For today's exercise use the following as the title of a poem or piece of prose.
Two Steps Away
Two Steps Away
3/18/16
3/17/16
Title exercise: Above a Grid of Quaint Lives
For today's exercise use the following as the title of a poem or piece of prose.Above a Grid of Quaint Lives
Now, please don't think that by using a photo of farmland I'm saying farmers are quaint or adorable or anything. A ton of them are pretty awful. :) And a ton of them are scientifically advanced individuals. The grid certainly doesn't have to apply to the photo, it could talk of the little boxes on the hillside of a planned community, it could be about SimCity, it could be about the developers of Minneapolis doing a flyover and pitying the poor lost citizens of St. Paul.
3/16/16
Title exercise: An Indiscretion Best Left to Inuendo
For today's exercise use the following as the title of a poem or piece of prose.An Indiscretion Best Left to Inuendo
3/15/16
Title exercise: Salted Water
For today's exercise use the following as the title of a poem or piece of prose.
Salted Water
Salted Water
3/14/16
Title exercise: Between Horizon and Lake
For today's exercise use the following as the title of a poem or piece of prose.
Between Horizon and Lake
David Meunch (photo) is an amazing photographer and I think everyone should have at least one of his coffee table books. I have four. My favorite is called Ancient America and by now it is cheap cheap cheap. I bought mine on clearance for $54 now you can get it for $0.34. What a country we live in America, I love it!
Between Horizon and Lake
 |
Title exercise: Missing Huckleberry Pie
For today's exercise use the following as the title of a poem or piece of prose.
Missing Huckleberry Pie
(As today is Rounded Pi Day, also use at least four numbers in your piece if you feel like a little challenge.)
Missing Huckleberry Pie
(As today is Rounded Pi Day, also use at least four numbers in your piece if you feel like a little challenge.)
3/13/16
Weekend Triple Threat: Title, Three Things, How To
Since it's Sunday here are three options for today's exercise. Choose one, choose them all, just be sure to produce something.
Title Mania (use the following title and write a piece to somehow fit it.)
Of All the Things I've Left Behind
Three Things (For today's exercise write a piece of poetry or prose that somehow utilizes the following three things:)
A Snicker's Bar, Polyester, Vertical Blinds
How to: (For today's prompt you don't have to title your piece "How to ..." —though you certainly can if you'd like to; or you could even make it a step by step process like a recipe, the process should merely be described at some length during your piece.)
Raise the Dead.
Title Mania (use the following title and write a piece to somehow fit it.)
Of All the Things I've Left Behind
Three Things (For today's exercise write a piece of poetry or prose that somehow utilizes the following three things:)
A Snicker's Bar, Polyester, Vertical Blinds
How to: (For today's prompt you don't have to title your piece "How to ..." —though you certainly can if you'd like to; or you could even make it a step by step process like a recipe, the process should merely be described at some length during your piece.)
Raise the Dead.
3/12/16
Three things exercise: A Bobby Pin, Dr. Dre, A Mounds Bar
A Bobby Pin, Dr. Dre, A Mounds Bar
3/11/16
Three things exercise: A sponge, Mascara, A spent white lighter
A sponge, Mascara, A spent white lighter
3/10/16
Three things exercise: A Fishing Bobber, A Topeka Postcard and A Yard Stick
For today's exercise write a piece of poetry or prose that somehow utilizes the following three things:
A Fishing Bobber, A Topeka Postcard and A Yard Stick
A Fishing Bobber, A Topeka Postcard and A Yard Stick
3/9/16
Three things exercise: A cat's whisker, A crushed bottle of water, A Sky-Blue Crayon
A cat's whisker, A crushed bottle of water, A Sky-Blue Crayon
3/8/16
Three things exercise: A piece of baseball card gum, A pair of thinning sheers, A composition notebook
For today's exercise write a piece of poetry or prose that somehow utilizes the following three things:A piece of baseball card gum, A pair of thinning sheers, A composition notebook
3/7/16
Three things exercise: A Troll Doll, A Two Dollar Bill, An Artificial Christmas Tree
For today's exercise write a piece of poetry or prose that somehow utilizes the following three things:A Troll Doll, A Two Dollar Bill, An Artificial Christmas Tree
3/6/16
Weekend Triple Threat: Title, Three Things, Narrative Thread
Since it's Sunday here are three options for today's exercise. Choose one, choose them all, just be sure to produce something.
Title Mania (use the following title and write a piece to somehow fit it.)
Born Of
Three Things (For today's exercise write a piece of poetry or prose that somehow utilizes the following three things:)
Concentrated Orange Juice, A Missing Jigsaw Puzzle Piece, A Tinfoil Ball
Narrative Thread (For today's writing exercise begin a story or poem with the following and see where it takes you.)
The siren blared over entirely vacant streets.
Title Mania (use the following title and write a piece to somehow fit it.)
Born Of
Three Things (For today's exercise write a piece of poetry or prose that somehow utilizes the following three things:)
Concentrated Orange Juice, A Missing Jigsaw Puzzle Piece, A Tinfoil Ball
Narrative Thread (For today's writing exercise begin a story or poem with the following and see where it takes you.)
The siren blared over entirely vacant streets.
3/5/16
Title exercise: Loose Chain
For today's exercise use the following as the title of a poem or piece of prose.
Loose Chain
Loose Chain
3/4/16
Excise; Compress: Love is Forever
Excise; Compress.
When words are at the a high premium you must be very careful of which ones to use. I've been ruminating about writing a series of articles that discusses ways that writers of awesome flash fiction keep their prose so tight for a long time, but it recently found a renewed flare. In the last week my shortest two contracted pieces of fictions yet were accepted and published—both 25 words ("Avoir du Chien" is in Unbroken, and the accepted piece will be published on Nanoism this Wednesday, I'll include a link here when it is). So I've decided that I might as well give the article a go with one of my favorite examples of the extremely short story. I like to cite it when the oft-referred to 'attributed to Hemmingway' six word novel comes up. The story is: "Love is Forever" by Merrilee Faber.
Sure, it's 21 words and that's more than six, but it has four characters and four actions as well as the mislead typically seen in the extremely short prose piece we call hint or perhaps micro fiction. Another way to think of this move/trope is to think of the standard structure of the sonnet: eight lines, volta, six lines. OK, sure, we don't always place the volta (or turning point) exactly there, but you get the point. If the turn is too close to the end it feels less like where the organic movement of the words had been heading all along and more like a punchline. A fair amount of extremely short fiction ends up a little bit punchliney, unfortunately. But I digress, let's move along. This way.
