8/31/21

2021 Writing Exercise Series #243: Dueling Six Word Shootout 22

The 2021 Writing Series is a series of daily writing exercises for both prose writers and poets to keep their creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

This is not a standard writing session. This is pure production—to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink it, you will be able to complete all of the exercises in under 30 minutes.

#243
Dueling Six Word Shootout 22
For today's writing exercise write a piece that includes one or both of the following sets of 6 words. Don't front-load them all into the beginning of your piece, save at least one or two for somewhere to 'aim' your piece. Remember sestinas have 6 different end-words, but don't let me tell you what to write. Just use all 6 (or twelve) words in a fashion that isn't throw-away. Don't put them in in a way that you'll definitely later edit them out because they don't add to the piece. Make them important. This might require a little brainstorming at first. Don't be afraid, you can do it!

Set 1: 
1) Blotting 
2) Clotting
3) Knotting 
4) Fly 
5)  Ply
6) Unified 

Set 2:
8) Nottingham 
9) Nothing 
10) Apply
11) Supply
12) Allied

---
Bonus Exercise: If that's not enough, also include the following three things: Chocolate Chip Cookies, Mold, and A Red Wagon.
------------------------------------

If you'd like some background music to write to, try this "Touch of Katana ⛩️ Japanese Lofi Hip-Hop" lofi mix.

8/30/21

2021 Writing Exercise Series #242 Enjoying Anaphora—Repetition Files 15

The 2021 Writing Series is a series of daily writing exercises for both prose writers and poets to keep their creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

This is not a standard writing session. This is pure production—to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink it, you will be able to complete all of the exercises in under 30 minutes.

#242
Enjoying Anaphora—Repetition Files 15

For today's writing exercise you will write a piece of poetry or prose which focuses on repetition. In this instance we will work with anaphora. It's a handy little bit of poetic craft that goes a little something like this:

the repetition of a word or words at the beginning of successive phrases, clauses, or lines to create a sonic effect.
Take a moment and read the above-linked Poetry Foundation article, even if you know the term. For even more fun check out this longer article called Adventures in Anaphora.

Your mission is to use the following phrase to begin at least 5 sentences. 

The word or phrase we'll use for our exercise today is:

"Enjoying" 

    There are a number of ways you could approach this bit of anaphora—it doesn't even have to be about enjoyment. Whether you're speaking for your own enjoyments (or lack of), or of a character, of 'society at large', of an inanimate object serving as the narratorial stand-in, tons of options. Whatever you do, just be sure that the repeated phrase earns its worth in your piece, and it should in some way build upon what came before it. The repetition should be necessary and not merely redundant.


    Bonus Exercise:
     Include these five words into your piece "Gallant" "Flu" "Snail" "Joyous" and "Infantile".
    ------------------------------------

    If you'd like some background music to write to, try this "KYŌTO ⛩️ Japanese Lofi Hip-Hop" lofi mix.

    8/29/21

    2021 Writing Exercise Series #241: How to... 17

    The 2021 Writing Series is a series of daily writing exercises for both prose writers and poets to keep their creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

    This is not a standard writing session. This is pure production—to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink it, you will be able to complete all of the exercises in under 30 minutes.

    #241
    How to... 17

    For today's prompt we are focusing on imperative directional pieces. What does that mean? A "How to"! You don't have to title your piece "How to ..." (though you certainly can if you'd like to), you could write a prose piece that merely includes someone giving another directions or you could make it a step by step process like a recipe, however you want to interpret the prompt, the process that is the 'how to' should merely be described at some length during your piece, in some fashion. 

    For a couple examples of "How to" pieces. "How to Get There" by Philip Levine, "How to tie a knot" by James Kimbrell, the villanelle "The Grammar Lesson" by Steve Kowit, Mónica de la Torre's wonderful "How to Look at Mexican Highways". and the awesome short story "How to Write a True War Story" by Tim O'Brien.

    How toUnsalt your Food.

    Whether this is covering for too much salt added by adding other ingredients, reversing time, some shaking it off/blowing it off/dabbing process, something using the other meanings of salt perhaps? many options.

    Extra Credit RequirementsYour piece must include something that 'Gold', and the words "Proof" "Risen" "Granular" "Frog" and "Stadium".

    ------------------------------------

    If you'd like some background music try this Kyoto Sunset ☯︎ Japanese Lofi HipHop Mix

    8/28/21

    2021 Writing Exercise Series #240: Ekphrastic Fantastic 20

    The 2021 Writing Series is a series of daily writing exercises for both prose writers and poets to keep their creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

    This is not a standard writing session. This is pure production—to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink it, you will be able to complete all of the exercises in under 30 minutes.

    #240
    Ekphrastic Fantastic 20

    For today, we're pairing images for you to respond to. The two images will be contrasting and it will be up to you how they can interact, how your writing can make the two pieces of art meet. 

    Or, just pick one of the images and run with it if you'd rather. I'm not here to tell you exactly what to do, just to help you get the ball rolling. But if it was me, I would look for commonalities or how one image could be an imagination or memory or media within the other image, or if they exist in the same 'world', how you can get from one point in space and time to the other. But you do you boo-boo.


