “[Write On Wednesday] Myers-Briggs-plosion”

[Write On Wednesday] Two Different Timelines

Today’s prompt is inspired by a great book I’m reading on story structure. It’s called Book Architecture: How To Outline Without Using A Formula by Stuart Horwitz (who I had the pleasure of meeting at the Philadelphia Writers’ Conference recently. If you get a chance to see him speak, I’d highly recommend it. Very engaging and he takes a VERY different approach to the idea of outlining a story from most pro-outline people.)

The Prompt

Write A Story That Contains More Than One Timeline

Tips

  • Here’s a Flash Fiction example of the kind of thing I’m talking about: Comatose by Megan Manzano
  • In Book Architecture, Horwitz offers a couple of great tips for keeping multiple timelines from becoming confusing: 1, anchor your reader in the ‘present’ timeline before jumping back to a flashback and b, keep your flashbacks moving in the same chronological order (i.e. start at one point in the character’s experiences and move in one direction from there. He uses the movie Slumdog Millionaire as an example of this structure).
  • Here’s a longer, and more complex story that has multiple timelines: The Weight Of A Blessing by Aliette de Bodard (the timelines here are The Present, After The Last Visit With Her Daughter; The Recent Past, During And In-Between Her Three Visits With Her Daughter; and The Far Past, During The War. All of them combine to illustrate the theme of the story while unpacking the details of what the heck’s going on (kind of).
  • For today’s exercise, try doing the minimum: weave two timelines together, and keep each one moving in a particular chronological direction.
  • This might take more time than the usual Write On Wednesday “write it fast and loose” kind of exercise. What the heck, take the whole week.
  • Try taking a story you’ve written before and reworking it this way. Choose one you’re not happy with, or that you never finished Good candidates are stories that sank under the weight of their own backstory. Split out the backstory and tell it in flashback.

Go!

May 31 – Scenario – The Windswept Plain

The Prompt

Your story starts with a character standing on a windswept, desolate plain. How did they get there? What do they want? And what is that on the horizon, and why is it getting closer?

You’ll notice that I haven’t provided a lot of (any?) scenarios during this month of writing prompts. That’s because I firmly believe your own ideas will provide more meaningful stories. The writing prompts I provide are merely a way to help shape your thoughts about the things that matter to you.

Today, however, I think you’ve earned a bit of a break.

This is a particularly fun story to post in the comments at the blog or in the community forums, to see how everyone wrote completely different stories from the same scenario prompt. Give it a try!

The Prompt

Your story starts with a character standing on a windswept, desolate plain. How did they get there? What do they want? And what is that on the horizon, and why is it getting closer?

Tips

  • This story can take place anywhere, at any time and with any kind of protagonist.
  • It could be a space opera, a farce, the climax of a tense kidnap story told in flashbacks, a mystery, a comedy, a romance or a heartbreaking work of staggering genius. Whatever your taste runs to.
  • You don’t ever have to explain why the character is there or what is approaching. You can focus on the character, his/her emotions, memories or senses and still have a satisfying story.
  • Your story can stay on the plain or, if you’re not the outdoorsy type, have your character scuttle into the huge building right behind her that we couldn’t see in the ‘opening shot’ of the story.
  • Consider sharing this with other people in the community who are writing to the same prompt. If you ever had any concerns about not being able to write anything ‘original’, sharing the results of this prompts should cure you of that!

GO!

Post a comment at the blog to let us know you’ve written today, or join the community and post in the Victory Dance Group.

 

And that’s it! You’re done.

No matter how many days you wrote (or didn’t), your writing thanks you for hanging in until the end. Now, print out your Winner’s Tiara, color it in, put your feet up and demand that every one treat you like royalty (the good parts, not the bloody-revolution-parts).

Then come back here tomorrow to check in with the June SWAGr crew, and make your commitments to your writing for next month. (I’m thinking: a few days of more relaxed writing and some revision, to start with.)

Also, I’ll be posting details about next month’s StoryFest, where we get to share our favorite stories from the past month. So don’t be a stranger!

May 29 – Back To Front

The Prompt

Write a story starting with the climax and working backwards to find out how we got there

This prompt might be easier for plotters than people who prefer to discover as they write. Then again, it might not. Let’s find out.

