The following writing exercises are not in any particular order. I created them, or copied them from online as they fit my needs. I hope they are as helpful to you as they were to my writing group.
I found these lessons to be valuable tools while writing The Stolen Concept.
* Click on a Topic or Scroll down *
1. ) DESCRIBING ABSTRACT CONCEPTS
The following is from: http://teenwriting.about.com/library/exercises/blexercisenoname.htm
Instructions: When describing abstract concepts, it is very easy for the writing to become vague. By nature, abstract concepts are difficult to talk about in simple terms. In order to avoid vagueness in writing--to keep our writing clear and sharp--it is useful to focus on the concrete details associated with those concepts. One way to practice doing this is to write about an abstract concept without naming it.
1. Write a paragraph about, or describing, love. Do not use the word "love" or any of its synonyms (or opposites) in your work.
2. Write a paragraph about, or describing, hate. Do not use the word "hate" or any of its synonyms (or opposites) in your work.
3. Write a paragraph about, or describing, tragedy. Do not use the word "tragedy" or any of its synonyms (or opposites) in your work.
Notes: The easiest (and probably most effective) way to approach this exercise is to concentrate on the sharp, concrete details associated with the concept. For example, you might describe the stupid things a boy does to impress a girl when he is in love, the way he forgets to bring his lunch to school, and how he has written her name all over his notebook in fancy lettering. Try each of the concepts above in different ways--there are infinite approaches. Think up some other abstract concepts that occur in your own work and try the exercise with those.
2.) Bringing That Piece You Wrote Alive
Instructions: This is a good exercise for those pieces of exposition that seem to drag, never-the-less, necessary to the story, so the reader will just have to deal. Bring the finished product and the original to the meeting. Remember our self-imposed time constraints.
1. Look at something you have already written, something with little or no dialogue. This possibly may be descriptive back story, or explaining the action or character response to another character’s action or dialogue. It may have been a while since you have written this piece, so take time and recapture what you conveyed, or attempted to convey.
2. Rewrite the exposition using dialogue. Let the character (s) describe the childhood, or whatever the back story is, instead of it being a narrative piece. If it is an action conducted by a character in response to another character or situation, have the character verbally express these emotions. Whatever the situation, let your characters (if there are no characters in your chosen piece, invent some.) express the narrative.
3. Compare the two pieces. Which would a reader find more exciting.
3.)The following is from: http://teenwriting.about.com/library/exercises/blexercisenoname.htm
Describing the Setting
Instructions: You'll get better results the first time you do this exercise if you complete each numbered part before even reading the next.
1. Think a moment about a place you have been. Take 10 minutes and write a description of that place, based on your memory.
2. Now think of a fantastic setting -- perhaps one you've used in a story, or one you make up on the spot. Do not use someone else's invented setting. Again, write for 10 minutes describing that place.
3. Compare the two pieces of writing. What, to you, makes a setting fantastic rather than real? Did you use a different point of view for each description (for example, was one in third person and the other in first person)? Consider whether or not the differences between remembering and imagining may have influenced the way you wrote. Were you more distant with one description than with the other? Did you use the same kind of language when describing both settings or did your use of words and sentence structures change?
Notes: People often use more archaic or perhaps less "ordinary" language when describing fantastic settings, while they use more concrete images for "real" settings. Try using some of the "fantastic" language in your descriptions of "real" settings -- make the ordinary magical -- and some of the concreteness in your fantastic settings -- make the fantastic real. Each story will dictate what it needs, but strengthening your settings can only make your writing stronger in general.
4.) http://fictionwriting.about.com/od/writingexercises/qt/metaphorex.htm.
Examples of Metaphor from Raymond Chandler
For examples of metaphor in contemporary literature, it's hard to do better than Raymond Chandler, the hard-boiled detective novelist. Cracking "The Long Goodbye," I immediately came upon several examples of metaphor:
- "...his hair was bone white"
- "I got the drunk up [the stairs] somehow. He was eager to help but his legs were rubber..."
- "Sooner or later I may figure out why you like being a kept poodle."
NOW CREATE NEW METAPHORS
· Blue paint spilled on the road like___________________________.