    Image 1: This 1907 poster from publisher unknown, from the Library of Congress's Autumn and Halloween Collection.



    Image 2:  This 1939 photo "Philipe Aranjo, rehabilitation client, harvesting wheat in Costilla County, Colorado" by Arthur Rothstein also from the same collection.



    -----
    How do these two images play off of each other in your mind? Are these two images happening at the same time, is the man thinking of someone from his past, is the woman remembering someone from her past, a father, love interest? Something totally different? How might they be connected? Are they completely unrelated? You decide. Don't overthink it, take a couple minutes perhaps, but dive in and make this happen! And always remember that if you're onto gold—run with it.

    You got this!
    -----

    If you'd like background writing music, try this "Warm spring days" lofi mix.

    8/27/21

    2021 Writing Exercise Series #239: Erasing Roger Ebert 37 "Johnny Be Good"

    The 2021 Writing Series is a series of daily writing exercises for both prose writers and poets to keep their creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

    This is not a standard writing session. This is pure production—to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink it, you will be able to complete all of the exercises in under 30 minutes.

    #239
    Erasing Roger Ebert 37 "Johnny Be Good"

    For today's exercise we have split paths for fiction and poetry, though I highly recommend that even fiction writers try the poetry exercise, because erasures can be a blast!

    Poetry: For poetry do an erasure or black-out poem from the following:  Roger Ebert's review of the 1988 film "Johnny Be Good" (Half a Star).

    Roger Ebert has been the archetypal film critic for decades, and he's written thousands of reviews. Because of their nature, almost their own bit of ekphrastic art, this series of erasures will be lots of fun!

    An Erasure/Blackout is really simple: you take the given text and remove many words to make it your own new piece. One way to go about the erasure that I like to do is to copy the text and paste it twice into your document before you start erasing or blacking out (in MS Word set the text background color to black), that way if you get further into the erasure and decide you want a somewhat different tone or direction, it's easy to go to the unaltered version and make the erasure/black-out piece smoother. Another tip is to look for recurring words, in this example 'bingo' occurs multiple times and could be a good touchstone for your piece.

    Fiction or (poetry): If you insist on fiction (or just feel like writing a "Title Mania" piece), write a piece with one of these  titles taken from this section:

    1. Human Dialogue
    2. Free Rent
    3. A Best Friend Played By Robert Downey Jr.
    4. For Possession
    5. Financial Leakage
    6. A Squandering of Resources Equivalent to Polluting a River or Plowing Under a Rain Forest
    7. Complicated and Human


    Erasure Selection:

    Roger Ebert's review of "Johnny Be Good" 

    “Johnny Be Good” is a compelling argument for the wisdom of rewriting screenplays, of going back and looking at the material again and asking tough questions. The screenplay for this movie bears every sign of being a first draft - a quick and dirty one. The movie doesn’t feel written, it feels dictated. Three authors are listed, and from the way their movie plays, they must have sat around in an office somewhere trying to get all of their cliches in a row.

    What we have here is the structure of a movie, a chronological series of necessary scenes. What we do not have are characters who seem complicated and human, dialogue that hears well or situations that offer the slightest hope of surprise. Some responsible person, maybe the producer or director, should have sent this top-of-the-head stuff back for a big rewrite. At the prices they pay for screenplays these days, they ought to be able to demand quality.

    The movie stars Anthony Michael Hall (one of the members of “The Breakfast Club”) as a high school football hero who is being recruited by lots of high-powered collegiate athletic programs. After his team wins the state championship, the recruiters line up outside the locker room, wearing garish plaid sport coats, and loudly offer him cars, girls, free rent and cash. No one who has the slightest exposure to the current recruiting situation could believe this scene, but that would be all right if it were only funny. It’s not.

    Hall has a best friend, played by Robert Downey Jr., and a best girl, played by Uma Thurman. The pal wants him to hold out for the best offer. The girlfriend wants him to go to State with her and get a good education. The girlfriend’s father is a local cop who spends a lot of time warning Hall away from his daughter. This leads one night to a football game in her front yard, with Hall and the father playing for possession of the girl.

    Meanwhile, Hall gets on lots of private jets and visits lots of private schools, where bands and cheerleaders greet him at the airport and he is offered the sun, moon and stars. He is even privileged to witness a session at which Bears quarterback Jim McMahon poses in his underpants for Adidas products; the implication is that someday Hall could be wearing those shoes. The McMahon scene offers limitless possibilities for satire, all of them avoided by the movie. Another botched scene involves Howard Cosell phoning the lad to advise him to go to an Ivy League School. Cosell plays himself in this scene. Has he abandoned all respect for his journalistic reputation? What is a journalist thinking about when he portrays himself as an idiot? “Johnny Be Good” is completely bereft of comic imagination, which may explain the big last scene, in which a room full of people get into fights with each other. The occasion is a press conference at which Hall is going to announce his choice of school. Answer me this: If you were at such a press conference, would you slug the guy standing next to you, no matter what the teenage football star said? There is no possible motivation for this scene, except for the obvious one - artistic bankruptcy.

