The Prompt

Write a story about a character with a big decision to make. Write it in a point of view you don’t often use.

Things To Consider

I’m giving your character a big decision to make. You get to decide how much backstory the reader needs (and when they need to know it), but I will make a plea for NOT starting your story with any of that information. Start us in the middle of the action: during a conversation, or as they enter a new room. (need more on openings? Review this)

On Point of View

Many of us default to a particular point of view in our writing — “I don’t know what to say.” (First person), or “She didn’t know what to say.” (third person).
Today, I want you to write in a point of view you don’t often use, or that you find awkward. (Yes, I’m asking you to get comfortable with discomfort!)

A quick review of points of view

Each point of view brings with it restrictions and possibilities. If you frequently write in the same point of view you may be limiting yourself and run into trouble when a particular story idea seems to call for a different ‘voice’.

Try to focus on the opportunities that this new perspective offers. If you’re shifting from third person omniscient to a limited/first person perspective, really dig into the opportunity to access the characters’ thoughts and emotions. In these more limited perspective there’s no excuse for “Telling Not Showing”. Everything can be written as if we’re riding along on the perspctive-character’s shoulder, experiencing everything with them.

If you’re moving from a limited perspective to a third person omniscient, celebrate the fact that you can now see things from different peoples’ perspectives. The most effective, least confusing way to do this is to have scene breaks between each head hop in the short story. (You probably don’t want to do it more than a couple of times in a short story, but it can be quite fun to have most of the story told one person’s perspective then have a line break and give another character’s perspective as the conclusion of the story revealing a lot about the truth of the situation that, perhaps, the first character didn’t know.)

If you hate moving away from your favorite point of view that’s fine. You don’t ever have to do it again. Sometimes creative failures are essential to teach you what to avoid in future.

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The Prompt

Write a story that starts when your character enters a new environment with a plan to achieve something that matters to them…and immediately faces an obstacle.

When you have finished writing, go back and put a new opening on your story.

Things To Consider

Have you ever felt unable to start a story even though you want to write today?

You’re not alone.

Often writers get stalled at the start, because we’re aware of how important those opening lines are.

After all, a good opening should:

1. Introduce the main character
2. Set the scene (time and place – relative to  the reader)
3. Set the tone.
4. Hook the reader (ways to do this: intrigue, dialogue, surprise, contradictory information, introduce a mystery, start in the middle of the action, seduce the reader with the language, 
5. Establish the story question or problem

That’s a lot of pressure.

So for today’s story, start writing in the middle of the action. Your character has just arrived somewhere new, in order to pursue something that matters to them, and they run into an obstacle within the first two sentences. 

You can do this with dialogue (“Well, that’s a problem.”) or with a little bit of scene setting, “She heaved the ornate oak door open and saw…a solid brick wall.)

Get your character into and out of trouble a couple of times until they have achieved their desire or otherwise changed in a satisfying way.

For added symmetry, end the story with your character leaving the environment they entered at the beginning.

NOW, look at your story and write a new opening for it that hits all five of the points listed above (it won’t take you five sentences to do this. You may be able to repurpose what you’ve written already).

Here are some possible opening line templates:

As [character name] [active verb][setting], they [verbed] a [noun]. [Image]. [Transition]

e.g. As Joanne fled the crowded pub, she lobbed what remained of her lemonade over her shoulder. With one last look over her shoulder she saw it arc through the air–globules caught in the security lights like fireworks–and spray across the faces of her three meathead pursuers, momentarily slowing them down. She put on a burst of speed. How had it come to this?

[Vivid details about something disastrous]. And to think, just [time period] earlier, everything had been going so well…

or

A [profession] in a [setting] doesn’t usually end up with [unexpected result], [conjunction]

Things To Consider

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The Prompt

Write a story that starts with your character in one place. Then they go through a series of events or experiences that leads them to a moment where everything changes for them.

Then let us follow them back through a series of events that mirror those that happened before, and show us how the world looks different to the character now.

Things To Consider

I’m suggesting this structure because it offers one way to create a clear path through the ‘muddy middle’ of a story.