The Prompt

Write a story starting with the climax and working backwards to find out how we got there

Tips

  • Don’t worry about being cheesy and writing “meanwhile” or “five minutes earlier”. This is meant to be a fun exercise. Allow yourself to have some fun.
  • It still all starts with a character. Think of a character who wants something, doesn’t want something else and put them in their worst nightmare situation.
  • It can be something as overdone as finding themselves in their pajamas in a school hallway. Maybe she’s an adult, face to face with her mortified teenage son and all his classmates. Have her talk to someone (perhaps directly to the reader) and start to explain how she found themselves in this mess.
  • In each subsequent scene, start things off with another mystery (the character, still in her pajamas, and we still don’t know why) is on a bus, no, at the wheel of a bus. Explain how she got into that situation and what happened to the real driver, let it run into the school wall and her jump out to find help, then skip back to another, earlier scene. This time she’s running down the street (again, in her pajamas) away from an irate grandmother, who is shaking a walking frame at her. Explain that one and leave her at the bus stop, then flip back to the moment before she annoyed the grandmother; the moment when she discovered she was on her front step in her pajamas with he keys on the other side of the door. Explain how she went from there, to annoying granny, to being forced to seek shelter on a bus, whose driver was incapacitated, to whatever happened to get her into the school. Then, once last scene could show her very normal, serene morning: a morning in which she decides to stay in her pjs just a few minutes more, only then there’s a knock at the door.`
  • This doesn’t have to be a farce. Think of movies like Memento and Looper. Feed the reader little bits of information. Keep them disoriented.  Or think of
  • Pick your own character and nightmare scenario and…

GO!

Post a comment at the blog to let us know you’ve written today, or join the community and post in the Victory Dance Group.

Guest Prompt from Marta Pelrine-Bacon

The Blue Jar, novel coverToday’s prompt comes from Marta Pelrine-Bacon, who was a StoryADay participant in its first year, 2010. She is an artist and the author of The Blue Jar (a novel about two teen girls in trouble). She’s also a mom, wife, teacher, cancer survivor, and coffee-addict.

The Prompt

What is a picture (a photograph or a painting) that you love or at least that has caught your attention?

Write about the artist or the subject. What happened just before or after the scene in the image? (If possible, share the image with us too.)

Go!

May 28 – Non Human

The Prompt

Write a story with a non-human protagonist/main character

Perhaps you’ve tried this all ready this month, but I’m going to bet that most of your stories have featured homo sapiens. Let’s switch things up today:

The Prompt

Write a story with a non-human protagonist/main character

Tips

  • You could imbue an inanimate object with a character OR simply follow it through a series of owners’ hands, telling their stories as you go.
  • You could write about aliens
  • You could tell the story of an animal. Will you anthropomorphize the animals (like Beatrix Potter?) or will you tell their story from a more animalistic viewpoint, all smells and sensations and urges?
  • What conflict will drive your story? Imminent danger? Longing? Adventure? Relationships?

GO!

Post a comment at the blog to let us know you’ve written today, or join the community and post in the Victory Dance Group.

Guest Prompt from Charlotte Rains Dixon

Your main character can have anything in the whole world that she wants. Anything!

Charlotte Rains Dixon headshotCharlotte Rains Dixon is a writer who has made the jump from non-fiction to fiction with her new series of mysteries, the Emma Jean books (the first is available now). Her short stories have been published in The Trunk, Santa Fe Writer’s Project, Nameless Grace, and Somerset Studios. Check out her blog for writing tips and inspiration that are very much in tune with the ethos here at StoryADay.

The Prompt

Your main character can have anything in the whole world that she wants. Anything! Doesn’t matter if it is illegal, immoral, or illicit. Explore what that thing is, why she wants it, and perhaps most importantly, what the consequences of getting that thing might be.

 

Go!

 

(Remember, all prompts are optional and you certainly don’t have to do two stories, or combine the prompts, on days when there’s a celebrity guest.)

 

May 27 – Character Study – Fill In the Blanks

The Prompt

A [adjective, unlike you] [noun, like you] decides to [action – something reasonable] except [something unreasonable]

It’s getting late in the month. Either you’re ticking along with no problems or you’re getting a little desperate by now. Either way, this fill-in-the-blanks prompt should help you come up with a story today.