    The people who made this movie should be ashamed of themselves.

    There are a lot of good screenplays to be filmed and only a limited amount of money to go around. This movie is simply financial leakage, a squandering of resources equivalent to polluting a river or plowing under a rain forest. I’m serious. We’re desperate for things to think about in this society, and these guys contribute to the situation by providing us with 86 minutes of zip. They oughta have their pictures on the post office wall.

    ------------------------------------

    If you'd like some background music, try Jubilant Day (Upbeat Lo-fi Hip Hop Mix).
     

    8/26/21

    2021 Writing Exercise Series #238 Micro 101 Episode 16

    The 2021 Writing Series is a series of daily writing exercises for both prose writers and poets to keep their creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

    This is not a standard writing session. This is pure production—to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink it, you will be able to complete all of the exercises in under 30 minutes.

    #238
    Micro 101 Episode 16

    For today's writing exercise you will write a few micro-poems or micro-fictions. These will be either poems under 20 lines or stories under 200 words.

    For inspiration go read some micro or hint fiction in this Buzzfeed article, at Microfiction MondayAlbaMolecule50 Word Stories and Nanoism. Or also this Barnstorm blog post "How Microfiction Could Transform Social Media".

    Read the full prompt twice before you start writing, because you're looking to keep it minimal, so have ideas. If your first draft is longer don't fret. Hone it down. And the piece will be what it is. I've started out with a goal of 100 words but hit on something and had to cull the end result from 1350 to 1200 for a contest because I loved the result. So each story will be its own beast, but we're ideally aiming for 20 lines or 100-200 words with these.

    Micro Exercise 1: Three Neighbors. In a very brief piece, tell of how your narrator has three neighbors who all died within the last year which has made them anxious.
    Micro Exercise 2: Neighbor Competition. Write a very short piece in which the narrator is competing in some way with their neighbor. Whether in a sport, a game, in conspicuous consumption, you decide. Also end with an observation about the point or value of that competition.
    Micro Exercise 3: Night Flood. Write a micro piece in which a sudden storm causes a small neighborhood to flood. Start with the narrator waking up in the middle of the night and bring us all the way through to at least sunrise via a series of three carefully chosen actions, and two lists of details the narrator witnesses at different points.
    Micro Exercise 4: Traffic Jam 1Write a micro piece in which a narrator gets stuck in a traffic jam and after momentarily being angry, they are then relieved that they will miss the obligation that they were on their way to, and turn up the song they're listening to (name the song).
    Micro Exercise 5: Traffic Jam 2: Slipstream. Write a very short piece in which someone abandons their car in a traffic jam, and then something magical happens but is presented in a way as if it is just normal, every day stuff. 

    ----

    If you'd like some background music to write to, try this "Campfire Crackling" lofi mix.

    8/25/21

    2021 Writing Exercise Series #237: Sentence Calisthenics 10

    The 2021 Writing Series is a series of daily writing exercises for both prose writers and poets to keep their creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

    This is not a standard writing session. This is pure production—to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink it, you will be able to complete all of the exercises in under 45 minutes.

    #237
    Sentence Calisthenics 10
    For today's writing exercise complete the following steps for a specific period of time, using the timer on your phone or computer and setting it for 5 minutes for each 'set'. The point here is to produce at very least 6 sentences in each set, but you're looking for both quality and quantity. Don't write a bunch of sentences with the same construction or that are boring—it's better if you have no idea how in the heck you might use the sentence. Something funky, interesting.  Normal, well-phrased sentences are of course good to have in the mix too, but include some quirky ones in each set.

    At the end of every set mark your favorite 1-2 sentences.

    In order to complete the large number of sentences demanded of this exercise it is imperative that you write fast. Don't stop to think too much at all until you've reached the final exercise. The process of this quick production is to thrust past second guesses or other stumbling blocks that sometimes impede your writing. You're aiming to write 30 individual, unlinked sentences in 25 minutes so you have ten minutes to organize and write that actual piece using the 'round up' prompt. This means you're going to be writing more than a sentence a minute. You can't do that if you're dawdling or trying to figure out the 'perfect' phrasing. The first couple times writing to these sprint-style prompts you may barely squeak the lines out in time, but as you get more used to it you'll get more both in quantity and in quality of your sentences. 

    Save all of your sentences to a "Sentence Calisthenics" document, if you participate for awhile we'll have some bonus exercises that will refer back to these sentences, because sometimes you can't see the gold hiding in plain sight when you've just written something. Having fresh eyes might result in a quick, awesome piece. So, save those sentences!

    WRITE FAST, DON'T OVERTHINK

    Getting into the mindset: Before you start your timer, take a moment and breathe and think about keeping cool during a very hot day (and also during hot nights). Think about the feeling of a hot night, trying to sleep when sweating/covered in sweat or however else you experience a hot night or day. Think both humid and dry heat. Keep thinking of these things in the back of your mind as you're writing and in between sets. By no means should all of your sentences revolve around these things, we just want your mind centered with a few anchors in place before we charge into our piece, DON'T LET THIS DISTRACT YOU FROM YOUR SENTENCES. When you feel set, read the set instructions, appropriate Wordbank, and start that timer. 