Speaking of Punchlines
When it comes to tightening a story there are a number of ways to cull the word count. Not that we're necessarily trying to write the shortest story, but it is always fun to push boundaries and one of those boundaries is to tell a story with as few words as possible. Jimmy Carr has a comedy bit about writing the shortest jokes he can such as "Stationery store moves." As can be expected, the setup and punchline are as short as can be while still conveying information. The first two words provide the subject/mislead, the last word provides the action, and the heavy lifting, as with all extremely short jokes, is done by the dueling of multiple conflicting meanings. In this case, stationery refers both to the product that the store sells—papers, envelopes, writing implements etc—and the fact that a store is immobile or stationAry which sounds identical but seemingly contradicted by the moving. Of course we know that the store doesn't physically move unless it's near a fault line or a wastewater disposal facility. We aren't meant to think that the store has moved but relocated. The point of the joke is merely to remind the listener that they understand homophone of stationary and stationery and that move means both for something to physically move and for a business to relocate, and then we're supposed to appreciate that that idiosyncrasy of the language is one we hadn't thought of, at least in such a tight configuration. I know I showed my appreciation of that joke the first time with a hearty chuckle.
Ever notice that the explanation of a joke is always tedious and never funny at all? Remember that if you're ever tempted to believe that the person you've just told your joke to hadn't understood, consider that if they had and just didn't think it was funny, you explaining it makes you look at best condescending and that it's best to move along sir.
So What's Excise; Compress?
Excise; Compress is the process I use to edit all of my fiction, but especially when I'm aiming to tell my story in as few words as possible. Excise any non-essential information, then take what's left and compress it by phrasing everything as efficiently as possible. This can mean using contractions like switching "would not" to "wouldn't" but more specifically it's changing a sentence like:
"He thought that he had seen the same man at least twice the day before"
to
"He'd seen the man twice yesterday"
Why? Well, most likely the uncertainties are not important to the story and "yesterday" is more concise than "the day before" which takes a 13-word sentence and makes it a 6-word sentence without losing any information or sounding robotic. If you remove too much sentences can become choppy, which, while it can have its place, isn't necessarily what you're likely going for.
Deciding what is vitally important to the story is key when it comes to flash fiction, but especially for fiction that is under 100 words like the story we'll be looking at here. Extraneous details can slow a story down or take away from your central metaphor or narrative, they can even diminish narrative tension. They can be wonderful as well, and perhaps what was once an extraneous detail can become more central to your piece through editing.
The Story:
This story is all over the internet from pintrest to blogs, Squalorly's Facebook page and list websites so I don't think it's a big deal I retype it here.
*
Take a minute and savor that surprise.
Yeahhhhhh. Doesn't it hurt so good?
If not, read it again knowing that despite its few words something very sad has happened. We'll wait.
If you still don't have it, consider what sort of outline is drawn, think chalk.
So how do we have the rug pulled out from under us so efficiently?
Let's start with the beginning: The title, or as I like to think of it, your piece's hat. While it can be just an accessory that vaguely compliments the outfit, it can also completely pull it together.
It's a Billy Ocean song. It's the title of a TV movie from 1983 starring Michael Landon. It's not original in the way that many flash writers like to make their prose piece hats unique, like the frippery of an internet-famous 'neckbeard', or perhaps like that Johnny Depp outfit that just works (And don't get me wrong, I'm a big lover of long and idiosyncratic titles and frequently use them myself). This sounds like a romantic story about the endurance of the grand emotional connection we call love. The title takes on a new meaning with the realization that the 'forever' involved in this particular love isn't a non-prescient imagining of the abstract future but the abstract idea of an unending afterlife where love might continue. Or, it's not a pop song saying "Our love will live on" so much as a dour reminder of the foolish rashness and turmoil of young people in love, perhaps even pulling into mind other familiar suicide pacts like Romeo and Juliet or Thelma and Louise.
If the piece's title was "On the corner of 143 and 100th" the feel would be completely different. While the title would set the piece in an extremely precise place, that place does not carry any weight to the average reader. It also sets the tone in a sort of 'police blotter' mode. Facts only, which loses the romanticism of the tragedy by a few notches. Forever and Love are both abstractions. The title sits in such a stoic opposition to the text that I can't help but admire the audacity. Such a great contrast.
The story's volta uses the ironic structure and comes roughly two-thirds of the way through. The second section is two sentences symmetric in length which serves to lengthen the second half in a way that a single unbroken sentence wouldn't. Am I overthinking this? Probably. But why not overthink this instead of past mistakes I can't change? Memoirs will come later, words will come shortly and this analysis is now, man.
How about we look at the final movement of the pre-volta section.
"Young lovers, hands clasped." This is a scene in four words by excising any extraneous details. What were their names? Who cares. It has no bearing on the story, and in fact, naming the lovers might undercut the story. What are they doing? That is explained by the drawing of the outline, so if it said "laying bloody on the cracked sidewalk" the weight of the drawing of the outline is completely cast aside. However, the outline by itself isn't entirely telling, and it isn't until the other police officer directs the crowd do you realize that A) the narrator is a cop, B) he has a partner named Joe, C) the outline is indeed as you had suspected (and not that the narrator is a caricaturist) one drawn around dead bodies for forensic aid in much less scientific days which also gives the piece a little more of a setting, likely somewhere between the 1890s and the 1950s, give or take a bit. While this is a story of a few particulars, this is not just a story of a particular incident. Love is the first emotion to really rock a kid as they transition from the potentially murky waters of adolescence into adulthood. And it's hard as hell to explain, even for adults.
Some of you, undoubtedly, think I'm spending way too many words on a story that is so few, but that is exactly the point of extremely short fiction, specifically the notion of "Hint Fiction". The idea is to use words so specifically and well that a larger story is clearly implicit. Need another metaphor? How about origami. It's a piece of paper with some binary folds. One, one, one one one one one. Yet the accumulation of those few folds, which while made at random might emulate a heap of trash, could also be honed into a hummingbird in flight.
Possible Writing Exercises:
1) Structure. Write a story that is under thirty words and has its volta at roughly the same place (1/2-3/4 the way through). Also the section that follows the volta should be two sentences of equal length, whether three or five words. By constricting your writing in this way you will be forced to look at how information can be conveyed not only in few words, but also how that information can be distributed in two short sentences.
2) Title. "____ is _____". Write a story or poem that uses the same structure as the title of Love is Forever. Pick an emotion for the first word and for the second choose either a length of time, a color or a musical term.
3) Subject. Write the story of two co-workers stumbling upon something startling or shocking at their place of work.
4) Subject. Write the story of the young lovers that jumped. Keep your prose very sparse and pack as much information into as few words as possible, only include the most necessary of information, every image must tell a larger story.
