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Day 23 | A Pointed Discoveryby Rachel Bolton

The Prompt

When she picked up the knife, she discovered the blade was still sharp.


Rachel Bolton

Rachel Bolton is a Bram Stoker Award Nominated writer. Her work has appeared in Apex Magazine, Women Write About Comics, Strange Girls, and more. She lives with her cat in Massachusetts. You can follow her on Bluesky @raebolt.bsky.social and find out more at her website:

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Day 22 | Cherry Red by Angela Sylvaine

The Prompt

A teenager is eating a cherry snow cone, their lips are stained red.


Angela Sylvaine

Angela Sylvaine is a Bram Stoker Award nominated author and self-proclaimed cheerful goth who writes speculative fiction and poetry. Her dark cheerfulness is on full display in her novel, Frost Bite, a ‘90s sci-fi horror comedy, and her retro ‘80s YA mall slasher novella, Chopping Spree. Her goth side is fully explored in her debut short story collection, The Dead Spot: Stories of Lost Girls.

Angela’s short fiction and poetry have appeared in over sixty anthologies, magazines, and podcasts, including Southwest Review, Apex, and The NoSleep Podcast.

Join the discussion: what will you do with today’s prompt OR how did it go? Need support? Post here!

Remember: I don’t recommend posting your story in the comments here (and I talk more about why not, here). Best practice: Leave us a comment about how it went, or share your favorite line from your story.

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Day 21 | That Kind Of Morning…by Rich Larson

The Prompt

Over the course of a single morning, your house becomes a Starbucks.


Rich Larson

Rich Larson was born in Niger, has lived in Spain and Czech Republic, and is currently based in Canada. He is the author of the novels Annex and Ymir, as well as over 250 short stories – some of the best of which can be found in his collections Tomorrow Factory and The Sky Didn’t Load Today and Other Glitches. His fiction has been translated into over a dozen languages, among them Polish, French, Romanian and Japanese, and adapted into an Emmy-winning episode of LOVE DEATH + ROBOTS. His latest book, Changelog, is now available for preorder.

Join the discussion: what will you do with today’s prompt OR how did it go? Need support? Post here!

Remember: I don’t recommend posting your story in the comments here (and I talk more about why not, here). Best practice: Leave us a comment about how it went, or share your favorite line from your story.

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Day 20 | Permission to be Funny by Julie Duffy

The Prompt


Write a humorous story by giving your character permission to go after their desire, no matter what the cost

Tips

Comedy gives your character in the narrative the permission to win. Comedy gives them the permission to do what they need to do in a moment of crisis, even if it makes them look like a bad guy or an idiot.

–Steven Kaplan, The Hidden Tools of Comedy: The Serious Business of Being Funny (Michael Wiese Productions)

Give your character a desire, something they are willing to go all-out for.

What makes Marty McFly so funny in Back To The Future? It’s the fact that he’s willing to do anything to get home, no matter how difficult or ridiculous, from fighting the town bully to seducing his own mother — well, almost.

He’s willing to give it a try– to prat-falling over fences and doorways in his haste to get out of awkward situations. None of this is ‘funny stuff’ in a vacuum, it all grows out of the character’s single-minded desire to achieve his aim, no matter what the cost to his ego.

Put your character in a situation where they are going to have to do things they wouldn’t normally do, if they really want to achieve that desire .

(e. g. in The Life Of Brian, our hero is a nobody who wants to be somebody and get the girl, who happens to be a revolutionary. When her leader tells him to graffiti the town square and is caught by the school-master-like centurian, the consequence is funny because it goes so far, so big. Literally.)


Make sure your character doesn’t have any of the skills they would need if they were going to be a traditional hero character.

Marty, in BTTF, knows nothing about life in 1955.

Monty Python’s Brian is so timid, so far from being a revolutionary, that every situation he finds himself in is inherently funny.

If either of these characters possessed the skills they needed to win, their movies would have been dramas or action movies, instead of comedies!

Make your funny character believe in themselves.

They are not a character. They are a person, who is trying to achieve something.