    When the timer goes off move on to the next set regardless of if you met the 6 sentence goal, you wrote only 3, or 12—when the timer rings, move along and if you don't hit 6 for one set, do your dangedest to knock out 6 in the next set even if some of them are short or silly or straightforward or even a fragment.

    Set 1: Using the first wordbank write six (6) or more sentences which include one of those words and a synonyms for/shades of "red". Take a few moments before you start your timer and jot down 4-5 beforehand so you have them handy for quick use. 

    Wordbank 1:
    • Convertible
    • Matchstick
    • Mushy
    • Sharp
    • Tangle
    Set 2: Now write six (6) or more sentences which use two words from that first wordbank. At least two (2) of the sentences must be fewer than six words. 

    Remember to mark 1-2 favorites for each set.

    Wordbank 2:
    • Tassel
    • Violent
    • Ploy
    • Gem
    • Saturated
    Set 3: Now write six (6) or more sentences which use one word from Wordbank 1 and one from Wordbank 2.

    Set 4:
     Now take a minute to look through this list of facts about the sun (either tab) and write down at least 2 of them which interest you. Write at least six (6) sentences which include a word from Wordbank 2 and either the word "Star" or "Sun". 

    You're marking 1-2 favorites, right? Keep doing it.

    Wordbank 3:
    • Sour
    • Undo
    • Irked
    • Circular
    • Groundhog
    Set 5: Take just 5 minutes now to write as many sentences or fragments that use at least two of the words from Wordbank 3 as you can. Try to get ten! If ten is easy, go for fifteen! We're sprinting here, first thought best thought, get your numbers up.

    Set 6Now write three (3) sentences that include at least one word from one of the wordbanks, and explains something about one of those Sun Facts written down before Set 4. You thought I forgot about those didn't you? If you can write six sentences or more do it, but because it's a little more complicated, getting three sentences that make sense might take a little longer. But get at very least two before moving on.

    The Prompting Round-up
    Step 1) Gather up all of your marked favorite lines and pick from those favorites at least three sentences to build your piece around. 
    Step 2) Now that you know the core of your piece, go back up to the un-favorite lines and pick three additional sentences that you must use (even if you 'spruce' them up by tightening or 'quirking' up the language). 
    Step 3) Now you have 6 sentences that are unconnected. You have a large chunk of a jigsaw puzzle but you've lost all the rest of the pieces. So it's time to make those pieces yourself. Make sure your piece has a 'point' or some sort of larger meaning above just the literal narrative/descriptions. Make an observation for better or worse, large, small or teensy tiny even. But, something new, and unique to your brain.

    COMPLETE-A-PIECE 

    If your piece hasn't jumped right out at you, use this 'formula' today using those six sentences. 

    Step 1) First, throw out three of those six sentences that you don't care for as much. Look back at your original full list of sentences and see if any stick out. Sometimes in the rush of things you actually choke out something inadvertently kinda brilliant/interesting. That's the point of rush-rush-rushing. Pushing your brain. Ideally you'll have 4 sentences before you move onto step 2, so if none of those other sentences stick out (tweaks are acceptable of course), grab back one of the sentences you threw out at the beginning of this step, you want at least 3..

    Step 2) Now we're going to write a piece which is broken roughly into 1/3s with the first 1/3 including one or two of your sentences and follows a narrator during their daily routine on a Monday (with at least one surprising/quirky detail/incident which is told as though it was normal/happened every day). This day will set up the narrator's 'everyday' for this week. Decide now if you would like the 'redundancy' or 'routine' is a positive or negative thing. If this consistency is stability or boredom epitomized. Don't oversell if the person is positive or negative on their routine in this first third, present it mostly neutrally. Include a 'standard' lunch. At the end of this section the narrator should try to remember the last time they watched either a sunrise or sunset, and can't recall.

    Step 3) The second 1/3 should include 1-2 of your sentences and progress through the rest of the workweek. Include the narrator's progressively positive/negative attitude via details which emerge in these further days that might not have occurred earlier in the week. Also work in your favorite sun fact somehow early in this section.

    Step 4) Before moving onto the last section of the piece take a quick look back at your starred list of sentences and see if there's any that would fit in your piece. You want to use this as a little scaffolding for the final chunk, but if you don't find one or two that fit that is fine too. 

    Step 5) The final 1/3 should include your remaining sentences and take place mostly as the narrator is watching either the sunset or sunrise on their 'day off'. This is where your earlier decision is going to come to fruition. Does the narrator long for the routine? Do they wish to escape it? Do they like the sunset/sunrise or think it's overrated? What is his surrounding? Give us a nice clear picture of the narrator watching and thinking back to their week and the most memorable things that happened, and about the much more common 'routine' non-memorable moments. After the sun sets your narrator should walk to get some food, ruminating briefly on their childhood and what they're hungry for.