5) Subject. Write the story of two veteran cop partners so familiar with each other they work a crime scene without saying a word to each other.
6) Nanoism. The only restriction for submissions to Nanoism is that there must be no more than 140 characters. Yeah, you guessed it, tweet-length. Tell a story that, like "Love is Forever", is under 140 characters. If you want a further restriction to get the juices flowing, make it three sentences in length.
7) Narrative Thread. Begin your piece with the phrase "We came around the corner" and take it somewhere different from where Merrilee Faber took it in "Love is Forever".
Anyway, I hope some of that was interesting. I definitely recommend the anthology Hint Fiction edited by Robert Swartwood. It's got a number of really good tiny stories (as well as a number of punchlines) and the introduction is a good read as well. Plus it won't break the bank. As of posting this you can buy one of five used on Amazon for under $.50 if you want to save as much of your money as possible for submission fees.
Hint Fiction: An Anthology of Stories in 25 Words or Fewer
When words are at the a high premium you must be very careful of which ones to use. I've been ruminating about writing a series of articles that discusses ways that writers of awesome flash fiction keep their prose so tight for a long time, but it recently found a renewed flare. In the last week my shortest two contracted pieces of fictions yet were accepted and published—both 25 words ("Avoir du Chien" is in Unbroken, and the accepted piece will be published on Nanoism this Wednesday, I'll include a link here when it is). So I've decided that I might as well give the article a go with one of my favorite examples of the extremely short story. I like to cite it when the oft-referred to 'attributed to Hemmingway' six word novel comes up. The story is: "Love is Forever" by Merrilee Faber.
Sure, it's 21 words and that's more than six, but it has four characters and four actions as well as the mislead typically seen in the extremely short prose piece we call hint or perhaps micro fiction. Another way to think of this move/trope is to think of the standard structure of the sonnet: eight lines, volta, six lines. OK, sure, we don't always place the volta (or turning point) exactly there, but you get the point. If the turn is too close to the end it feels less like where the organic movement of the words had been heading all along and more like a punchline. A fair amount of extremely short fiction ends up a little bit punchliney, unfortunately. But I digress, let's move along. This way.
Speaking of Punchlines
When it comes to tightening a story there are a number of ways to cull the word count. Not that we're necessarily trying to write the shortest story, but it is always fun to push boundaries and one of those boundaries is to tell a story with as few words as possible. Jimmy Carr has a comedy bit about writing the shortest jokes he can such as "Stationery store moves." As can be expected, the setup and punchline are as short as can be while still conveying information. The first two words provide the subject/mislead, the last word provides the action, and the heavy lifting, as with all extremely short jokes, is done by the dueling of multiple conflicting meanings. In this case, stationery refers both to the product that the store sells—papers, envelopes, writing implements etc—and the fact that a store is immobile or stationAry which sounds identical but seemingly contradicted by the moving. Of course we know that the store doesn't physically move unless it's near a fault line or a wastewater disposal facility. We aren't meant to think that the store has moved but relocated. The point of the joke is merely to remind the listener that they understand homophone of stationary and stationery and that move means both for something to physically move and for a business to relocate, and then we're supposed to appreciate that that idiosyncrasy of the language is one we hadn't thought of, at least in such a tight configuration. I know I showed my appreciation of that joke the first time with a hearty chuckle.
Ever notice that the explanation of a joke is always tedious and never funny at all? Remember that if you're ever tempted to believe that the person you've just told your joke to hadn't understood, consider that if they had and just didn't think it was funny, you explaining it makes you look at best condescending and that it's best to move along sir.
So What's Excise; Compress?
Excise; Compress is the process I use to edit all of my fiction, but especially when I'm aiming to tell my story in as few words as possible. Excise any non-essential information, then take what's left and compress it by phrasing everything as efficiently as possible. This can mean using contractions like switching "would not" to "wouldn't" but more specifically it's changing a sentence like:
"He thought that he had seen the same man at least twice the day before"
to
"He'd seen the man twice yesterday"
Why? Well, most likely the uncertainties are not important to the story and "yesterday" is more concise than "the day before" which takes a 13-word sentence and makes it a 6-word sentence without losing any information or sounding robotic. If you remove too much sentences can become choppy, which, while it can have its place, isn't necessarily what you're likely going for.
Deciding what is vitally important to the story is key when it comes to flash fiction, but especially for fiction that is under 100 words like the story we'll be looking at here. Extraneous details can slow a story down or take away from your central metaphor or narrative, they can even diminish narrative tension. They can be wonderful as well, and perhaps what was once an extraneous detail can become more central to your piece through editing.
The Story:
This story is all over the internet from pintrest to blogs, Squalorly's Facebook page and list websites so I don't think it's a big deal I retype it here.
Love is Forever
by Merrilee Faber (from Hint Fiction)
We came around the corner and there they were: young lovers, hands clasped. I drew the outline. Joe directed the crowd.
*
Take a minute and savor that surprise.
Yeahhhhhh. Doesn't it hurt so good?
If not, read it again knowing that despite its few words something very sad has happened. We'll wait.
If you still don't have it, consider what sort of outline is drawn, think chalk.
So how do we have the rug pulled out from under us so efficiently?
Let's start with the beginning: The title, or as I like to think of it, your piece's hat. While it can be just an accessory that vaguely compliments the outfit, it can also completely pull it together.
Love is Forever.
It's a Billy Ocean song. It's the title of a TV movie from 1983 starring Michael Landon. It's not original in the way that many flash writers like to make their prose piece hats unique, like the frippery of an internet-famous 'neckbeard', or perhaps like that Johnny Depp outfit that just works (And don't get me wrong, I'm a big lover of long and idiosyncratic titles and frequently use them myself). This sounds like a romantic story about the endurance of the grand emotional connection we call love. The title takes on a new meaning with the realization that the 'forever' involved in this particular love isn't a non-prescient imagining of the abstract future but the abstract idea of an unending afterlife where love might continue. Or, it's not a pop song saying "Our love will live on" so much as a dour reminder of the foolish rashness and turmoil of young people in love, perhaps even pulling into mind other familiar suicide pacts like Romeo and Juliet or Thelma and Louise.
If the piece's title was "On the corner of 143 and 100th" the feel would be completely different. While the title would set the piece in an extremely precise place, that place does not carry any weight to the average reader. It also sets the tone in a sort of 'police blotter' mode. Facts only, which loses the romanticism of the tragedy by a few notches. Forever and Love are both abstractions. The title sits in such a stoic opposition to the text that I can't help but admire the audacity. Such a great contrast.
