Writing Prompts & Exercises

In this week’s installment of Ten Questions, author Pajtim Statovci and translator David Hackston discuss the writing of Bolla (Pantheon, 2021), a novel with an unlikely love story set in Kosovo between two young men at the outbreak of a war. The novel’s title comes from the name of a demonic serpent that remains in a dark cave hidden from humans except for one day every year when it transforms into a dragon and is released, wreaking havoc and destruction. Through this legend, Statovci gives the love story a shape, as their conflict is refracted through the metamorphosis of this mythical dragon. Think of a fable from your childhood and consider ways you could use it as inspiration for your own story—as a template for your plotline, as a metaphor for your character’s conflict, or as a way to build the story’s setting.

“My first book was a memoir, so I wanted to write my second book about something outside myself completely—something universal. What was more universal than loneliness?” writes Kristen Radtke in “The Loneliness Project: My Journey Through American Loneliness,” an essay featured in the July/August issue of Poets & Writers Magazine. In the essay, Radtke talks about the process and challenges in writing her graphic nonfiction book Seek You: A Journey Through American Loneliness, forthcoming from Pantheon in July. Write a story in which a protagonist grapples with loneliness. How will you communicate this universal feeling in a specific way?

Austrian poet Friederike Mayröcker, who the German Academy for Language and Literature in Darmstadt once stated made German literature richer with her “streams of language, word inventions, and associations,” died last Friday at age ninety-six. Acclaimed for her poetry, Mayröcker also wrote novels, memoirs, drama, radio plays, and children’s books. In each work, she created new ways for her language to flow freely, such as in her 1988 story “my heart my room my name,” which was written entirely without punctuation, and her book-length lament Requiem for Ernst Jandl, which exhibits a liberal use of capitalization. This week, inspired by Mayröcker, write a story with a protagonist whose perspective requires an associative, free-flowing use of language. How does pushing the limits of language produce a fresh perspective?

“It seems to me that people undertake pilgrimages because they’re stuck; they’re in some kind of situation in their life, or their mind, where they don’t want to be the person they are, and they don’t know how to change that unless they change everything,” says Anne Carson in this conversation with her partner and collaborator Robert Currie and poet Sara Elkamel on the poetry and prose of pilgrimage and stasis that was recently published on Literary Hub. “Oddly enough, it’s a kind of freedom that is also a sort of bondage, because when you undertake a pilgrimage, you’re bound to everything about the road.” Write a story with a character who seeks change and undertakes a pilgrimage. How will the protagonist be challenged by the landscape surrounding them?

In an article for the Guardian featuring six poets and their reflections on the past year, Kae Tempest writes about the process for their short, four-line poem “2020.” Tempest mentions that the poem was longer, and then they realized the poem only needed four lines: “Sometimes it takes writing the thing to know what it is you are trying to write.” Inspired by Tempest’s process, choose an abandoned draft of a story and rewrite it as a concentrated version of itself. Does this exercise help you get closer to what’s essential about the narrative?

“How can I repackage the initial premise of a joke in more colorful wrapping and offer it up to the reader as something brand-new?” writes Kristen Arnett in her first Craft Capsule essay on humor in fiction. In the essay she remembers a scene in Rebecca Dinerstein Knight’s novel Hex (Viking, 2020), in which the unexpected delivery of a mattress alters the activities of a dinner party. Arnett reflects on the use of the mattress in the scene and concludes that “when considering how humor can sit inside fiction, perhaps imagine it as the same strange and unexpected body wearing different disguises to a costume event.” Write a story in which an unexpected object inserts mischief and humor into the otherwise mundane lives of the protagonists.

Amy Gerstler’s book of poems Index of Women, published last week by Penguin Books, depicts experiences of womanhood through a number of forms and perspectives, including a dramatic monologue from an aging opera singer, an ode to a head of lettuce, and prose poems recounting personal memories. The second poem in the collection, “Virginity,” builds an atmosphere around the experience of having sex for the first time, without ever naming the act itself. Through subtle details that hark back to adolescence—“passing notes rather than speaking” and “reading secret magazines a cousin stuffed / into the bottom of his sleeping bag”—Gerstler avoids cliché and develops the speaker’s voice using the oft-mythologized moment of losing one’s virginity, offering instead a sense of the speaker’s life that isn’t defined by sex. Write a series of scenes that study a character experiencing a key life moment without ever explicitly naming the experience itself. What is revealed or emphasized by gesturing to details that surround the experience?

At the Millions, Emily Layden writes about how campus novels offer “a portrait of a community, not just in cast but in geography, and tell us the story of the relationship between a place and its people—how they shape one another, imprint on each other, leave the other forever changed.” Layden compiles a list of the “best campus novels,” which includes The Incendiaries by R. O. Kwon, Prep by Curtis Sittenfeld, and My Education by Susan Choi, and discusses how each novel captures the intimacy of youth through the evocative and tense setting of the academic campus. Write a story set on an educational campus. Use the hierarchies inherent to the school setting—principals, teachers, counselors, seniors, freshmen—to set up the story’s conflict.

“My name is Arturo and the first time I saw an airport was in 1968. It was November or December, maybe the end of October,” writes Roberto Bolaño in Cowboy Graves: Three Novellas (Penguin Press, 2021), translated from the Spanish by Natasha Wimmer, an excerpt of which was published on Literary Hub. This pivotal scene finds the young narrator in an airport before he and his family are called forth by a voice over a loudspeaker and later escorted by two Interpol agents to somewhere unknown. The story then divagates as Arturo launches into memories of his mother, airports, poetry, and his horse Ruckus. Write a story set at a pivotal moment in your character’s life that begins in an airport. Will your protagonist make the flight, or decide otherwise?

John LeCarré’s novel A Perfect Spy begins by introducing the protagonist Magnus Pym and tracking his movements across “a south Devon coastal town” on his way to a Victorian boardinghouse, where he is addressed by an old woman who says, “Why Mr. Canterbury, it’s you.” In this deft use of dialogue, LeCarré illustrates the essence of the classic writing technique “show, don’t tell,” revealing that Pym has visited the boardinghouse before and is traveling under a pseudonym. Write a story in which a protagonist’s identity is hidden, and only revealed through subtle clues in dialogue and physical gestures.

Edward Carey’s illustrated novel The Swallowed Man, published in January by Riverhead Books, takes on the celebrated fable of Pinocchio, retelling it from the perspective of the living puppet’s father Giuseppe—better known as Geppetto—beginning inside the belly of a whale. “I am writing this account, in another man’s book, by candlelight, inside the belly of a fish. I have been eaten,” he writes. Though the novel does not occur entirely within this unconventional setting, it both foreshadows and establishes the stakes for the story that is about to unfold, gripping the reader from the very first sentence. Write a story that begins in an unusual setting but slowly unfurls and tells the reader how and why the protagonist is found there. Try using a first-person perspective so the narrative impulse is filled with determination and urgency, as in Carey’s novel: “Before the last candle dies, I’ll tell my tale.”

The Memory Police (Pantheon, 2019) by Yoko Ogawa, translated from the Japanese by Stephen Snyder, opens poignantly with the main conceit of this dystopian novel—that commonplace objects begin to disappear. “I sometimes wonder what was disappeared first—among all the things that have vanished from the island.” From the use of the passive voice in “was disappeared” to the intimacy behind the doubt in the first person narrator’s memories, Ogawa provides tension, a setting, and tone from this first sentence. Write the first five hundred words for your own Orwellian story or novel that establishes the new rules for an alternate reality, in which things are not as they appear.