    Step 6) When you're satisfied with the ending, take that knowledge back to the first 1/3 and add in a couple small details, especially imagery, which are in line with that ending. If some specific details are prominent in the end (a quirk or piece of equipment, a description or whatever), mention that thing in that first 1/3 in an innocuous or 'fun' way.

    And that's it. You have your piece. A quiet piece but you can make the ride as awesome as you want with how you tell the little tale, what you choose to include. This will definitely take longer than ten minutes but may just be worth it.

    ------------------------------------

    Want some unobtrusive background writing music? Try this "Chillhop Yearmix 2019 ☕️ jazz beats & lofi hip hop" lofi mix.

    8/24/21

    2021 Writing Exercise Series #236: Three Things, Five Words 21

    The 2021 Writing Series is a series of daily writing exercises for both prose writers and poets to keep their creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

    This is not a standard writing session. This is pure production—to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink it, you will be able to complete all of the exercises in under 30 minutes.

    #236
    Three Things, Five Words 21
    For today's writing exercise you will write a piece of poetry or prose which contains the following three things, and these five individual words. The three things should be important to the piece, not just a throwaway reference used because it has to be. This is prompt time, baby! 

    If you're not sure where to start, begin by finding a connection between two of the 'things'—whether that is a shared appearance, locale, one of the things might interact with another (or all three), some way that the two are likened or could be physically together. Use one of the things with two of the 'words' in the beginning of the piece and explore for a bit, knowing that you're aiming at the second ''thing' (where the two 'things' have their connection) about 1/3-1/2 of the way through what you imagine the length of the piece (which may be totally off). By then you should have a direction and it's off to the races, with that third 'thing' in your pathway to the finishing line.

    'Three Things'
    1. Bleach
    2. The Internet
    3. The Measles
    'Five Words' 
    Include these five words in your piece: 
    Ghastly, Jabbed, Hungry, Armored, Moth.

    -----

    If you'd like some background music to write to, try Sonny Stitt's album - With the New Yorkers.

    8/23/21

    2021 Writing Exercise Series #235: Beginning, Middle & End 22

    The 2021 Writing Series is a series of daily writing exercises for both prose writers and poets to keep their creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

    This is not a standard writing session. This is pure production—to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink it, you will be able to complete all of the exercises in under 30 minutes.

    #235
    Beginning, Middle & End 22

    For today's writing exercise you will write a piece of poetry or prose which begins with one image, scenario, line of dialog or place, includes another thing or event somewhere beyond the first and before the last stanza/paragraph, and ends with another required 'thing'.

    Begin WithTwo cars driving directly at each other.

    Somewhere in the middle: New Years Eve is celebrated.

    End WithA pod of dolphins disappearing in the distance.

    Extra Credit RequirementsYour title or first line must include the word "Flock", and you should include the following five words: Hover, Turnip, Flush, Elect, Kleptomaniac.

    ------------------------------------

    If you'd like some background writing music try this "Cyber City Coding Session" lofi mix.

    8/22/21

    2021 Writing Exercise Series #234: 'Wedding' Multi-Prompt 11

    The 2021 Writing Series is a series of daily writing exercises for both prose writers and poets to keep their creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

    This is not a standard writing session. This is pure production—to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink it, you will be able to complete all of the exercises in under 30 minutes.

    #234
    'Wedding' Multi-Prompt 11
    For today's writing exercise you actually have 4 choices! In the spirit of a wedding needing "Something Old, Something New, Something Borrowed and Something Blue." The first offered prompt is one from Notebooking Daily's past, the second is a brand new prompt for the day of one prompt theme or another, the third prompt is a 'borrowed' prompt from one of Sparked's 'Prompting Partners', and the fourth prompt is a wildcard riffing on the idea of 'Something Blue'. Take a look and dive in! First thought, best thought for these prompts.

    Something Old: 8/26/16: Ekphrastic Exercise: Up on Melancholy Hill (Published on Notebooking Daily on, well, 8/26/2016, this ekphrastic prompt is a little different, it is to use a music video to draw inspiration from. Whether it's something about the music, the lyrics, a tiny scene or image from the video, a memory that the song sparks, they're all valid and all awesome opportunities to express yourself in a way you hadn't expected).

    Something New: Six Word Shootout (include these words in a piece): Mud, Huddled, Frosty, Costly, Worthless, Nest

    Something Borrowed: Furious Fiction August 2020 Challenge (Requirements: Include some sort of comedy/humor, a sandwich, and the following five words: DIZZY, EXOTIC, LUMPY, TINY, TWISTED). While this  was originally a fiction prompt, as you can see it works very well for poetry as well!

    Reminder, this piece can be sent to Sparked Lit Mag! It doesn't have to have been written when the issue was currently reading.
    Something Blue: Write a piece in which a blue luxury car (include its brand name) hits a pedestrian and their dog, and speeds off. Your narrator witnesses the incident but when they relay the license plate to the 'boys in blue', they get the impression that nothing will be done, and takes it upon themselves to learn more. Does it get to vigilante justice? That's up to you! Maybe it's not as clear as it seems initially. Maybe you have an unreliable narrator or there is a long backstory between the driver and person struck. Explore!