The story's volta uses the ironic structure and comes roughly two-thirds of the way through. The second section is two sentences symmetric in length which serves to lengthen the second half in a way that a single unbroken sentence wouldn't. Am I overthinking this? Probably. But why not overthink this instead of past mistakes I can't change? Memoirs will come later, words will come shortly and this analysis is now, man.
How about we look at the final movement of the pre-volta section.
"Young lovers, hands clasped." This is a scene in four words by excising any extraneous details. What were their names? Who cares. It has no bearing on the story, and in fact, naming the lovers might undercut the story. What are they doing? That is explained by the drawing of the outline, so if it said "laying bloody on the cracked sidewalk" the weight of the drawing of the outline is completely cast aside. However, the outline by itself isn't entirely telling, and it isn't until the other police officer directs the crowd do you realize that A) the narrator is a cop, B) he has a partner named Joe, C) the outline is indeed as you had suspected (and not that the narrator is a caricaturist) one drawn around dead bodies for forensic aid in much less scientific days which also gives the piece a little more of a setting, likely somewhere between the 1890s and the 1950s, give or take a bit. While this is a story of a few particulars, this is not just a story of a particular incident. Love is the first emotion to really rock a kid as they transition from the potentially murky waters of adolescence into adulthood. And it's hard as hell to explain, even for adults.
Some of you, undoubtedly, think I'm spending way too many words on a story that is so few, but that is exactly the point of extremely short fiction, specifically the notion of "Hint Fiction". The idea is to use words so specifically and well that a larger story is clearly implicit. Need another metaphor? How about origami. It's a piece of paper with some binary folds. One, one, one one one one one. Yet the accumulation of those few folds, which while made at random might emulate a heap of trash, could also be honed into a hummingbird in flight.
Possible Writing Exercises:
1) Structure. Write a story that is under thirty words and has its volta at roughly the same place (1/2-3/4 the way through). Also the section that follows the volta should be two sentences of equal length, whether three or five words. By constricting your writing in this way you will be forced to look at how information can be conveyed not only in few words, but also how that information can be distributed in two short sentences.
2) Title. "____ is _____". Write a story or poem that uses the same structure as the title of Love is Forever. Pick an emotion for the first word and for the second choose either a length of time, a color or a musical term.
3) Subject. Write the story of two co-workers stumbling upon something startling or shocking at their place of work.
5) Subject. Write the story of two veteran cop partners so familiar with each other they work a crime scene without saying a word to each other.
6) Nanoism. The only restriction for submissions to Nanoism is that there must be no more than 140 characters. Yeah, you guessed it, tweet-length. Tell a story that, like "Love is Forever", is under 140 characters. If you want a further restriction to get the juices flowing, make it three sentences in length.
7) Narrative Thread. Begin your piece with the phrase "We came around the corner" and take it somewhere different from where Merrilee Faber took it in "Love is Forever".
Anyway, I hope some of that was interesting. I definitely recommend the anthology Hint Fiction edited by Robert Swartwood. It's got a number of really good tiny stories (as well as a number of punchlines) and the introduction is a good read as well. Plus it won't break the bank. As of posting this you can buy one of five used on Amazon for under $.50 if you want to save as much of your money as possible for submission fees.
Hint Fiction: An Anthology of Stories in 25 Words or Fewer
Title exercise: Blue on Blue and White
For today's exercise use the following as the title of a poem or piece of prose.
Blue on Blue and White
Blue on Blue and White
2/26/16
How to prompt: Create a Curse Word
For today's prompt you don't have to title your piece "How to ..." (though you certainly can if you'd like to) or even make it a step by step process like a recipe, the process should merely be described at some length during your piece.
How to Create a Curse Word
This could be about the actual word, why certain sounds or letters work as a curse word where others may not, it could be how something became taboo to a specific group of people/place ("We don't talk about the Packers in this house"). Or it could be about magic, why not? Lots of options.
How to Create a Curse Word
This could be about the actual word, why certain sounds or letters work as a curse word where others may not, it could be how something became taboo to a specific group of people/place ("We don't talk about the Packers in this house"). Or it could be about magic, why not? Lots of options.
2/25/16
How to prompt: Ruin a Good Day
For today's prompt you don't have to title your piece "How to ..." (though you certainly can if you'd like to) or even make it a step by step process like a recipe, the process should merely be described at some length during your piece.
How to Ruin a Good Day
A day that begins good and would otherwise continue that way if not for... what? This can really be seen in a whole lot of art, that precipitous cliff when rising action hits its impediment.
Be sure to describe the good day both relatively thoroughly and uniquely. Saying the ocean in Puerto Vallarta is 'blue' is not a description that someone will remember later. Be unexpected but also apt. Going off the deep end isn't always the best option, though sometimes bonkers really kicks up an otherwise OK piece to being a memorable one.
How to Ruin a Good Day
A day that begins good and would otherwise continue that way if not for... what? This can really be seen in a whole lot of art, that precipitous cliff when rising action hits its impediment.
Be sure to describe the good day both relatively thoroughly and uniquely. Saying the ocean in Puerto Vallarta is 'blue' is not a description that someone will remember later. Be unexpected but also apt. Going off the deep end isn't always the best option, though sometimes bonkers really kicks up an otherwise OK piece to being a memorable one.
2/23/16
How to prompt: Climb into the Sky
For today's prompt you don't have to title your piece "How to ..." (though you certainly can if you'd like to) or even make it a step by step process like a recipe, the process should merely be described at some length during your piece.
How to Climb into the Sky
This could be a metaphoric climbing like taking flight in an airplane or hot air balloon, it could be about rock climbing, or climbing the trail at Mount Huashan. or it could be magic realism like Mr. Mendoza in Luis Alberto Urreas' amazing story "Mr. Mendoza's Paintbrush" from his must-have collection of short fiction Six Kinds of Sky. Maybe it's a tale of learning to climb and clearing the canopy for the first time. Plenty of range to make this your own.
How to Climb into the Sky
This could be a metaphoric climbing like taking flight in an airplane or hot air balloon, it could be about rock climbing, or climbing the trail at Mount Huashan. or it could be magic realism like Mr. Mendoza in Luis Alberto Urreas' amazing story "Mr. Mendoza's Paintbrush" from his must-have collection of short fiction Six Kinds of Sky. Maybe it's a tale of learning to climb and clearing the canopy for the first time. Plenty of range to make this your own.
2/22/16
How to prompt: Build an Impregnable Fort
For today's prompt you don't have to title your piece "How to ..." (though you certainly can if you'd like to) or even make it a step by step process like a recipe, the process should merely be described at some length during your piece.