Everything they say or do, they should believe in. It might turn out to be inappropriate for the situation, but for some reason, they believe it and they believe it is a useful thing to say or do right now.

Comedy can also result when a character does the thing that we, because we are so polite and a credit to our mothers, would never say or do. How would the people around your character react in that moment?

For more on writing humor, read my interview with Lisa Doan at NaNoWriMo’s Young Writers’ Program blog.


Julie Duffy

Julie Duffy is a writer who likes to think she is funny. She is the host of StoryADay May . She sometimes juggles and knits, though rarely at the same time.

Join the discussion: what will you do with today’s prompt OR how did it go? Need support? Post here!

Remember: I don’t recommend posting your story in the comments here (and I talk more about why not, here). Best practice: Leave us a comment about how it went, or share your favorite line from your story.

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Day 19 | Slipping by Grant Faulkner

The Prompt

“Just one more drink couldn’t hurt anything …”


Grant Faulkner

Grant Faulkner is the co-founder of 100 Word Story, the co-host of the Write-minded podcast, and an executive producer on America’s Next Great Author.

He is the author of The Art of Brevity: Crafting the Very Short Story.

Listen to his podcast Write-minded and subscribe to his newsletter Intimations: A Writer’s Discourse.

https://grantfaulkner.substack.com

https://grantfaulkner.com

https://www.facebook.com/grantfaulkner

https://www.instagram.com/grantfaulkner

Join the discussion: what will you do with today’s prompt OR how did it go? Need support? Post here!

Remember: I don’t recommend posting your story in the comments here (and I talk more about why not, here). Best practice: Leave us a comment about how it went, or share your favorite line from your story.

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Day 18 | Start With The End by Tim Waggoner

The Prompt

When I first started teaching fiction writing classes many years ago, I noticed that most student stories I received were ten to fifteen pages of exposition, filled with purposeless activity and empty conversations between characters, eventually leading up to a cool idea or image…and then they were over.

I struggled to explain to students that their fiction should be interesting from the start and become increasingly more interesting as the story progresses, but nothing I said to them sunk in – until I came up with a prompt I call Begin with “The End.”

I assigned students to write a first draft of a story, and after they were finished and the feedback sessions were over, I told them to write a second story, only this time take the ending scene of the first story and make it the beginning of a new story.

The prompt worked far better than I’d hoped.

The new stories were fresh and exciting, full of life and energy. And my students were shocked to discover just how little background from their first stories was needed in their new ones.

The prompt wasn’t only an exercise in beginning strong; it taught them a vital lesson about using minimal exposition in short fiction.

An Example

One new student story was especially good. In the first version, a father and teenage son visit Grandpa (the father’s dad) at his home in the country. Father is in a financial bind and wants to ask Grandpa for money, despite their strained relationship.

When Grandpa refuses Father’s request, Father and Son leave, and Father, angry, drives over Grandpa’s roadside mailbox, knocking it down as they go.

The first version was mostly a silent car ride to Grandpa’s house, during which
primarily delivered exposition about Father and Grandpa’s relationship. The teenager was a silent, passive observer throughout the story, and only the last page had any life to it.

The second version began with Father and Son running over Grandpa’s mailbox as they sped away. Furious and vindictive, Grandpa calls the police, and Father and Son argue about what happened as the cops pursue them.

The second story had more action, tension, and suspense, and the son became a much more active character, giving the story the strong emotional core the first version lacked.

All of this happened naturally, simply because the student started his second story with the end of the first.

Now it’s your turn.

Take a story you’ve already written, and write a new version beginning with the ending scene/situation of the first and see where it takes you.

Don’t have a story to work with? Choose an ending situation from a book or movie you know and use that as the beginning of your tale.

For extra fun, swap stories with a friend and write new versions of each other’s tale, using the original endings as jumping-off points.


Tim Waggoner

Tim Waggoner is a Four-Time Bram Stoker Award-Winning Author
Website: www.timwaggoner.com
Blog: http://writinginthedarktw.blogspot.com/
Facebook: http://www.facebook.com/#!/tim.waggoner.9
Twitter: @timwaggoner
YouTube Channel

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18

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