    ------------------------------------

    If you'd like some background music to write to, try this "Waterfall Dreams" Lofi mix.

    8/21/21

    2021 Writing Exercise Series #233: Title Mania "Jet" 21

    The 2021 Writing Series is a series of daily writing exercises for both prose writers and poets to keep their creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

    This is not a standard writing session. This is pure production—to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink it, you will be able to complete all of the exercises in under 30 minutes.

    #233
    Title Mania "Jet" 21

    For today's writing exercise you will write a piece of poetry or prose that utilizes one of the following titles, and if you want extra 'bonus points' also include the three items from below the title list. There is absolutely nothing that these potential titles have in common, I swear.

    Titles:
    1. Jets of Hot Water
    2. Like a Jet Engine in Action
    3. Jet Boat
    4. That Time Jet Li Wore a Dog Collar the First Half of the Movie
    5. A Sudden Jet of Water Superheated by the Earth 
    6. Jets from the Blue Angels 
    Bonus Exercise: Three Things
    (Your piece must also include the following three 'things', if you choose this option)
    1. Saltwater
    2.  A Cartoon
    3. Spray paint
    ------------------------------------

    If you'd like some background music try  the jazz album Benny Carter Meets Oscar Peterson (1986).

    8/20/21

    2021 Writing Exercise Series #232: Dueling Six Word Shootout 21

    The 2021 Writing Series is a series of daily writing exercises for both prose writers and poets to keep their creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

    This is not a standard writing session. This is pure production—to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink it, you will be able to complete all of the exercises in under 30 minutes.

    #232
    Dueling Six Word Shootout 21
    For today's writing exercise write a piece that includes one or both of the following sets of 6 words. Don't front-load them all into the beginning of your piece, save at least one or two for somewhere to 'aim' your piece. Remember sestinas have 6 different end-words, but don't let me tell you what to write. Just use all 6 (or twelve) words in a fashion that isn't throw-away. Don't put them in in a way that you'll definitely later edit them out because they don't add to the piece. Make them important. This might require a little brainstorming at first. Don't be afraid, you can do it!

    Set 1: 
    1) Domed 
    2) Loam
    3) Foamed 
    4) Gall 
    5)  Ball
    6) Narwhal 

    Set 2:
    7) Scone 
    8) Honed 
    9) Blown 
    10) Brawl
    11) Gnaw
    12) Haul

    ---
    Bonus Exercise: If that's not enough, also include the following three things: A Factory, A Frying Pan, and A Wasp.
    ------------------------------------

    If you'd like some background music to write to, try this "Tokyo / Japanese Lofi HipHop Mix" lofi mix.

    8/19/21

    2021 Writing Exercise Series #231 Fresh Anaphora—Repetition Files 14

    The 2021 Writing Series is a series of daily writing exercises for both prose writers and poets to keep their creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

    This is not a standard writing session. This is pure production—to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink it, you will be able to complete all of the exercises in under 30 minutes.

    #231
    Fresh Anaphora—Repetition Files 14

    For today's writing exercise you will write a piece of poetry or prose which focuses on repetition. In this instance we will work with anaphora. It's a handy little bit of poetic craft that goes a little something like this:

    the repetition of a word or words at the beginning of successive phrases, clauses, or lines to create a sonic effect.
    Take a moment and read the above-linked Poetry Foundation article, even if you know the term. For even more fun check out this longer article called Adventures in Anaphora.

    Your mission is to use the following phrase to begin at least 6 sentences. 

    The word or phrase we'll use for our exercise today is:

    "Fresh" 

      There are a number of ways you could approach this bit of anaphora—"fresh from" or "freshly" or "fresh bread" or hundreds of different options await you. Maybe you're at a market or walking through a farm's fields or someone's kitchen or looking at a 'farm-to-table' restaurant's menu where everything is listed as 'fresh'. Whatever you do, just be sure that the repeated phrase earns its worth in your piece, and it should in some way build upon what came before it. The repetition should be necessary and not merely redundant.


      Bonus Exercise:
       Include these five words into your piece "Exercising" "Trio" "Marked" "Abreast" and "Fly".
      ------------------------------------

      If you'd like some background music to write to, try this "Way of Mind" lofi mix.

      8/18/21

      2021 Writing Exercise Series #230: First Line Bonanza 19

      The 2021 Writing Series is a series of daily writing exercises for both prose writers and poets to keep their creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

      This is not a standard writing session. This is pure production—to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink it, you will be able to complete all of the exercises in under 30 minutes.

      #230
      First Line Bonanza 19

      For today's writing exercise write a piece that begins with one of the following first lines.

      1) "Pain management" was a phrase that the nurse was, quite frankly, sick of.
      2) For what purpose the sun might decide not to rise in the morning, I wasn't sure—but that did not stop the occasional fright.
      3) Cars laid on their horns as though the sound would move her.
      4) Transitioning from lunchtime into afternoon—the day grew hotter.
      5) They latched onto pre-existing fears and yanked.