How to Build an Impregnable Fort
One thing to remember is that "fort" is both a thing for kids to play in as well as a military base in which people fight and actually die. Also the idea of an "impregnable fort" can be quite metaphoric: how to make a stand for or against something less tangible than a snowball or cannonball.
How to Build an Impregnable Fort
One thing to remember is that "fort" is both a thing for kids to play in as well as a military base in which people fight and actually die. Also the idea of an "impregnable fort" can be quite metaphoric: how to make a stand for or against something less tangible than a snowball or cannonball.
2/19/16
Title exercise: Pastel Colors
For today's exercise use the following as the title of a poem or piece of prose.
Pastel Colors
Pastel Colors
2/12/16
Narrative prompt: Red, almost a rust color
For today's writing exercise begin a story or poem with the following and see where it takes you.
Red, almost a rust color stained the floor.
2/11/16
Narrative prompt: Again the alarm blared
For today's writing exercise begin a story or poem with the following and see where it takes you.
Again the alarm blared.
2/10/16
Narrative prompt: There was a dark tone
For today's writing exercise begin a story or poem with the following and see where it takes you.
There was a dark tone to his voice that betrayed his words.
2/6/16
Title exercise: Circles of Silver and Yellow
For today's exercise use the following as the title of a poem or piece of prose.
Circles of Silver and Yellow
Circles of Silver and Yellow
2/5/16
Title exercise: Eliciting a Negative Response
For today's exercise use the following as the title of a poem or piece of prose.
Eliciting a Negative Response
Eliciting a Negative Response
2/4/16
Title exercise: Melting Hoarfrost
For today's exercise use the following as the title of a poem or piece of prose.
Melting Hoarfrost
Melting Hoarfrost
2/3/16
Title exercise: Cries in the Dark
For today's exercise use the following as the title of a poem or piece of prose.
Cries in the Dark
Cries in the Dark
2/2/16
Title exercise: Flicked From the Wrist
For today's exercise use the following as the title of a poem or piece of prose.
Flicked From the Wrist
Flicked From the Wrist
2/1/16
Title exercise: Chewed and Spit Out Gum
For today's exercise use the following as the title of a poem or piece of prose.
Chewed and Spit Out Gum
Chewed and Spit Out Gum
1/30/16
Three things exercise: A Kit Kat Bar, Safety Scissors, A Unicycle
For today's exercise write a piece of poetry or prose that somehow utilizes the following three things:
A Kit Kat Bar, Safety Scissors, A Unicycle
A Kit Kat Bar, Safety Scissors, A Unicycle
1/29/16
Three things exercise: A Waffle, Chapstick, A Mosquito Bite
For today's exercise write a piece of poetry or prose that somehow utilizes the following three things:
A Waffle, Chapstick, A Mosquito Bite
A Waffle, Chapstick, A Mosquito Bite
1/28/16
Three things exercise: A BMX Bike, A Two Dollar Bill, A Stick of Dynamite
For today's exercise write a piece of poetry or prose that somehow utilizes the following three things:
A BMX Bike, A Two Dollar Bill, A Stick of Dynamite
A BMX Bike, A Two Dollar Bill, A Stick of Dynamite
1/27/16
Three things exercise: A Giraffe's Tongue, An Orange Tic-Tac, Black Nail Polish
For today's exercise write a piece of poetry or prose that somehow utilizes the following three things:A Giraffe's Tongue, An Orange Tic-Tac, Black Nail Polish
1/26/16
Three things exercise: A Pizza Box, A Candy Cane, A Railroad Tie
For today's exercise write a piece of poetry or prose that somehow utilizes the following three things:
A Pizza Box, A Candy Cane, A Railroad Tie
A Pizza Box, A Candy Cane, A Railroad Tie
1/25/16
Three things exercise: A Windfall Apple, Aquamarine, Sweet Home Alabama
For today's exercise write a piece of poetry or prose that somehow utilizes the following three things:A Windfall Apple, Aquamarine, Sweet Home Alabama (by Lynyrd Skynyrd)
1/24/16
Twenty-Two Great Magazines That Don't Accept Online Submissions
Fear of Rejection:
By now, I hope, everyone reading this has either gotten over their fear of being rejected or were able to embark upon the publishing pathway somehow extra thick-skinned, but just in case anyone out there has any worry about being 'rejected' just know that most magazines receive so much work that they couldn't publish it all if they wanted to. They couldn't publish a tenth of what they get and sometimes it's closer to 1/500th. If a bi-annual journal only publishes say ten poems each issue, and they receive 1000 submissions a month, they'd need 600 years to publish one year's worth of submitted poems.
Even good poems get rejected every day, sometimes for uncontrollable reasons like a similar piece had already been accepted for that issue or there was a rash of amazing poems submitted a month before which makes it even more difficult to get your poem published then and there.We good? Everyone ready to research and submit their hearts out?
So let's talk about the good things about snail mail submissions, also known as hard copy submissions or postal submissions. There's only one, really, but it's the joy of opening that acceptance letter. When I got my first acceptance to The Southern Review I started jumping up and down right there at the mailbox battery of our apartment complex startling the other mail-opening residents. It's like an unexpected Christmas present.
Back when I was annotating every inch of Poet's Market there were very few journals that took online submissions, but now you're hard-pressed to find journals that still rely on the good old Postal Service to transport your words. Of course there are negatives inherent with postal submissions namely being the chance of loss along the way. You can include a SASP (self addressed and stamped postcard) for notification of receipt to ensure that the journal did receive your submission in addition to the SASE for their response, but then you're spending even more on postage. However, it would've saved me some trouble this past year when I submitted a story to a journal that shall remain nameless (but is on the list) that doesn't accept online submissions or simultaneous submissions resulting in a story of mine being completely out of the submission cycle for nearly nine months before I contacted the journal only to discover they never received it.
What You Need:
If you're not familiar with postal submissions here's a quick breakdown of how to do it. You will need four things:
- a 9x11" manila envelope,
- a standard sized envelope addressed to yourself with regular first class postage (a forever stamp works just dandy for the SASE),
- your writing with a cover letter (include page numbers and a header with your contact information on each page, paper clip multiple-page pieces as opposed to stapling them),
- and to take a trip to the post office to make sure you have the proper postage. If you wanna risk a return, you can use the USPS postage calculator, but you might as well just work a quick trip to the post office into your day, you get exact postage and it goes right out.
22 Literary Magazines That Don't Read Online Submissions:
Alaska Quarterly Review: Almost to its 35th anniversary, this long-running journal from the University of Alaska Anchorage publishes an eclectic mix of masters and unknown writers, though perhaps a little heavier on the well known writers. One especially nice aspect of AQR is their poetry guidelines only specify a number of pages which, as a writer of short poems, I really appreciate.