The Prompt

A [adjective, unlike you] [noun, like you] decides to [action – something reasonable] except [something unreasonable]

Tips

  • Here’s my example: a fitness-obsessed 40-something woman decides to train for a marathon except her husband objects.
  • I’ll have to drill down into why her husband might object, what kind of woman is she, what she thinks running a marathon will do for her, what she will never do, what she needs to do, what the state of her marriage is now and will be if she ignores his objections, if that matters to each of them. Then I’ll have to decide on her voice, whether she is strident, aggressive, funny, charming, wheedling, whiney, a doormat. I’ll have to decide when to enter this story (when she tells him her plans, when she’s already half way through the race reflecting on how she got there, when she’s in divorce court, retelling the story…)
  • You can flip the ‘unlike me’ and ‘like me’ and the ‘reasonable/unreasonable’ tags if that makes the process more fun for you.
  • Even the most mundane of ideas can become something wonderful if you think hard enough about pieces and let the characters come alive.
  • Don’t over-write this. Think hard, then imply. Remember, if you’re telling a story to your best friend, you don’t give her much backstory, and you certainly don’t give her both sides of the story. Write this story that way.
  • This story will work best if you let one voice ring out strongly, with all the whitewashing and self-justification we do without noticing!

GO!

Post a comment at the blog to let us know you’ve written today, or join the community and post in the Victory Dance Group.

May 26 – Joy In The Mundane

The Prompt

Write a story rooted in the small moments of everyday life.

I studied history at university.

Most people think of history as big lists of dates and kings and revolutions and war. My favorite moments in studying history were when someone directed my attention to the tiny things that allowed me to see how people really lived, what they were really like, in the foreign country of the past: shopping lists for Venetian guilds that provided clues as to which festivals they took part in (and when); journals by minor figures aboard ship in the early years of the European exploration of the Americas; how the plays and literature of a period could tell us about everything from economics to gender politics…

Big things happen in our world every day. I listen to news radio dry-eyed all morning, and yet (every damned week) a three minute segment on Fridays makes me cry. It’s StoryCorps, a project in which ordinary people interview each other about things that have mattered in their lives. It ranges from personal testimonies about 9/11, to an old couple reminiscing about their courtship 50 years earlier.

The Prompt

Write a story rooted in the small moments of everyday life. 

Tips

  • Think of the things that give you pleasure: a beautifully prepared dish of tasty nutritious food; a warm bed; the moment the sun dips below the horizon; the sun shining on a cut lemon on your kitchen counter. Write a story rooted in, starting from, or ending at that moment.
  • Read poetry that celebrates the mundane and relates it to bigger questions: for example, Birches, by Robert Frost or The Flea by John Donne. You don’t have to write poetry to make a small, everyday thing enough to power a whole story.
  • Listen to a StoryCorps interview and use it as the basis for a story.
  • Look around you right now. What can you see? What objects give you pleasure? Why? Imagine a character who gets similar pleasure from that object. Why? How can you make the story more universal? Focus on the tiny reasons for joy and write a story inspired by that.

GO!

Post a comment at the blog to let us know you’ve written today, or join the community and post in the Victory Dance Group.

May 25 – Character Fit For Purpose

The Prompt

Resolve the Conflict In Your Story Based on Your Main Character’s Abilities

 

This is inspired by an idea shared on the Writing Excuses podcast. They did a wonderful series of shows about how to make a character more sympathetic without making them inhumanely good/evil. Check out the first of the shows.  

Conflict can be “Oh no! The world’s about to end! How do we stop it/escape?” or it can be “Oh no, my mother-in-law’s coming for the holidays and she’s insufferable”, or it can be “I need to do something I really don’t want to do because…”

One way to create sympathy for a main character and keep the conflict in the story, is to use the character’s abilities (or lack thereof) to show how they are a good fit, a mediocre fit, or a terrible fit for the challenges they face.

The Prompt

Resolve the Conflict In Your Story Based on Your Main Character’s Abilities

Tips

  • Your character can be a good fit for the challenges but hindered by circumstances (Superman and his need to keep his true identity hidden).
  • Your character can be a poor fit for the challenge he faces, but willing to give it a shot (Bilbo, in The Hobbit. He is certainly not the Burglar Gandalf claims him to be, but he gives his best to the adventure, in spite of being a poor fit for the life).
  • Your character is a reluctant hero. He has the skills and the opportunity, but doesn’t particularly want to be a hero (Bruce Willis in The Fifth Element — in fact, Bruce Willis in a lot of roles!). What inner conflict is stopping him from helping resolve the outer conflict? What will change his/her mind?
  • What if your character is really, really good at one thing and is suddenly thrust into a world/situation where all their skills mean nothing…at first? Can they adapt? Can they find a way to use their skills? Can they partner up with someone whose skills compliment their own? Can you find a way to let them use their existing skills in the end, so they don’t seem like a pathetic character?
  • What if your character is the sweetheart who glues together an otherwise incompatible team of highly skilled, irascible experts?
  • Make us root for or against a character by showing how they employ their talents (or fail to).

