Inkabout L. Darby Gibbs

Science Fiction & Fantasy author

Writing prompt

Tuesday prompt: #28 2012

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 Point of view should make use of a number of characterization features.  So in this prompt, imagine a creature, intelligent or otherwise.  Write what this creature sees, but include characterization.

  • One way to supply character through point of view is to include how the creature feels about what he sees.  This does not mean that you should write that he is looking forward to eating that rabbit.  Describe the rabbit in terms of potential lunch: scrawny; plump; practical ways to avoid getting too much of that soft, white fur in his mouth; and the smell of just dead meat.  
  • Also think of word choice; you may even make a few up that would seem appropriate to your creature.  His word for snack or lunch might be “the mid-day gnarle.”  
  • Other characterization would include what is important to him. A predator would not make note of the color of the sky unless it denotes a particular time of day or season or weather important to him.
  • Consider giving him a specific quality: speed, visual acuity or discernment (he might be able to see in infrared, for example), silent movement.  
  • Consider a flaw: he drools copious amounts or suffers from the shakes or an injured hip.

Write about a paragraph.  I look forward to seeing it, so post it in the comment box.

Tuesday prompt: #27 2012

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write behind the door

Sit somewhere unusual, i.e., under a table, behind a chair, in the part of your yard no one ever goes.  Get comfortable and make sure you have something to write on: paper, iPad, laptop, paper napkin, and something to write with, pencil, pen, fingers.  Close your eyes, clear your mind, then write whatever slips in.

How to build a classroom writing community

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Day 1: but this pattern holds true for the days to follow
  • Tell them to look around at the other writers in the room (For some, this is a frightening experience, for others confirmation.)  Recognize them immediately as writers.  If you have returning students, ask them to explain the difference between this class and an English class.  Their words will be more convincing then yours.  Your actions will support what they say.
  • Provide a prompt to write to and give instructions: write about anything that comes to mind.  Give them a set amount of time, about 7 minutes.
  • Each student shares by reading his/her response to the prompt.  Encourage returning students to go first.  (I follow a seniority pattern.  By setting this now, it won’t be a surprise in a workshop [see post for June 16, 2012], and it shows the new students what behavior is expected [and accepted: writers are quirky]). Some students refuse to share; explain that you allow this occasionally, but they must at least tell what they wrote about or what they hoped to write about.  Encourage them to share the next time.
  • Each student’s work must be acknowledged.  Point out a strong image, what you think the idea might develop into, or summarize it.  Don’t forget to smile.
  •  Diversity is already present, but it is important to point it out.  New
    writers in a creative writing class will often try to emulate (or think they should) the more
    polished writers which results in the sacrifice of their own individual
    voices. So point out the diversity and how it is a bonus for the class
    to have so many different styles present.  Encourage them to help each
    other develop this diversity.
  • Begin your lesson for the day.  All writing should be shared and encouraged. No lesson should lack an opportunity to write.  Some should just be shared and left in the journal.  Some writing should be turned in and graded for effort to fulfill the task.  Grading should be gentle: attempt is much more important than result. (Final work, I grade mercilessly, but practice is a different animal.)

By having a pattern of daily writing and sharing, your class will become a community.  Be a positive role model: be specific, encouraging and excited about what they are doing.

Tuesday prompt: #26 2012

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First grab a book off a shelf, any book.  Then close your eyes, flip it open and plant your finger on the page. You are welcome to swirl your finger about if you wish first.  Where it lands is the first line of what one character says to another.  Start your story there.

Sample: “used to ride a horse, which had feet that were almost human, the hoofs being cleft like toes.”  (Hen’s Teeth and Horse’s Toes by Stephen Jay Gould, p. 177)

     “I say,” Judson said, “he used to ride a horse, which had feet that were almost human, the hoofs being cleft like toes.”
     “Are you daft?” I said.
     “Really. It’s part of history,” Judson sputtered.  “I read it just this morning.  Caesar rode such a horse.”
     I sat back on my heals and tried to look at the new born colt in this different light. The feet were not human, but there were in fact three toes on each hoof where there should have only been one solid toe.

   

Tuesday prompt: #25 2012

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This prompt is a bit different.  In fact, there are five prompts.  Start with the first and each day add to your written idea letting the day’s prompt add a new twist to the situation.

Day 1:  an argument (internal or external)
Day 2:  blue skies
Day 3:  the sound of time passing
Day 4:  something breaks
Day 5:  no forgiveness

Use the next two days to add, rework or set aside.  Let cool, prod until warm again, let cool.  Decide what to do with it.

Tuesday Prompt: #24 2012

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Take a previously written short piece and add internal dialogue (main character) responding to each action your supporting character takes.  Put the internal dialogue in italics.  This action will help you flesh out the personality of your main character.  Choose a response type:  examples – loves the supporting character, hates the supporting character, finds the supporting character boring, thinks the supporting character is hiding something. By choosing a response type, you will add depth to your character and interest in why he or she feels that way as well as cause the reader to begin to evaluate the actions of the supporting character: is he worth loving, hating, suspecting, and so forth?

When you have finished, add behavior cues, tone to dialogue, expressions that support what is being thought internally. Then remove all the internal dialogue and see if the additions created greater complexity to the piece.  Note: You may find you want to keep some of the internal dialogue.