The Antioch Review: Founded way back in 1941 at Antioch College in Ohio, this journal is the second oldest on the list. It frequently publishes pieces that will later go on to win prizes or be featured in prize-winning collections.
Apalachee Review: Apalachee Press is a non profit from Tallahassee that has been publishing the review for over a decade and still going strong.
Arroyo Literary Review: The youngest of our non-electronic submission journals (anti-snail mail submission? Hard-copy only submissions?) this journal is produced by California State- East Bay and claims each issue "reflects the creative diversity found in the San Francisco Bay Area literary scene, while bringing together material from an international array of poets, writers, and artists."
Blue Collar Review: A "Journal of Progressive Working Class Literature" from Partisan Press. As you might expect from the name, this is a solid no frills journal.
California Quarterly: The California State Poetry Society's journal, generally a slim volume but perfect bound. I had a poem called "How can I explain this so that you'll understand" in their Vol.34 Is.1 along with among others, the great Hal Sirowitz, and another poem in an earlier issue.The Cape Rock: The literary journal from Southeast Missouri State University is in its fifteenth year of publication and continues to put out quality, slim issues that are perfect bound. I was lucky enough to have my poem "Stepping Onto a Curb in the Fall" in their Winter 2015 issue.
Conduit: Publishing for over twenty years they're a unique and eclectic journal that continues to publish some of my favorite writers, their newest issue has Charles Harper Webb, Bob Hicok and G.C. Waldrep among others.
Confrontation: Published out of the English department at Long Island University this journal has been around for almost fifty years and is still going strong.
Conjunctions: Published out of Bard College, Conjunctions has the distinction of topping Clifford Garstang's Pushcart Prize Fiction Rankings.
Gettysburg Review: Since their inception in 1988 they've published more than a hundred stories essays and poems that were reprinted in prize anthologies (like Pushcart, Best Americans,
PEN/O.Henry etc.) and they're a staple among lit mags.
Hanging Loose: I was first drawn to Hanging Loose scouring the acknowledgements pages of some of my favorite writers, namely Denise Duhamel. They like witty writing but are relatively eclectic and have separate guidelines for high school student's submissions.Hudson Review: (accepts online submissions of fiction only) Founded in 1948, The Hudson Review has published and continues to publish the biggest names in literature.
Lake Effect: Lake Effect is another college affiliated journal out of Penn State Erie, The Behrend College that is celebrating its 15th year in 2016.
North Dakota Review: This long-running magazine out of the University of North Dakota was founded in 1910 but has lapsed in the past. It has been going strong for decades now and has a high standard of excellence.
Paris Review: Founded in 1953, The Paris Review is certainly in a class of elite journals that are consistently publishing tremendous work and are also inundated with thousands of submissions a month, perhaps every week, so know that competition is especially keen.
Santa Monica Review: Santa Monica Review was founded in 1988 at Santa Monica College and while they do publish writers from all over the world, they make an effort to publish writers from southern California.
Sewanee Review: Continually published since 1892, yes, that is not a mistake, 1892, not 1992. The journal refrains from glitz and glamour, always a simple cover listing what is in the issue, but don't let that fool you, they put out extremely solid work in each issue.
The Southern Review: (accepts online submissions of fiction only) Founded in 1935 The Southern Review is one of the premiere literary magazines continually publishing quality work from the biggest names and unknowns as well.
Sow's Ear Poetry Review: A small journal that's been running for over 25 years and still going strong. This journal is saddle stapled and 8x10 as opposed to more book-sized journals.Zoetrope: All Story: A short fiction journal begun by Francis Ford Coppola, Zoetrope publishes the best of the best names in short fiction. One quirk about this journal is that each issue publishes a classic short story that had inspired a film, and they also require a one-year film option with all published stories.
Zyzzyva: The last word of west coast writers, Zyzzyva touts a "distinctly San Francisco point of view" and publishes lots of traditional and quirky work, oftentimes with a good sense of wit.
Ready, Set, Submit!:
As with any submission, do your best to familiarize yourself with the magazine before blindly sending out your work. Sending work to a journal where it clearly doesn't fit wastes everyone's time and your postage.
Weekend Triple Threat: Title, Five Random Constraints, Inspired by
Since it's Sunday here are three options for today's exercise. Choose one, choose them all, just be sure to produce something.
Title Mania (use the following title and write a piece to somehow fit it.)
Lifting Off
Five Random Constraints (About today's writing prompt genre: This is an exercise to make your brain work within a confined space. There will be a few constraints pressed upon your writing, some meant to help drive narrative, some meant to slow the process of the ever-flowing feed of words that stream through the mind. The purpose of this is to make you meditate on specific word choices and sentence structure and elements not necessarily the most important plot points or character traits which should allow the piece to unfold in a way that it would not have otherwise..)
1) Include at three sentences that are three words or fewer.
2) The story or poem must be no more than 250 words.
3) At least four sentences/lines must end in the letter K.
4) The following words must appear at least once: Turf, Germane, Fletch, Elevate, Spike.
5) At least three sentences/lines must use three or more long /E/ sounds (we, see, beach etc).
Inspired by (take at least one element from the following short piece and utilize it in your own piece. Think of your piece as the pearl that is formed around that one element, or the snowman base that comes from the little snowball you discovered. This can be a single word, a place, a time of day, an object or image or even just the voice/tone of the piece.)
Acorn Truths by Lauri Rose in Microfiction Monday 41st edition (the piece in question is the fourth piece in the issue/post)
The extended metaphor of deer feeding serves this piece extremely well, and a vast amount of meaning is conveyed over a very small of words (in this case, 96). There are a lot of great bits you can snag and use to serve as the basis for your own piece. The movement is pretty classic for a short story despite its short length, and acorns are so rich (pardon the pun) in imagery that there are so many ways to take this I don't even know where to begin.
Title Mania (use the following title and write a piece to somehow fit it.)
Lifting Off
Five Random Constraints (About today's writing prompt genre: This is an exercise to make your brain work within a confined space. There will be a few constraints pressed upon your writing, some meant to help drive narrative, some meant to slow the process of the ever-flowing feed of words that stream through the mind. The purpose of this is to make you meditate on specific word choices and sentence structure and elements not necessarily the most important plot points or character traits which should allow the piece to unfold in a way that it would not have otherwise..)
1) Include at three sentences that are three words or fewer.
2) The story or poem must be no more than 250 words.
3) At least four sentences/lines must end in the letter K.
4) The following words must appear at least once: Turf, Germane, Fletch, Elevate, Spike.