GO!

Post a comment at the blog to let us know you’ve written today, or join the community and post in the Victory Dance Group.

May 24 – Epistolary Stories

The Prompt: write a story in letter form

I have an unexplained and abiding love for stories-in-the-form-of-letters, so if you spend any time at StoryADay.org you’re going to see this one again and again, sorry!

The Prompt

Write A Story In Letter Form

Tips

  • This can be a single communication or a series
  • It doesn’t have to be letters. It could be Tweets, Tumblr posts, office-wide memos.
  • The story can unfold from a single author’s point of view, or you can show more than one side of the story, by using multiple authors.
  • If you need inspiration, read famous letters here, here, here or here

Examples::

Handwritten love letters:

Letters from famous authors to young fans

15 Best Resignation Letters

A list of popular Epistolary Novels

(Just don’t spend too much time reading them!!)

GO!

Post a comment at the blog to let us know you’ve written today, or join the community and post in the Victory Dance Group.

May 23 – Limits: Twitter Stories

Yes, it is possible to write a story in as few as 140 characters, but you’ll have to let the reader do some of the work…

The Prompt

Write a story in 140 characters

Tips

  • 140 characters means just that: every space, every punctuation mark, each one counts.
  • If your character is a product of the pre-smartphone era and you want to use ‘text speak’, you can (e.g. Ur gr8!). Personally I never felt the need for that, and have learned to be extremely concise (believe it or not) when I have to be.
  • You can write a single story over a series of Tweets.
  • Stories written this way are gimmicky and often end with a punch, but it’s an interesting experience (not to mention a way to tick the ‘story done’ box on an otherwise busy day).
  • Don’t expect to come up with a refine a 140 character story quickly. You can, however, do it in fragments during a busy day. Keep refining it until you’re happy.
  • Super-short stories like this work well when they have a strong voice.
  • Use some of the features of haiku: juxtapose a small thing with a large thing (object, concern, sight); make a surprising or insightful observation about a common occurrence; use the language at the end to echo the language at the beginning, giving it a feeling of circularity or completion; be impressionistic or surreal or dreamlike; leave a lot to the imagination.
  • If you post a story as a five-part series on Twitter, put 1/5, 2/5, 3/5 etc at the end of each episode, so that readers know there is more coming.
  • If you’re posting your story to Twitter, make it a little shorter and use the hashtag #StADa so we can find it!

 

GO!

 

Post a comment at the blog to let us know you’ve written today, or join the community and post in the Victory Dance Group.

May 22 – Time For Something Different

The Prompt

Write a story in a style/tone you never use

When I finished the first draft of a novel, my critique group was fabulously supportive. They told me all the things they loved and all the things that needed work. What surprised me the most, though, was their unanimous howl of despair that I had never paid off the romantic frisson between the two main characters. Not a single kiss! How could I?!

“But I’m not writing a romance,” I stuttered.

Their icy stares haunt my dreams, still…

I don’t write romance. I cringe when I read sex scenes. But being a bit of a prude doesn’t absolve me of the need to let my characters get a little lovin’. Clearly I need to practice writing something that’s outside my comfort zone.

The Prompt

Write a story in a style/tone you never use

Tips

  • If all your stories tend towards melancholy, try writing something utterly goofy today.
  • If you write very descriptively, try writing a piece as all (or mostly) dialogue between two distinct voices. Or vice versa.
  • If you normally write deep literary reflections, try a catalogue-of-errors romp.
  • Rewrite an earlier story in a totally different tone.
  • It might not be a work of art (or even a proper story), but you’ll learn something about lightness, language, rhythm and tone.
  • Don’t worry if you don’t think you could write a whole sci-fi novel, or you don’t know the conventions of a mystery or if everyone has always told you you’re just not funny. Try it. Write something short, sweet and out of your comfort zone.
  • There’s nothing wrong with developing a style. In fact it’s a smart career move. But even within grim realistic contemporary fiction, you’re going to occasionally want a little humor, or horror, or mystery. Writing shorts in different tones can help you vary the tone of longer works (or collections of short works).
  • Branching out not only mixes things up for readers, it helps you to boost your creativity, keep the excitement going, and revitalize your own writing.
  • If you’re having trouble with this, read, watch or listen to something you admire that is in the tone you’re aiming for today.