· Canceled checks in the abandoned subway car seemed___________________________.
· A spider under the rug is like___________________________.
· The oars on the boat rowed as if ___________________________.
· Nothing was the same, now that it was___________________________.
· The dice rolled out of the cup toward Veronica like___________________________.
· A child in _________________ is like a _______________ in _____________________.
· _________________is like muscles stretched taut over bone.
· The fog plumed through gunshot holes in the car windows like ___________________________.
· Up is like down when ___________________________.
· She held her life in her own hands as if it were___________________________.
· Alannah poured coffee down her throat as if ___________________________.
· If I should wake before I die,___________________________.
· The security guard walks the lobby as if___________________________.
· The library books left in the rain like___________________________.
· Love is to open sky like loathing is to___________________________.
· Music in the hallway like___________________________.
NOW, THREE MORE
· ________________________________________________________________________
· ________________________________________________________________________
· ________________________________________________________________________
5.) Exercise: Using the Right Words
In Fred Schepisi’ Roxanne, the screen adoption of Edmond Rostand’s, Cyrano de Bergerac, Steve Martin, as modern day Cyrano feeds the eloquent words to the tongue-tied Chris McDonell ( Rick Rossovich). Chris mis-hears Cyrano and instead of saying, “they are only words, “ he says, “they are only worms.” It was a comedy. It was funnier than Rostand’s choice of words.
Let’s have fun with this exercise. Let’s take something someone has written, and see if we can improve upon their work, or at the least, make it more interesting. Select a newspaper or magazine article, or a paragraph in a book, and find a better way to express the writer’s thoughts.
If you wish, you can use something you have already written.
Keep in mind, if it is someone else’s, you can only use someone else’s written work for this exercise, even if you improve it.
6.) Exercise on Character Motivation
When we right, we set up a conflict between the protagonist and antagonist. The antagonist could be a person or persons, animal, vegetable, mineral, concept etc., it doesn’t matter. There may even be a friend, or friends of the protagonist who attempt to thwart the protagonist efforts, believing it is the right thing to do.
We are going to investigate our motivations.
Decide on a plot for a very short story involving three people. Decide what motivates each before writing the story. Do not read the following information until you have your plot and motivations.
Write the story using mostly dialogue. Write it thee times using the perspective of each of the three characters, then write a final draft.
Has the motivations changed? Has your perspective on the situation changed?
7.) http://www.virtualwriter.net/fiction/fictionexercises.asp?action=3&contentid=19
Interviewing your characters
One of my favorite techniques for getting into the head of my characters is interviewing them. Interviewing characters is exactly how it sounds. You sit down with your characters and interview them, just like you would if you were a reporter.
To start, take out a blank piece of paper or start a new word file. Decide where you are going to meet them; in their house, coffee shop, or somewhere else. Now write about it. Go in and meet them. Say hi. Record what he looks like, how he acts etc. Now the fun part. Ask questions. Ask your characters about themselves, and about the story you're trying to tell. Get them to tell you their story, in their own words. Let them tell you what happened and how it affected them. You may gain new insights into your story. The important part is to not think or judge what you're writing - just write. Don't worry, you're mind will fill in the blanks. Write until you think you know enough about your characters or stories. If you run out of questions, write about there being a lull of silence in the interview. If you get past the 'wall' something else will come. Just don't stop writing until you feel you have enough new insights to go back to writing.
This technique also works If you get stuck in the middle of writing or plotting your story. You can go back and talk to your character about the section you're stuck on. Let him/her tell you what happened.
To help with this exercise, I have included some sample question that you can ask. You can use these, but also allow space for your mind to come up with questions on its own.
1. Tell me about the story I'm writing. In your words, what happened?
2. How did the events affect you?
3. Are there any details or events in the story that I've forgotten?
4. Describe yourself. What are your hobbies, dreams, hopes etc?
5. What was the most important thing that happened to you during the events I'm writing about? How did that change you?
8. ) Exercise - Creating a Plot
What is a Story Plot? - A plot is the sequence of events, which tell the reader what happens in the story. The plot helps the reader understand the choices the characters make.