The best illustration I can give you for this, is the Hans Christian Anderson story ‘The Ugly Duckling’. Here’s how that story goes:

• The Duckling starts off in a farmyard with his loving mother but siblings who reject him, but he doesn’t give up. He goes off into the world to seek his place. He leaves home determined to find his place in the world, and wild ducks are mean to him
• He goes to a farmyard where some of the animals are so mean to him he has to leave He goes to a peasant’s house and is chased by the children.
• He goes to the river, and sees the swans who are so beautiful he is willing to risk his life to go and tell them how gorgeous they are, even if they peck him to death for his audacity.
• They say: dude, look in the mirror. He’s a swan!
• He heads out and some children see him and throw bread and cake into the water, talking about how beautiful he is, balancing out the other children’s action.
• If I were rewriting this story, I’d be tempted to take the duckling on another journey, back past the peasant’s house and the farmyard, and to his home, reversing the initial journey and allowing him to see the word anew.

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The Prompt

Write a story about a character who is engaged in a contest that matters very much to them. You may or may not reveal the result, at the end. Your choice.

Things To Consider

A lot of writers struggle with ending a short story.

This comes down to one of a few problems

1. They don’t know when the story is ‘over’
2. They are afraid of tying things up too neatly in a bow and seeming cheesy

The solution to problem #1 is to figure out what the central point of your story really is.

It’s easy to keep writing, introducing new characters and new situations, but at some point you have to start making decision and shutting down your characters’ options, driving them down a funnel towards the ending. (I know, I know, making decisions is hard. But that’s what we’re doing, as writers: making a series of decisions for all of our characters. No wonder this is exhausting work!!)

When you know the point of your story, you can decide how to end it.

For example,

Winning And Winning Some More: in many movies about sports teams, especially underdogs, the team is engaged in a final contest. For a moment it seems like all is lost, until they rally and then, at the final buzzer, someone throws/hits/kicks/lobs a ball that lands exactly where it needs to, to put them over the top for a win.

This is a neat, happy, and rather cliched ending, but you can pull it off if the reader is invested in the characters and their success.

Similarly, romance stories end with the main couple getting together, but the inevitability of this ‘neat’ ending, doesn’t spoil the ride because we are rooting for each character to get out of their own way and let themselves accept love.

Failing (but also winning): SPOILER ALERT, the end of the Star Wars universe movie Rogue One is far from a traditionally happy ending, but it was a deeply satisfying ending. The characters we cared about made a huge sacrifice for the greater good, and along the way resolved a bunch of their personal demons.

If this movie had ended with everyone escaping to live happy, uncomplicated lives, I would have thrown my popcorn at the screen.

The Unresolved Ending: More SPOILER ALERT: in the finale of the long-running series Angel, the main characters have overcome a lot of squabbling to come back together as a team. They face the final conflict against terrible odds: cornered at the end of an alley facing down a bunch of demons. They’ve got out of this kind of situation before, but this one seems particularly dire.

Because this was the last time we were ever going to hang out with these characters the stakes were particularly high. Instead of creating a neat ending that would satisfy some viewers and enrage others, the writers had the characters rally as a team one last time, grin at each other and charge into the fight…at which point the end credits rolled. It was satisfying because the larger story of the series been wrapped up, but the final outcome was left to our imaginations.

Further Reading:

Three Ways to End a Story

The StoryADay Podcast episode 145: Ending Strong

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The Prompt

The characters in your story today are stuck and need to work together to escape

Things To Consider

If character is the emotional heart of a story, conflict is the engine of the plot. Conflict doesn’t have to be something huge and traumatic.

It can be as simple as a disagreement about whether the coffee should be decaf or whether the person suggesting that is a monster caffeinated.

Every conflict is an opportunity to explore the motivation and values of your characters, and to point up the differences between them.

This is another great opportunity to take characters from another work-in-progress and dig deeper by putting them into a story.

One of the things that can easily get lost in a novel—especially after we fall in love with our characters—is conflict. We can spend so much time exploring their inner lives that we forget to torture them just a little bit.