Me? I’m off to write turn down the lights, drape something in velvet, and write a story that’d make E.L. James  say ‘Steady on, old girl!” Wish me luck!

GO!

Post a comment at the blog to let us know you’ve written today, or join the community and post in the Victory Dance Group.

May 21 – Limits – Real Time

The Prompt

Write a story that unfolds in real time

The Prompt

Write a story that unfolds in real time

Tips

  • If a story unfolds in real time, you can’t have any ‘meanwhile’, or ‘three hours later’  or ‘earlier today’ scenes. Everything must flow chronologically and in as close to real time as possible.
  • If a character puts the kettle on, to make a cup of tea, you’re going to have to give them something to do or someone to talk to for the full two and a half minutes it takes for four cups of water to boil.
  • You can hop from one character’s perspective to another, as long as you stick to the timeline established at the start. If there’s a knock at the door, you could jump into the head of the person outside the door, but only right after they knocked.
  • You don’t have to time everything (like my example of the kettle) and you don’t have to worry about how fast different readers read; just try to keep everything flowing at a reasonably believable real-time pace. (Have you ever watched an action movie set in a city you know? Isn’t it irritating when there’s a car chase down a street that you know is only a few blocks long, yet seems to be three miles long in the movie? Don’t do that.)

GO!

Did you discover any time-shifting techniques that you would usually have used without noticing? Or was this very natural for you?

Post a comment at the blog to let us know you’ve written today, or join the community and post in the Victory Dance Group.

May 20 – Limits: Present Tense

The Prompt

Write A Story In The Present Tense

The Prompt

Write A Story In The Present Tense

Tips

  • The present tense grants an immediacy not there in the past tense.
  • This is great for thrillers, because we can’t be sure that the authorial voice (or first person narrator) will survive until the end.
  • You can jump around in time, but each segment must be in the present tense. You can indicate a shift in time by having your characters talk ‘to camera’ or by noting that the sun is now setting or that the morning dew has burned off the grass at last…

GO!

Post a comment at the blog to let us know you’ve written today, or join the community and post in the Victory Dance Group.

May 19 – Limits – Two Voices 

The Prompt

Write a story told only in dialogue

The Prompt

Write a story told only in dialogue

Tips

  • This can be a dramatic scene, designed to be read by two actors or it can be a story with ‘he said’ ‘she said’  dialogue tags.
  • With only two voices it should be possible to avoid using any dialogue tags at all, but you’ll need to work to keep the characters’ voices distinct.
  • Try to reflect, in their language, how they are feeling instead of relying on ‘stage directions’ (she said, nodding encouragingly).
  • Show agitation or excitement by making the language choppier. Like this. Really. I can’t believe … how could you?!
  • Allow characters to ramble when they are prevaricating, but try to avoid excessive use of “um” and “er”. Instead, let them go off on tangents, avoid the point.
  • Allow your characters to speechify (speak in a formal, unnatural style) if you want, but be conscious about it and consistent. Hey, it worked for Shakespeare and Aaron Sorkin!
  • Alternately, try to keep the voice of each character as realistic as possible. Remember that people talk at cross purposes, they interrupt each other, they don’t answer each other’s questions directly, worst of all, they often fail to listen to the other person at all because they’re planning their next riposte.
  • Try to pick two characters who reflect different outlooks or ages or stations in life (imagine the Dowager Countess talking to the cook. It’s more than just accent that sets them apart, it’s word-choice, rhythm, relative confidence, expectation, assumptions about life…)

GO!

Post a comment at the blog to let us know you’ve written today, or join the community and post in the Victory Dance Group.

May 18 – Limits: Third Person, Omniscient

The Prompt

Write A Story With An Omniscient Third Person Narrator.

Omniscient voice has fallen out of favor recently, which I think is a shame. Then again, I’m a fan of satire and enjoy a bit of Dickens now and then.