What is Plot Structure? - Plot structure is the way the elements of a story are arranged. The arrangement depends on the type of story. For example: In a mystery story, the plot isn’t revealed in its entirety until the end of the story (not a mystery if you know early on who did it, and why). A romantic comedy lays out the plot rather early (boy loves girl - girl. Someone, or something else presents obstacle— obstacles are overcome, boy gets girl).
What constitutes the Plot?
I. Exposition - used to explain, describe, give information, or create a forward.
a.) Narration - for specific purposes, including clarifying, or elaborating on a point or to link elements of the story.
b.) Dialogue can do all of the above.
c.) Setting - an essential part of Exposition.
2. Complication — the premise of the conflict — there may be several complications and resulting
conflicts. (Boy loves girl – girl is engaged to boys boss, girl thinks boy is a jerk, boss tells boy he can move up in the company – boys family will disown him if he doesn’t marry his third cousin . . .)
3. Climax—the point in the story where the conflicts are resolved, or not, and the reader knows this is how things are to remain, or it is left to the reader’s interpretation.
4. Denouement — tying up minor loose ends created to further the plot, it is there to satisfy the reader: the story actually ended with the Climax.
http://forum.vgcats.com/showthread.php?t=4053
Plot 101
Listed below are some various causes and their corresponding effects. What you have to do is link them somehow. For example, if the cause is “A bagel fell to the floor.” and the effect is, “Joanne realized she was in love:’ you might link them like this: “A bagel fell to the floor. Soon Dmitri fell with it, his mouth and stomach overstuffed, his brain unconscious, Thus the bagel-eating contest ended, with Sam the clear winner. Joanne watched Sam victoriously take the stage. and in the midst of her applause and pride in his victory. a little part of her mind realized: she was in love.”
Cause: Lionel watched ‘I V.
Effect: A mouse got to eat some cheese.
Cause: It rained.
Effect: The underdog won the championship boxing match.
Cause: George proposed to Angela.
Effect: Bob did the mambo.
Cause: Kyle went to Madrid.
Effect: An orphan was adopted.
Cause: The Yankees win the World Series.
Effect: World War three breaks out.
9.) Modification of: http://www.scriptologist.com/Magazine/Tips/Logline/logline.html
Focusing on the Essence of Your Story
(Defining the overall story brings it alive and makes it easier to see how other dramatic elements are involved)
The Logline: What It Is, Why You Need It, How To Write It.
A logline is a one-sentence summary of your story. It's the short blurb in TV guides that tells you what a movie is about and helps you decide if you're interested in seeing it. It's the grabber that excites your interest.
Your logline answers the question: What is your story about? Your friends and others probably ask you this question when you tell them you're writing a story or that you've already written one. You need to be able to state the main concept of your story in one concise sentence.
"But my story is complicated with many plot twists, and I couldn't possibly tell you what it's about in one sentence," you say.
Writing something short and exciting is never easy. It takes practice. A lot of it. Read and study professionally written loglines in TV guides, newspapers, Variety, Internet film reviews… anything you can that will help you express your story concept in one sentence.
Your logline will usually start out as more than one sentence. It may even be far too long and complicated. That's okay. Leave it alone for a day or two. Then go back, look at it, take a pencil and cross out all the words that don't contribute to the main action or the heart of your story. Soon, you will have pared your logline down to one sentence that captures the essence of your story.
Here are three questions to ask yourself as you write your logline:
- Who is the main character and what does he or she want?
- Who (villain) or what is standing in the way of the main character?
- What makes this story unique?
Use action words when writing your logline. Film captures the actions of characters.
Add descriptive words to create an image that will stay in the mind of your reader.
Examples:
Dull logline: A woman plots to murder her sister.
Intriguing logline: A woman obsessed by jealousy plots to murder her sister, who married the man she loves.
Dull logline: Two lovers plan to flee from their feuding families who forbid them to marry.
Intriguing logline: Two young lovers living in a ghetto defy their feuding families' ban on marrying and plan an escape that propels them toward tragedy.
Practice:
Logline: Two brothers fight on opposite sides in the Civil War and come face to face on a battlefield.
Ask yourself whether this logline answers the three aforementioned questions. If not re-write the log line so that it stirs something within the reader.