      -----

      Bonus 'constraint': You must include two people arguing in the distance.
      ------------------------------------

      If you'd like some background music to write to, try Chet Baker & Paul Bley - Diane (1985).

      8/17/21

      2021 Writing Exercise Series #229: Ekphrastic Fantastic 19

      The 2021 Writing Series is a series of daily writing exercises for both prose writers and poets to keep their creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

      This is not a standard writing session. This is pure production—to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink it, you will be able to complete all of the exercises in under 30 minutes.

      #229
      Ekphrastic Fantastic 19

      For today, we're pairing images for you to respond to. The two images will be contrasting and it will be up to you how they can interact, how your writing can make the two pieces of art meet. 

      Or, just pick one of the images and run with it if you'd rather. I'm not here to tell you exactly what to do, just to help you get the ball rolling. But if it was me, I would look for commonalities or how one image could be an imagination or memory or media within the other image, or if they exist in the same 'world', how you can get from one point in space and time to the other. But you do you boo-boo.


      Image 1: Innocence, c 1904, watercolour by English painter and illustrator Thomas Cooper Gotch.


      Image 2:  This photo by Mikhail Preobrazhenskiy on the awesome free-use site Unsplash


      -----
      How do these two images play off of each other in your mind? Is the dragon real or a manifestation/imagination? Perhaps we're in a sort of Cersei Lannister meets Reign of Fire situation with a dragonrider laying havoc to a modern city. Perhaps the child feels surrounded by dragons in a scary or unknown city. Maybe it's the same land but thousands of years apart? Something totally different? How might they be connected? Are they completely unrelated? You decide. Don't overthink it, take a couple minutes perhaps, but dive in and make this happen! And always remember that if you're onto gold—run with it.

      You got this!
      -----

      If you'd like background writing music, try this lofi mix ☀️Chillhop Essentials · Summer 2021 [instrumental beats compilation].

      8/16/21

      2021 Writing Exercise Series #228: How to... 16

      The 2021 Writing Series is a series of daily writing exercises for both prose writers and poets to keep their creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

      This is not a standard writing session. This is pure production—to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink it, you will be able to complete all of the exercises in under 30 minutes.

      #228
      How to... 16

      For today's prompt we are focusing on imperative directional pieces. What does that mean? A "How to"! You don't have to title your piece "How to ..." (though you certainly can if you'd like to), you could write a prose piece that merely includes someone giving another directions or you could make it a step by step process like a recipe, however you want to interpret the prompt, the process that is the 'how to' should merely be described at some length during your piece, in some fashion. 

      For a couple examples of "How to" pieces. "How to Get There" by Philip Levine, "How to tie a knot" by James Kimbrell, the villanelle "The Grammar Lesson" by Steve Kowit, Mónica de la Torre's wonderful "How to Look at Mexican Highways". and the awesome short story "How to Write a True War Story" by Tim O'Brien.

      How toDisappear in a Crowded Room.

      Extra Credit RequirementsYour piece must include a person wearing a unique hat/helmet and the words "Glee" "Deer" "Dewy" "Jeweled" and "Bonus".

      ------------------------------------

      If you'd like some background music try midnight in japan. [lofi / jazzhop / asian beats]

      8/15/21

      2021 Writing Exercise Series #227: Erasing Roger Ebert 36 "Pearl Harbor"

      The 2021 Writing Series is a series of daily writing exercises for both prose writers and poets to keep their creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

      This is not a standard writing session. This is pure production—to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink it, you will be able to complete all of the exercises in under 30 minutes.

      #227
      Erasing Roger Ebert 36 "Pearl Harbor"

      For today's exercise we have split paths for fiction and poetry, though I highly recommend that even fiction writers try the poetry exercise, because erasures can be a blast!

      Poetry: For poetry do an erasure or black-out poem from the following:  Roger Ebert's review of the 2001 film "Pearl Harbor" (One and a Half Stars).

      Roger Ebert has been the archetypal film critic for decades, and he's written thousands of reviews. Because of their nature, almost their own bit of ekphrastic art, this series of erasures will be lots of fun!

      An Erasure/Blackout is really simple: you take the given text and remove many words to make it your own new piece. One way to go about the erasure that I like to do is to copy the text and paste it twice into your document before you start erasing or blacking out (in MS Word set the text background color to black), that way if you get further into the erasure and decide you want a somewhat different tone or direction, it's easy to go to the unaltered version and make the erasure/black-out piece smoother. Another tip is to look for recurring words, in this example 'bingo' occurs multiple times and could be a good touchstone for your piece.

      Fiction or (poetry): If you insist on fiction (or just feel like writing a "Title Mania" piece), write a piece with one of these  titles taken from this section:

      1. A surprise attack on an American love triangle
      2. Without Grace, Vision, or Originality
      3. Imperialist Designs
      4. So Oblique
      5. With the Hindsight of History
      6. Sidestepped
      7. Some in Sharp Focus, Some Blurred
      8. The Most Appalling Slaughter


      Erasure Selection:

      Roger Ebert's review of "Pearl Harbor" 

      "Pearl Harbor" is a two-hour movie squeezed into three hours, about how on Dec. 7, 1941, the Japanese staged a surprise attack on an American love triangle. Its centerpiece is 40 minutes of redundant special effects, surrounded by a love story of stunning banality. The film has been directed without grace, vision, or originality, and although you may walk out quoting lines of dialog, it will not be because you admire them.