5) At least three sentences/lines must use three or more long /E/ sounds (we, see, beach etc).
Inspired by (take at least one element from the following short piece and utilize it in your own piece. Think of your piece as the pearl that is formed around that one element, or the snowman base that comes from the little snowball you discovered. This can be a single word, a place, a time of day, an object or image or even just the voice/tone of the piece.)
Acorn Truths by Lauri Rose in Microfiction Monday 41st edition (the piece in question is the fourth piece in the issue/post)
The extended metaphor of deer feeding serves this piece extremely well, and a vast amount of meaning is conveyed over a very small of words (in this case, 96). There are a lot of great bits you can snag and use to serve as the basis for your own piece. The movement is pretty classic for a short story despite its short length, and acorns are so rich (pardon the pun) in imagery that there are so many ways to take this I don't even know where to begin.
Narrative prompt: The colors bled
For today's writing exercise begin a story or poem with the following and see where it takes you.
The colors bled across her shirt, unseen at first.
1/23/16
Narrative prompt: Clouds bunched up like bullies
For today's writing exercise begin a story or poem with the following and see where it takes you.
Clouds bunched up like bullies in the sky.
1/22/16
Narrative prompt: Like bold proclamations screamed
For today's writing exercise begin a story or poem with the following and see where it takes you.
Like bold proclamations screamed into a pillow, the night dissolved into silence before dawn
1/21/16
Narrative prompt: The veneer of civilization
For today's writing exercise begin a story or poem with the following and see where it takes you.
The veneer of civilization was thinning where too many hands had worn it.
1/20/16
Narrative prompt: He knew it was a famous painting
For today's writing exercise begin a story or poem with the following and see where it takes you.
He knew it was a famous painting but didn't care.
1/19/16
Narrative prompt: The tops torn off
For today's writing exercise begin a story or poem with the following and see where it takes you.
The tops torn off, their insides squirted all over.
1/18/16
Narrative prompt: It wasn't the Molotov cocktail
For today's writing exercise begin a story or poem with the following and see where it takes you.
It wasn't the Molotov cocktail in her hand that lit her face, it was the message burning behind her eyes.
1/17/16
Weekend Triple Threat: Title, Three Things, Inspired by
Since it's Sunday here are three options for today's exercise. Choose one, choose them all, just be sure to produce something.
Title Mania (use the following title and write a piece to somehow fit it.)
A Missing Section
Three Things (somehow use the following three things in a piece of short prose or poetry.)
A Kilt, Creedence Clearwater Revival, A Choco Taco
Inspired by (take at least one element from the following short piece and utilize it in your own piece. Think of your piece as the pearl that is formed around that one element, or the snowman base that comes from the little snowball you discovered. This can be a single word, a place, a time of day, an object or image or even just the voice/tone of the piece.)
The Facts of Turquoise by Kat Finch from elsewhere magazine.
The idea of obsessing over something to an absurd degree after a personal tragedy is explored in this awesome piece by Kat Finch. I love the turn at the end of the poem, and don't want to ruin it in case someone is just glancing through this post. It's short, only 209 words so just give it a read already. It's the second piece of Finch's in elsewhere there. So whether you're taking the idea of obsessing over something you associate with someone who's passed, you're running with agates, turquoise, hard blackberries, or even just the idea of a narrow column justified prose poem/micro fiction, pick something from this awesome piece and use that as the starter for your own unique piece.
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I wrote my own little flash fiction from the Three Things prompt, but I kind of want to polish it and send it out later, so I won't post it here, but if you'd like to see an example of how a prompt might come together shoot me a message and I'll send you a link to check it out.
Title Mania (use the following title and write a piece to somehow fit it.)
A Missing Section
Three Things (somehow use the following three things in a piece of short prose or poetry.)
A Kilt, Creedence Clearwater Revival, A Choco Taco
Inspired by (take at least one element from the following short piece and utilize it in your own piece. Think of your piece as the pearl that is formed around that one element, or the snowman base that comes from the little snowball you discovered. This can be a single word, a place, a time of day, an object or image or even just the voice/tone of the piece.)
The Facts of Turquoise by Kat Finch from elsewhere magazine.
The idea of obsessing over something to an absurd degree after a personal tragedy is explored in this awesome piece by Kat Finch. I love the turn at the end of the poem, and don't want to ruin it in case someone is just glancing through this post. It's short, only 209 words so just give it a read already. It's the second piece of Finch's in elsewhere there. So whether you're taking the idea of obsessing over something you associate with someone who's passed, you're running with agates, turquoise, hard blackberries, or even just the idea of a narrow column justified prose poem/micro fiction, pick something from this awesome piece and use that as the starter for your own unique piece.
-
I wrote my own little flash fiction from the Three Things prompt, but I kind of want to polish it and send it out later, so I won't post it here, but if you'd like to see an example of how a prompt might come together shoot me a message and I'll send you a link to check it out.
1/16/16
Rhymebank exercise: Snip
For today's Rhymbank exercise you will follow a series of steps and then produce a piece using some of the generated lines or phrases.
1) Take just a couple minutes and jot down/type all rhymes and slant rhymes (include phrases for multi-syllabic words/feminine rhymes) you can think of just off the top of your head for the word: Snip.
2) Pick three of those words you wrote down. There will be overlap with an earlier exercise. If you did that one try to pick brand new words. For each word and the original write three poetic lines or sentences (12 total).
3) Pick two of those sentences/lines that do not use the word at the end and and rephrase it so that it is the last word in the line or sentence.
4) Look up more rhymes for Snip and pick a few that you hadn't thought of if you can. If there aren't any, pick two more from your list.
5) Write three poetic lines or sentences using two of the additional words (6 total).
6) In the spirit of snippets, for at least half of your sentences or lines, expand them by two-fold (a total of 3 sentences/lines for each word). Try to make each little three sentence/line snippet a full thought, if not a complete story. There's the traditional 'story' which has a beginning middle and end, there's the idea of hint fiction which is "a story of 25 words or fewer that suggests a larger, more complex story", there's vignette, and there are probably a bunch more, but those three concepts are plenty for this exercise.
7) Write a poem or flash fiction that includes at least two of the snippets from #6. Three or more would be ideal. Of course tweaking is both allowed and encouraged to make the lines and facts work, but don't be afraid of unexpected jumps or unintuitive leaps in topic or tone. Sometimes that jarring change produces a really great effect in the reader. Bonus points if you write a rhyming poem or a ghazal.
1) Take just a couple minutes and jot down/type all rhymes and slant rhymes (include phrases for multi-syllabic words/feminine rhymes) you can think of just off the top of your head for the word: Snip.
