At The Write Practice, we publish a new article each day designed to help writers tackle one part of their writing journey, from generating ideas to grammar to writing and publishing your first book. Each article has a short practice exercise at the end to help you immediately put your learning to use.
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Every item has a story: The true story of where the item was acquired, who owned it, and where it traveled, and the story you are inspired to write about the item.
This is an Adventure Prompt. However, this is not the television show Mission Impossible, starring Peter Graves, Barbara Bain, and Greg Morris, a popular series from the late 60’s to the seventies. This blog post will not self-destruct in five seconds.
Even so, we will pretend we are going on a real adventure.
As attention spans grow shorter, there is an increased demand for shorter stories.
I’ve noticed recently a lot of contests and submissions calling for stories under 3000 words. Writing a story this short is different than writing a novel or even a 10,000-word story. We need to get into the story, make a connection with the reader, and then wrap it up without wasting any time. It can feel strange for those of us used to writing larger pieces.
When you’re writing a very short story, editing is crucial.
Your goals fell by the wayside when you got sick in February. You stared at your keyboard for five minutes three mornings in a row before the kids woke up a full hour earlier than usual. In the car, you tap the steering wheel at a red light feeling the world is mocking your lack of progress on your manuscript.
Are you in a slump? Or is this just a season? Can you figure out how to get out of a slump—or are you just stuck?
The most crushing piece of criticism authors can hear is that their main character is “flat” or “two-dimensional.” This is especially true for writers who have poured a lot of their personal experience into their protagonist’s journey. Conventional writing wisdom tells us that main characters need to be “dynamic” characters who evolve over the course of the story.
But what exactly does “dynamic” mean? If your protagonist doesn’t actually change all that much, does that make them flat and static? Are they, by default, a poorly written character?
A funny thing happens when you move.
You start out carefully. Each glass is conscientiously wrapped in six pages of newspaper. Each collectible is cushioned and boxed as if interred, and each box Sharpied with item, location, and name. Then a few days into this, something strange happens: you realize it doesn’t matter.
To put it another way, when you’re running out of time, you no longer have the luxury of faffing around. That’s when you really get down to business.
When I was in high school, a drama teacher that I had my sophomore year made everyone in my class keep a journal. He kept them in his office, but never read them, and we would write every morning we had class. Some of us took the exercise more seriously than others (there was a minimum three line requirement), but after that year, he gave us the notebooks to keep. I had enjoyed journaling so much that I continued.
It was a great way for me to get my thoughts recorded, although it wasn’t the prettiest writing I’ve ever done. If you’re looking for an alternative way to tell a story, there are a couple reasons to try a diary or epistolary format.
Nobody wants their writing to be described as “conventional” or “formulaic,” and in an effort to avoid such damning judgements, many young writers throw themselves past creative writing guides, the rules of writing, and all the catalogues of conventional wisdom, instead opting to carve their own path.
But before you follow suit and bend all the rules to write experimental fiction, there are a few things you need to know.
I’m currently working on my fifth nonfiction book and starting is always the hardest part. There are just so many options.
Should I write a preface? A prologue? An introduction? Should I find someone to write a foreword? Should I just start at chapter one?
If you’ve ever found yourself asking these questions, you’re not alone! And you’re in luck! I’ve asked these questions too and found some answers.
Let’s talk about the difference between each these and figure out which is best for you.
You are going to write a story. Yes, today is the day you are going to write a fiction story about someone. Your character and their development through the story is the heart of fiction.
Make your characters real, and your readers will care what happens to them because they can identify and sympathize with the character in a situation.
A while back I attended a novel-writing workshop. Each week we read thirty pages from two students and spoke about them in depth during class, offering helpful feedback and criticism of their writing. After the second or third week, it became customary to ask whoever had been up for a critique “are you OK?” after class. Sometimes I saw tears. I myself felt overwhelmed by the amount of work I still had to do and my classmates’ brutal honesty.
We all know workshops and editing are crucial to the writing process. Writing criticism is essential. But man, that feedback can be hard to hear. Here five survival tips.