Use today’s story to make life a little uncomfortable for your character. Sources of conflict to mine:

* Communication difficulties – misunderstandings, talking at cross purposes, someone not saying what they mean, linguistic difficulties…have you ever sat at dinner with your father and your brother and marveled at how they can argue over the minutiae of a how to talk about problem even though they agree on the bigger issue? (Asking for a friend…)

* Conflicting approaches to getting a task done – two characters may both want to escape the ravine they’ve fallen into, but one may want to follow the river until it reaches an outflow while the other wants to scale the cliff and get back on track as soon as possible.

Or, in a more mundane example: you take a wrong turn on the way to a party. You and your companion still both want to get to the party, but whereas your companion wants you to make a u-turn, you’re sure you can find an alternate route if you keep going forwards. Both of you are determined to do it your way. Why does it matter so much to each of you? What does it say about you as a character and about your relationship?

What else is feeding this conflict? What happens when you take that right turn down a quiet street, and how do each of you react to a, the events that greet you and b, the decision that led you there? Can you see how the story begins to emerge as you introduce conflict?)

* Conflicting wants/needs – perhaps one of your characters is less motivated to escape than the other. Why? Are they honest about it with the other character (or themselves) or not? * Lack of resources – conflict doesn’t always have to be interpersonal. It can be about a group of people in conflict with their environment. It’s easy to escape from a locked room if you have a key, harder if it’s barred from the outside.

Don’t forget, however, that it keeps things extra spicy if there is also interpersonal conflict, as stress levels rise.

Further Reading

A mundane situation 

Conflicting habits: 

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Bonus: if you’re starting to struggle, check out the SOS – Save Our StoryADay Guide now to get back on track

The Prompt

Write a story in which your character interacts with three other characters, one who has power over them, one whom they have power over, and one who is on an equal footing with them.

Things To Consider

Character biographies and archetypes are all very well as a starting point, but a person’s character is not fixed, nor does it ever fit one archetype. People are complex and and society even more so.

People show different parts of themselves in different situations. A useful way to decide which aspects of your character to show in a particular scene is to think the power dynamics in that scene. And remember: power can be psychological, physical, or the power of the group.

Our characters react based on who has the most power in an interaction. This dictates which masks they use to fit into a situation (or sometimes, to stand out) or whether they can be raw and vulnerable. Psychological Power

There are a bunch of old sayings like: you can judge a person’s character by what they do when no-one’s looking, or by how they treat ‘the staff’ (which, these days, tends to mean waitstaff, valet parkers, grocery store clerks or anyone they perceive as having less power than them in a given situation).

And this is true to a certain extent that these action reveal a person’s character and values.

But none of these interactions reflect how that character always acts. Nobody always acts as their best or worst self. And few people remain unchanged throughout their lives.

Physical and Social Power

In The Expanse series by James S A Corey one of the most interesting characters is Amos Burton, who is always, phsyically, the most powerful person in the room and the most comfortable with violence as a solution. In a room full of violent thugs, he is absolutely at ease.

Over the course of the series we don’t see his values change, but we do see him learn how to act in different situations, based on his desire to stay with the crew. It doesn’t feel insincere because his actions are not always dictated by his values and that feels very human.

He still has no problem with violence but he knows his captain does. He masks that part of himself because the captain of the ship has power over him, and the collective power of the rest of his crew is greater than his individual power (even though he could beat them all to a pulp if he felt so inclined).

Power Dynamics for Writing

In each scene of a story, in each interaction, we are seeing a snapshot of your characters. How they act in general is not necessarily how they will act in this moment.

But how to decide?

If you’re not sure what to do with a character in a scene, look around.

Who else is in the scene, and how much power does your character have, relative to them?

How does that affect how your character acts?Do they hold themselves differently? Do they speak differently? And how does that affect their mood and actions going into the next scene, where they might interact with someone with a different power relationship.

It doesn’t necessarily mean they’re being insincere in any of those situations. Rather, they are operating on a high-level understand of social dynamics. (Being human is complicated!)

Further Reading on character:

• Give Your Characters A Voice

• Character Counts (podcast)

• Creating Compelling Characters – StoryADay Essentials Series

• Great Character Writing with Angela Ackerman (podcast)

• How I Met Their Father (or: Characters Are People Too)

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