NOW!
Write a log line for your own story (whether you have written the story, or not).
10.) Pieces of the whole story
Write a two page story using the following guidelines. Of course, the main character and protagonist can be one in the same, but your story is more complex if they are not.
I will use The Agony and the Ecstasy as an example
The Plot (If someone asked you what your story is about, what would you tell them?)
The Throughline (The concept which unifies the plot – Michael Angelo is driven to succeed on his own terms)
The Theme (The story’s underlying central idea or the generalization it communicates about life.– art versus religion.)
The Setting (where does each scene take place?) A scene being a small section of your story that takes place within a framed time period and the same setting. It’s purpose is plot progression.
Backstory – (Information about situations/characters in your story, which took place before your story starts, but the reader will need in order to understand your character/plot) Would it be more interesting to the reader if it were presented as flashback, instead of in narrative form. Would revealing the information through dialog be ore effective?
Characters Action – are they two dimensional with call-outs for dialogue, or do they use hand motions while talking, pace up and down, throw things, laugh, cry, etc.
Who is the Main Character? The reader empathizes with this character ____________________________________
Who is the Protagonists? The major character who drives the story forward ____________________________________________
Who or what is the Antagonists? The major obstacle to the Protagonists ______________________________________________________
Who or what is the Major Obstacle to the main character?
_________________________________________________________
11.) A Description Exercise
Instructions: Rewrite a description o f a place, real or imaginary, six times, using the five senses.
1. On the first writing use only the sense of sight; let the reader see what you want seen.
2. Add sound to your description in the second writing so that the reader hears and sees your setting.
3. Now add the sense of taste (the sulfur in the air, sweetness of rain, etc.). Can your reader believe he or she is there?
4. The sense of smell is next. When your reader, perhaps turns into the wind, what excites the olfactory?
5. Touch is last. (Does the feel of the cold, wet, iron rail bring back a memory, not wanted?) What does the sense of touch added to your description do for your reader?
6. Too much description may cause your reader to set your story aside, so modify what you have written. Use the descriptions of some of the senses. Use what you believe will bring realism to your piece. The object of using all the senses is a reminder that the usual sight and sound descriptions we rely on, could be improved upon. Sometimes the taste of gunpowder in the air is more eye opening than the muzzle flash, and the feel of wet clothing clinging to your body is more personal than seeing the driving ran coming down in sheets.
12.) More than a Setting — Creating an Atmosphere
Our stories take place in more than a specific setting. There is, in reality, a complete environment in which your characters interact. To help your readers experience what your characters are living, bring them to the very spot in which the action takes place. Intersperse your descriptions with action and dialogue. Don’t bore your reader with long descriptions.
For example:
Eddy passively watched his handiwork as he moved the stone around in the dirt with his foot.
“These Carnies are all low lives out to steal you blind, and there are pickpockets working the crowd, so you’ve got to be extra careful. Take you money out of your pocket one dollar at a time. It they think you have more, they will snatch it from you quicker than you can blink.”
“Okay, dad, okay. Gosh, I’m sixteen.”
His mother pulled off some or her cotton candy and stuck it in her mouth. “Remember, be at the car in four hours, okay?”
“Yeah, Okay. Now go and ride the Ferris Wheel and bumper cars, geeze.”
His parents walked off to his relief. They turned toward him, saying something that was drowned out by a barker who stood halfway between him and his parents. “Three balls, three bottles, knock ‘em down and win a prize, your choice. What about you, you look like a ball player?” He held the balls out toward Eddy’s father.
Eddy smiled and waved at his parents and walked off in the opposite direction. The smell of cotton candy, pizza, sausage sandwiches, popcorn, and elephant ears assailed his senses. Another barker cried out in the direction he was walking.
“Guess you weight, your age, your birth date, your sex, your preferences. Step right up.”
Laughter rolled out of the fun house amidst merry-go-round music, while screams and demonic mumblings came from the house of horrors. The hustle of the barkers, and the gawking and shuffle of the crown excited him. He watched a fat old man throwing his arm out to win a buck-fifty doll that would cost him twenty and a teenager making hoops to win his girlfriend a large teddy-bear. He slipped the barker thirty dollars to get a big one.