Omniscient voice can distance the reader from the characters a bit, and that’s not what the publishing industry thinks today’s readers want. However, it can be a fun challenge, and we’re taking it on today.

The Prompt

Write  A Story With An Omniscient Third Person Narrator. 

Tips

  • In this voice you are never entirely in one person’s head, but you can jump from head to head. It’s best to keep this consistent thought. Stay with one characters thoughts for a while, shift to another and stay there until the next piece of action ends. Otherwise, you’ll give your readers whiplash.
  • If you are not inside a character’s head, the narrator point out what a character is thinking by noting their actions and expressions.
  • Omniscient voice is great for satire, because the authorial voice can comment on the actions of characters, though you  probably want to use this sparingly.
  • If you’re having trouble finding the omniscient voice, imagine the voice-over at the start of the Winnie The Pooh cartoons, or read some Dickens.
  • See if you can pull off Omniscient without sounding like you wrote this in the nineteenth century. (I’m not sure it’s possible. Let’s find out!)

GO!

Post a comment at the blog to let us know you’ve written today, or join the community and post in the Victory Dance Group.

May 17 – Limits: Third Person – Limited

The Prompt

Write A Story In The Third Person, Limited

 

We’re writing in a much more conventional fashion today, good old third person, limited.

The Prompt

Write A Story In The Third Person, Limited 

Tips

  • Let the reader hear the thoughts of one person, and one person only. The narrator and the protagonist can infer information about other people’s thoughts, but the reader can never see inside those other characters’ minds. If this was a movie, the camera would swing around the protagonist, occasionally looking over her shoulder and through her eyes, never getting too far away from her.
  • This is the voice often used in detective stories, and mainstream fiction.
  • You don’t have to say ‘he thought’, to let us know what the character is thinking. In this POV if you make a declarative statement, it’s going to be clear that the ‘thought’ belongs to your POV character. For example: “The wind was picking up. Her hair whipped around her face, defying the extra-hold hairspray she’d used. Bob was going to wonder if she’d forgotten where she kept her hairbrush.” It’s clear the last sentence is the protagonist’s direct thought, right?
  • The advantage of this POV is that it keeps the reader close to the protagonist, emotionally. It also helps you set up suspense, since the reader can only know what the protagonist knows.
  • The disadvantage of this POV is that readers can’t see what’s happening ‘off-stage’ unless you use another device to reveal that information (like the way Harry Potter’s invisibility cloak allows us to eavesdrop on important scenes even when Harry’s not supposed to be there; or the way Isaac Asimov’s excerpts from The Encyclopedia Galactica fill us in on the politics, decisions and passage of time in the Foundation series).
  • Keep readers interested in your protagonist by giving them a desire, and an obstacle to overcome. A flaw and a special talent can help too. (Indiana Jones is a great example here: He always wants to save the priceless artifact for posterity, and he’s usually opposed by someone else who wants the same thing, but who has and Evil Purpose in mind. He’s a talented archaeologist, but he has a soft heart and a problem walking away from bullies, both of which get him into all kinds of trouble.)

GO!

Post a comment at the blog to let us know you’ve written today, or join the community and post in the Victory Dance Group.

May 16 – Limits: Second Person

The Prompt

Write A Story In The Second Person

Today we’re taking on the rare point of view: second person. It’s tough to pull this off without sounding like a Choose Your Own Adventure, but we’re going to try.

The Prompt

Write A Story In The Second Person

Tips

  • This is a rare point of view for a reason: it’s hard to make it sound good. However, there have been some examples that work well: Jay McInerney’s Bright Lights, Big City is one.
  • How To Get Filth Rich In Rising Asia by Mohsin Hamed, is a more recent example and, interestingly, reads like a self-help book. Consider writing a story in a self-help-y kind of style.
  • Halting State by Charles Stross uses Second Person  in a novel that features a MMORPG (massively multiplayer online role playing game). Role-playing games tend to feature a lot of Second Person in the scenario set-ups, so this is an interesting choice.
  • You could, of course, write an ironic Choose Your Own adventure story.
  • This story could be a mock-advertising piece — another form that often uses this voice.
  • This will probably feel odd, and read strangely, but if you create compelling characters and and an interesting problem for them to solve, readers will stick with you. You’ll probably end up with a fresh feel, even if your plot is not-altogether-original, simply because of the choice of voice.

GO!