      The filmmakers seem to have aimed the film at an audience that may not have heard of Pearl Harbor, or perhaps even of World War Two. This is the Our Weekly Reader version. If you have the slightest knowledge of the events in the film, you will know more than it can tell you. There is no sense of history, strategy or context; according to this movie, Japan attacked Pearl Harbor because America cut off its oil supply, and they were down to an 18 month reserve. Would going to war restore the fuel sources? Did they perhaps also have imperialist designs? Movie doesn't say.

      So shaky is the film's history that at the end, when Jimmy Doolittle's Tokyo raiders crash-land in China, they're shot at by Japanese patrols with only a murky throwaway explanation about the Sino-Japanese war already underway. I predict some viewers will leave the theater sincerely confused about why there were Japanese in China.

      As for the movie's portrait of the Japanese themselves, it is so oblique that Japanese audiences will find little to complain about apart from the fact that they play such a small role in their own raid. There are several scenes where the Japanese high command debates military tactics, but all of their dialog is strictly expository; they state facts but do not emerge with personalities or passions. Only Admiral Yamamoto (Mako) is seen as an individual, and his dialog seems to have been singled out with the hindsight of history. Congratulated on a brilliant raid, he demurs, "A brilliant man would find a way not to fight a war." And later, "I fear all we have done is to awaken a sleeping giant." Do you imagine at any point the Japanese high command engaged in the 1941 Japanese equivalent of exchanging high-fives and shouting "Yes!" while pumping their fists in the air? Not in this movie, where the Japanese seem to have been melancholy even at the time about the regrettable need to play such a negative role in such a positive Hollywood film.

      The American side of the story centers on two childhood friends from Tennessee with the standard-issue screenplay names Rafe McCawley (Ben Affleck) and Danny Walker (Josh Hartnett). They enter the Army Air Corps and both fall in love with the same nurse, Evelyn Johnson (Kate Beckinsale)--first Rafe falls for her, and then, after he is reported dead, Danny. Their first date is subtitled "Three Months Later" and ends with Danny, having apparently read the subtitle, telling Evelyn, "Don't let it be three months before I see you again, okay?" That gets almost as big a laugh as her line to Rafe, "I'm gonna give Danny my whole heart, but I don't think I'll ever look at another sunset without thinking of you." That kind of bad laugh would have been sidestepped in a more literate screenplay, but our hopes are not high after an early newsreel report that the Germans are bombing "downtown London"--a difficult target, since although there is such a place as "central London," at no time in 2,000 years has London ever had anything described by anybody as a "downtown." There is not a shred of conviction or chemistry in the love triangle, which results after Rafe returns alive to Hawaii shortly before the raid on Pearl Harbor and is angry at Evelyn for falling in love with Danny, inspiring her timeless line, "I didn't even know until the day you turned up alive--and then all this happened." Evelyn is a hero in the aftermath of the raid, performing triage by using her lipstick to separate the wounded who should be treated from those left to die. In a pointless stylistic choice, director Michael Bay and cinematographer John Schwartzman shoot some of the hospital scenes in soft focus, some in sharp focus, some blurred. Why? I understand it's to obscure details deemed too gory for the PG-13 rating. (Why should the carnage at Pearl Harbor be toned down to PG-13 in the first place?) In the newsreel sequences, the movie fades in and out of black and white with almost amusing haste, while the newsreel announcer sounds not like a period voice but like a Top-40 deejay in an echo chamber.

      The most involving material in the film comes at the end, when Jimmy Doolittle (Alec Baldwin) leads his famous raid on Tokyo, flying Army bombers off the decks of Navy carriers and hoping to crash-land in China.

      He and his men were heroes, and their story would make a good movie (and indeed has: "Thirty Seconds Over Tokyo"). Another hero in the movie is the African-American cook Dorie Miller (Cuba Gooding Jr.), who because of his race was not allowed to touch a gun in the racist pre-war Navy, but opens fire during the raid, shoots down two planes, and saves the life of his captain. He's shown getting a medal. Nice to see an African-American in the movie, but the almost total absence of Asians in 1941 Hawaii is inexplicable.

      As for the raid itself, a little goes a long way. What is the point, really, of more than half an hour of planes bombing ships, of explosions and fireballs, of roars on the soundtrack and bodies flying through the air and people running away from fighters that are strafing them? How can it be entertaining or moving when it's simply about the most appalling slaughter? Why do the filmmakers think we want to see this, unrelieved by intelligence, viewpoint or insight? It was a terrible, terrible day. Three thousand died in all. This is not a movie about them.

      It is an unremarkable action movie; Pearl Harbor supplies the subject, but not the inspiration.

      ------------------------------------

      If you'd like some background music, try Dizzy Gillespie Feat. Sonny Rollins & Sonny Stitt - Duets.