Eddy stuck his hands in his pockets and bounced forward, brushing past the fun seekers, still watching the actions of the marks. It didn’t take long before he saw his objective, the dog race. He grinned at the Carnie in the booth who scowled at him. As he stepped into the booth, the Carnie threw a money apron at him.
“You’re late. Do it again and your fired.”
Eddy’s grin widened as he put on the apron. “Step right up. A winner every time. Hey, you look like a winner. Step up and try your luck. There’s a winner every time.”
He listened closely to the barker at the dish toss booth next door. She was good; she could work a crowd in a mortuary. This was it. This was his life. It felt right. He felt at home, for the first time.
- Now do one better. Take me, the reader, to that world and setting you will create.
13. ) Story Types
There are only two types of stories: Stories about relationships and stories about power struggles. Of course, there are relationship stories that contain power struggles, and there are power struggle stories that contain relationships. For example, Henrik Ibsen’s, Doll House, is a relationship story, the relationship between husband and wife. However, when Nora leaves her husband, Torvald, she leaves to end his dominance, a power struggle. J.K. Rowlings’, Harry Potter, and George Lucas’ Star Wars, are examples of power struggle stories each of these has various relationships with their conflicts, obstacles and resolutions. The power struggles, of course, in Harry Potter and Star Wars is the power struggle between good and evil. Glengary, Glen Ross is a power struggle in a real estate office.
In a relationship based story, you will have to develop conflict, there has to be obstacles to overcome. In a power struggle based story, only conflict is necessary, but that can become boring (desensitization), when relationships are added, richness and complexity can develop.
Using the same topic, write two - two page, double-spaced stories: one a relationship, the other a power struggle.
14.) USING JUXTAPOSITION TO ADD EMPHASIS TO IRONY
Contributed by Dave Tomczyk
Webster defines juxtapose as: To place side by side <juxtapose unexpected combinations of colors, shapes and ideas -- J. F. T. Bugental>
This can be a very effective writing tool to use, especially when the "things" placed side by side conflict in some way. It brings more emphasis to the
irony in your scene and adds a poignant vibrancy to the mood. For example:
In the dawning of a bright new day, Jason hops down the flight of stairs from his second floor apartment to the parking lot as he heads to work. Approaching
his car, he spies an envelope tucked between one of the wiper blades and the windshield. Snatching it up he sees "Jason" written in the unmistakable script of
his girlfriend's precise handwriting. Filled with a hopeful enthusiasm he rips it open and reads the letter which begins, "Dear Jason," and ends with, "I wish you all the best and goodbye." Crumpling up the Dear John letter tightly in his fist, he casts it into the open dumpster sitting only a few feet away, and drops into the seat of his car. Revving the engine, he drives into the rising sun, and flips on the radio
to hear Three Dog Night singing their tribute to Jeremiah the Bullfrog. Painful tears roll down his cheek as they sing, "Joy to the world."
The juxtaposition of bright new day, hopeful enthusiasm, rising sun, and Joy to the world, against the sadness overcoming him after reading the Dear John
letter makes the irony of the situation more dramatic, vibrant, and heartfelt to the reader.
The assignment is to use the concept of juxtaposition and irony in your two page story on the topic we decide to write about this week, in order to give impact to the irony in the scenes you create. You don't have to "overdo" it, but some well placed juxtaposition can really add a punch to your story.
15.) Exercise: Realistic Communication
Sieving for Literary Gold in the Field of Life
Walk around in the mall, or sit in a restaurant, or some other crowded place and listen in on other’s conversations. Write down pieces of their conversations and make notes on their speech patterns, word choices (their voices)
What is the conversation about?
How did it start?
How does it end? Here is where #1 & #2 come in.
What is the mood?
What were their nonverbal communication signals?
What was the pace of their dialogue?
What was each individual’s tone of voice?
Did the individuals seem happy, angry, nervous, inattentive, coxing, manipulative, maybe a fishing expedition, demanding, informative, encouraging? What descriptive?
Did they communicate or talk passed each other?
Complete their scenarios.
- Don’t tell us; show us.