Post a comment at the blog to let us know you’ve written today, or join the community and post in the Victory Dance Group.

May 15 Limits: First Person

The Prompt

Write A Story In the First Person

We’re on the cusp of the half-way point through the year. After you’ve written your story today, could you come back to the blog and post about one thing that you have learned/that has surprised you/that you’ve remembered, while attempting the challenge, please? Do this whether you’re still writing, whether you think you’ve quit (but really you know you’re going to come back and write at least one more story this month, don’t you?), or whether you’ve missed a few day, but written a few stories too.

What are you learning about your writing, your routine, your voice, the importance of turning up? Or is there something else you’ve discovered?

This week we’re starting a week of limits: point of view, mostly. Trying out all these different forms will give you an idea of what stories call for which perspective, and which you’re most comfortable with.

Today, first person. This is probably the easiest voice to find, since this is how we tell most of our stories in every day life(“I went to that new restaurant in town and you’ll never guess who I saw there…”)

The Prompt

Write A Story In the First Person

Tips

  • Remember that only the thoughts and observations of your “I” character can be presented as fact. No ‘head-hopping’ allowed!
  • The protagonist can make assumptions and judgements about the things around them. They can comment on how they think another character is feeling, but they cannot say it definitively.
  • This mono-focus is one of the great features of the First Person story: it is highly subjective and immediate. It has a built in “show, don’t tell” factor.
  • If you don’t often write in the first person, pick up almost any middle grade novel (that is, something for kids younger than the Hunger Games crowd, but older than the chapter-book-with-illustrations crowd) and you’ll see how it’s done. The protagonist is talking to the reader. It’s the running commentary inside their head. It’s also a favorite of “chick lit” and noir.
  • I don’t know about you, but in my head I’m much less kind, understanding and tolerant than I try to be when I open my mouth. Allow your character to lose the civilized filter that we apply between brain and mouth. Allow them to be less (or more) than their image would suggest.
  • Don’t forget to give the reader a reason to care. Give your protagonist a flaw and an endearing quality. For example, Amelia Peabody  is no-nonsense feminist archaeologist at the turn of the 20th Century, in the (mostly) first-person mystery series by Elizabeth Peters. Amelia is astoundingly arrogant about her own intellectual prowess and impatient with anyone who considers her femininity before her intelligence. She is, however, saved from being unlikeable by her hopeless, romantic devotion to her brilliant — and very manly — husband, Emerson.  She never admits this as a weakness, but the contrast between her professed opinions and her actions/reactions provides a rich vein of humor in the series. It also illustrates her character much more clearly than her own words ever could.
  • Try writing this story for one person in particular, to help you find the voice. Imagine you’re writing it for your sister, your son, or your best friend.

GO!

Post a comment at the blog to let us know you’ve written today, or join the community and post in the Victory Dance Group.

May 14 – Write What You Don’t Know

The Prompt

Spend 15 minutes Researching Something On Wikipedia Then Write About It

Yeah, I know. The standard advice is to write what you know. It certainly saves on research time, but where’s the fun in writing what you know?

The Prompt

Spend 15 minutes Researching Something On Wikipedia Then Write About It

Tips

  • It could be a hobby: lapidoptery, stamp collecting, knitting, golf, scrapbooking, hill walking, skeet shooting, board games, cosplay… Soak up all you can about one way to practice the hobby, then write a story about somebody (or a group of somebodies) who are deep in the hobby. Maybe they’re meeting, maybe they’re preparing for a gathering, maybe they’ve just made a big, rare find, or conquered a difficult technique. Maybe they’re questioning their calling.
  • It could be a career, a period in history, a historical event, an astronomical phenomenon, a sport, or the story of how something was discovered/invented.
  • Use details from your research to color in the details of your story, but remember, you’re not writing a documentary.
  • Still focus on the universal truths of human existence (which is where the ‘write what you know’ or at least, ‘write what you want to understand’ advice comes in).
  • Since you want to include lots of detail of the hobby in the story, try to keep the main ‘plot points’ of the story simple: a conflict with another hobbyist; a first; a last; an epiphany; an arrival…
  • Don’t spend more than 15 minutes on your research. Read fast. Scan the page. Grab details greedily. Shape your story around one or two of them. But don’t spend too much time on your research!

GO!

Post a comment at the blog to let us know you’ve written today, or join the community and post in the Victory Dance Group.