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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The Prompt

Write a short story in which the title is longer than the short story itself

Things To Consider

Sometimes contents and anthologies call for stories of a very particular word count. I am often asked if the title counts towards the limit.

It does not.

Therefore, if you’re feeling cheeky, it can be fun to write a story with a ridiculously long title.

In fact, this year I heard of a contest that called for exactly this: a story with a title longer than the body of the story. In this case you may find yourself playing with the premise of a story for a while before you begin to compose the finished article.

You may need to get up and pace around or go for a long walk, or, if you happen to read this at the start of the day, mull over it all day before you sit down to write. Sometimes that’s how writing goes.

The title you end up with will probably do the work that’s usually done by the opening paragraphs of a more traditional story: establishing the setting, the tone, the character, their desire and the obstacle to that desire.

The story itself will probably take the form of an ‘answer’ to the puzzle you set up in the story. I’d aim for a title that uses up 2/3 of the total word count, and a ‘story’ that is no more than 1/3 of the words. Here are some examples of short stories pretty long titles, but I think we could take similar ideas and expand them in interesting ways.

My Last Attempt to Explain to You What Happened to the Lion Tamer – Brendan Matthews

The Lone Ranger and Tonto Fistfight in Heaven – Sherman Alexie

What We Talk About When We Talk About Love – Raymond Carver

These are novels, but I hope they’ll give you a sense of what I’m looking for today:

No Matter How Much You Promise to Cook or Pay the Rent You Blew It Cauze Bill Bailey Ain’t Never Coming Home Again; A Symphonic Novel – Edgardo Vega Yunqué

Or how about this well-known novel that are rarely given its full title?

The Personal History, Adventures, Experience and Observation of David Copperfield the Younger of Blunderstone Rookery – Charles Dickens

And my absolute favorite:

The Life and Strange Surprizing Adventures of Robinson Crusoe, Of York, Mariner: Who lived Eight and Twenty Years, all alone in an un-inhabited Island on the Coast of America, near the Mouth of the Great River of Oroonoque; Having been cast on Shore by Shipwreck, wherein all the Men perished but himself. With An Account how he was at last as strangely deliver’d by Pyrates – Daniel Defoe

Could you write a title like that and a quick one-sentence riposte as the body of the story?

One of my favorite things about short stories is their ability to defy expectations.

See what you can do with this challenge today. Leave a comment and let us know know how you got on. Was this faster than usual? Slower? Fun? Annoying? Join the discussion!

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The Prompt

Write a word story containing each of these 10 words

Why
Misery
Consternation
Pallor
Orchestra
Forgive
Paper
Entry
First
Grandmother

Things To Consider

I expect many people reading this prompt to have a viscerally negative reaction. “How am I supposed to write anything good with a list of random words?!”

Answer: you’re not.

Today’s prompt is an exercise in coming to your desk, writing something awkward and keeping going away.

There will be many, many days as a writer when you need to write a scene or a story that just isn’t flowing the way you want to.

The ability to keep writing anyway is an essential skill. We all need to practice allowing the first draft to be janky, awkward, a little bit ugly…and finishing it anyway.

It’s easy to say, but harder to do. So today, I’m intentionally setting the bar low. Of course you’re not expected to write a masterpiece with a collection of words I plucked randomly from a book (“The Art of the Short Story”, Dana Gioia & R. S. Gwynn, Pearson Longman, 2006, in case you’re interested).

If you’re not entirely sure how to use a particular word, let one of your characters use (or misuse) it.

Their use of that word—or how they react to being corrected—can more effectively show us the character than any explanatory note from a narrator’s voice. Remember words can be used in metaphorical ways, not just literally.

If you are resisting this prompt, make doubly-sure to give this one a try. In my experience, the prompts people resist are the ones they learn the most from. Sometimes they even end up with stories they love!

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