- Write scenes for each overheard conversation.
- Please don’t exceed two double spaced pages, as everyone would like to have time to express their creativity.
- Purpose: To expand our knowledge (become more aware) of how people interact in the real world. With this tool we can write more realistically, using dialect, speech patterns, mannerisms, and word choices.
- Listening in on conversations for this purpose should become part of your lifestyle. It is one method of honing your craft.
16) Exercise: Using Negotiation and Parallelism
Negotiation - When characters barter over an object or act for the purpose of
arriving at mutual agreement. The object of using negotiation is
to reveal the deeper issues that exist between the characters. (In
Tennessee Williams, A Streetcar Named Desire, there is a
continual negotiation between Blanche who wants the respect
she believes she is due, while Stanley wants her to stop acting
like she is better than everyone else.)
Parallelism – Using same or similar sentence structure (all gerunds or all
infinitives, verb placement, adjective or advert placement, repetitive
beginnings to phrase). Examples: He was burning with desire and
she was fanning the flames. It was a slow burn, which she could fan
into a blaze. He would run from home to work, then he would
walk from his work to his home. The cat was black. The dog was
white. OR It was a black cat and a white dog.
While negotiation and parallelism are not related, they are effective tools for drawing your reader deeper into your story and keeping the pages turning.
Write a two-page, double-spaced story using these two tools.
Purpose: Like a carpenter or pottery artisan, it is only by holding the tools, and applying them to your work, that you can improve your craft. Become experienced in manipulating these tools to shape the product of your mind into a work of art.
17) Exercise: Using Allegory and Allusions
Allegory – A story with a literal meaning and a symbolic meaning, usually moral,
religious or political. (The parables of Jesus Christ as presented in the
Christian Bible)
Allusions – To allude to something or someone – not expressly stated. (Some
people just don’t know when to shut up.)
Create a two page double-spaced story which is both allegorical and contains at least one allusion.
For example, maintaining one’s life in a healthy, productive state could be presented as a moral issue, a religious tenant, a political concept, or all three for that matter. The story line could go something like this: (using Ayla Kitting’s poem)
There I was – standing, about to jump, toes dangling over, heart pounding; they didn’t know how far they had pushed me.
“She must have been adopted, my child wouldn’t act like that,” Mother condescended.
Mother always disowns me; I try to hate her for it, but I can’t; I hate myself for not being able to please her.
“Some people are more trouble than their worth,” Father stated, not looking at either of us. (This is ambiguity as well as allusion. Was he talking about one of them or both of them?)
Have fun with it. Write it comically, or dramatically, Insightful, or mind candy. The important point will be there: picking up the tools, feeling their weight and texture, and knowing how to use them to shape your thoughts on paper.
18) Exercise: The Write Rhythm
Rhythm in prose, as in music, is the beat, or tempo of the words. For example:
When I plug in my MP3 to play the popular pop tunes, I feel lighter, more relaxed, in a breezy sort of way. My head moves back and forth and side to side as I listen. Tense muscles relax, my joints float in their sockets; I move to the sounds. I am there. I am joyful. I am released from my worries. Life is good; yes.
OR
When I’m tense, troubled by my life’s mishaps, when things are not going as I had hoped; I play pop tunes on my MP3 to relax. Life can be so hard, so unforgiving; it can take so much out of you, sapping your strength; you need an escape, or you will go crazy. Music is my answer, my salvation. I can release my pent-up emotions through the joyful music of today’s Pop Culture. Try it. It may be the answer you have been looking for.
OR
Pop tunes send me free. My worries disappear. I tune out the world and tune in happiness. This is certainly not escapism, it is finding joy, peace of mind. Happiness is essential part of life. I find happiness through music. I can relax. My breathing becomes rhythmic. My mind is at ease. I am healthy, happy and sane. Try it; you will see what I mean.
Write a two-page, double-spaced story; be conscious of the rhythm of your sentences and paragraphs. Make it easy, and pleasurable to read. Your story can still be a hard, gripping tale, keeping the readers on the edge of their seats, even more so with the right rhythm. Think of background music being played while your story is being narrated. That is the rhythm you want to convey to your readers.
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