2) Pick three of those words you wrote down. There will be overlap with an earlier exercise. If you did that one try to pick brand new words. For each word and the original write three poetic lines or sentences (12 total).
3) Pick two of those sentences/lines that do not use the word at the end and and rephrase it so that it is the last word in the line or sentence.
4) Look up more rhymes for Snip and pick a few that you hadn't thought of if you can. If there aren't any, pick two more from your list.
5) Write three poetic lines or sentences using two of the additional words (6 total).
6) In the spirit of snippets, for at least half of your sentences or lines, expand them by two-fold (a total of 3 sentences/lines for each word). Try to make each little three sentence/line snippet a full thought, if not a complete story. There's the traditional 'story' which has a beginning middle and end, there's the idea of hint fiction which is "a story of 25 words or fewer that suggests a larger, more complex story", there's vignette, and there are probably a bunch more, but those three concepts are plenty for this exercise.
7) Write a poem or flash fiction that includes at least two of the snippets from #6. Three or more would be ideal. Of course tweaking is both allowed and encouraged to make the lines and facts work, but don't be afraid of unexpected jumps or unintuitive leaps in topic or tone. Sometimes that jarring change produces a really great effect in the reader. Bonus points if you write a rhyming poem or a ghazal.
1/15/16
Rhymebank exercise: Wheat
For today's Rhymbank exercise you will follow a series of steps and then produce a piece using some of the generated lines or phrases.
1) Take just a couple minutes and jot down/type all rhymes and slant rhymes (include phrases for multi-syllabic words/feminine rhymes) you can think of just off the top of your head for the word: Wheat.
2) Pick three of those words you wrote down. For each word and the original write three poetic lines or sentences (12 total).
3) Pick two of those sentences/lines that do not use the word at the end and and rephrase it so that it is the last word in the line or sentence.
4) Look up more rhymes for Wheat and pick a few that you hadn't thought of if you can. If there aren't any, pick two more from your list.
5) Write three poetic lines or sentences using two of the additional words (6 total).
6) Pick a grain, any grain. This is a little more specialized. Look into the different types of grain and their cultivation and write down some interesting developments. If you can't find developments that seem interesting to you, maybe you should rethink your profession, being a writer is essentially being a freelance researcher, and you need to be able to see the interesting side of almost anything.
7) Write a poem or flash fiction that includes at least two of the facts or quotes that you wrote down about grains. If you didn't write down two facts about grains you should certainly feel ashamed. Come on now, these plants are the basis of your life. Read. And try to utilize as many of the lines or sentences you have already written. Of course tweaking is both allowed and encouraged to make the lines and facts work, but don't be afraid of unexpected jumps or unintuitive leaps in topic or tone. Sometimes that jarring change produces a really great effect in the reader. Bonus points if you write a rhyming poem or a ghazal.
1) Take just a couple minutes and jot down/type all rhymes and slant rhymes (include phrases for multi-syllabic words/feminine rhymes) you can think of just off the top of your head for the word: Wheat.
2) Pick three of those words you wrote down. For each word and the original write three poetic lines or sentences (12 total).
3) Pick two of those sentences/lines that do not use the word at the end and and rephrase it so that it is the last word in the line or sentence.
4) Look up more rhymes for Wheat and pick a few that you hadn't thought of if you can. If there aren't any, pick two more from your list.
5) Write three poetic lines or sentences using two of the additional words (6 total).
6) Pick a grain, any grain. This is a little more specialized. Look into the different types of grain and their cultivation and write down some interesting developments. If you can't find developments that seem interesting to you, maybe you should rethink your profession, being a writer is essentially being a freelance researcher, and you need to be able to see the interesting side of almost anything.
7) Write a poem or flash fiction that includes at least two of the facts or quotes that you wrote down about grains. If you didn't write down two facts about grains you should certainly feel ashamed. Come on now, these plants are the basis of your life. Read. And try to utilize as many of the lines or sentences you have already written. Of course tweaking is both allowed and encouraged to make the lines and facts work, but don't be afraid of unexpected jumps or unintuitive leaps in topic or tone. Sometimes that jarring change produces a really great effect in the reader. Bonus points if you write a rhyming poem or a ghazal.
1/14/16
Rhymebank exercise: Weep
For today's Rhymbank exercise you will follow a series of steps and then produce a piece using some of the generated lines or phrases.
1) Take just a couple minutes and jot down/type all rhymes and slant rhymes (include phrases for multi-syllabic words/feminine rhymes) you can think of just off the top of your head for the word: Weep.
2) Pick three of those words you wrote down. For each word and the original write three poetic lines or sentences (12 total).
3) Pick two of those sentences/lines that do not use the word at the end and and rephrase it so that it is the last word in the line or sentence.
4) Look up more rhymes for Weep and pick a few that you hadn't thought of if you can. If there aren't any, pick two more from your list.
5) Write three poetic lines or sentences using two of the additional words (6 total).
6) Somehow utilize a jeep in five different sentences, one including a toy jeep, one including a jeep on tv and the others however you want.
7) Write a poem or flash fiction that includes at least one of the jeep lines that you wrote down, and try to utilize as many of the other lines or sentences you have already written. Of course tweaking is both allowed and encouraged to make the lines and facts work, but don't be afraid of unexpected jumps or unintuitive leaps in topic or tone. Sometimes that jarring change produces a really great effect in the reader. Bonus points if you write a rhyming poem or a ghazal.
(Highlight any lines or sentences or phrases that turned out especially good for later harvesting when a piece needs something).
1) Take just a couple minutes and jot down/type all rhymes and slant rhymes (include phrases for multi-syllabic words/feminine rhymes) you can think of just off the top of your head for the word: Weep.
2) Pick three of those words you wrote down. For each word and the original write three poetic lines or sentences (12 total).
3) Pick two of those sentences/lines that do not use the word at the end and and rephrase it so that it is the last word in the line or sentence.
4) Look up more rhymes for Weep and pick a few that you hadn't thought of if you can. If there aren't any, pick two more from your list.
5) Write three poetic lines or sentences using two of the additional words (6 total).
6) Somehow utilize a jeep in five different sentences, one including a toy jeep, one including a jeep on tv and the others however you want.
7) Write a poem or flash fiction that includes at least one of the jeep lines that you wrote down, and try to utilize as many of the other lines or sentences you have already written. Of course tweaking is both allowed and encouraged to make the lines and facts work, but don't be afraid of unexpected jumps or unintuitive leaps in topic or tone. Sometimes that jarring change produces a really great effect in the reader. Bonus points if you write a rhyming poem or a ghazal.
(Highlight any lines or sentences or phrases that turned out especially good for later harvesting when a piece needs something).
