Stephanie is an award-winning copywriter, aspiring novelist, and barely passable ukulele player. Here, she offers writing prompts, tips, and moderate-to-deep philosophical discussions. You can also find her on and Pinterest.

Inspiration Monday III

Inspiration Monday has turned out to be even more fun than I thought; the participants have done an incredible job. I am consistently surprised and impressed by their unique interpretations. You should definitely go check them out:

Jinx Writings

Screen Scribbla

Find an Outlet

Did I miss any participants? Let me know in the comments!

The Rules

There are none. Read the prompts, get inspired, write something. No word count minimum or maximum. You don’t have to include the exact prompt in your piece, and you can interpret the prompt(s) any way you like.

OR

No really; I need rules!

Okay; write 200-500 words on the prompt of your choice. You may either use the prompt as the title of your piece or work it into the body of your piece. You must complete it before 6 pm CST on the Monday following this post.

 

The Prompts:

The last book in the universe*

The stranger on the subway

Worse than death

Why children fear the dark

I’m not crazy

 

If you want to share your Inspiration Monday piece, post it on your blog and link back to today’s post; I’ll include a link to your piece in the next Inspiration Monday post.

Happy writing!

*Today’s first prompt brought to you by The Last Book in the Universe, by Rodman Philbrick.

The Piece for March

Let's hope I practice what I preach.

Debra challenged me to write from one of my own prompts. The result is heinously longer than I intended. Perhaps it will make up for the lack of a February excerpt.

 

Everyday villain

The worst part is sleeping alone. The bed is too big, and there are one too many pillows. It’s not that I forget she’s gone, but every morning I’m blindsided by the thickness of the empty space. The loudness of it.

I try to ignore it. But even before I open my eyes I can feel the hollow in my gut. I roll until my feet hit the floor, and it feels harder than it used to. The solidness of it seems to make my bones shake and knock against each other as I stumble to the closet. I’m looking for a clean shirt, but all I can see are the empty shoes. She always had too many shoes. New ones littered the floor every season like multicolored dandylions. I used to curse every morning when I tripped on a pair of flip flops or a lonely stiletto on my way to the bathroom, swearing I was going to toss them all to the curb with the junk mail and the coffee grinds. Never did. Never will.

But it’s the empty shoes that wake up the monster, and before I finish getting dressed, my hands are twitching. I find it difficult to button the top button. I’m trembling, like the hollow in my gut is swallowing the rest of me.

I find myself in the kitchen, without remembering having walked there. The monster shoves me along, screaming in my ear. I fight it in the feel of the glass in my fist. I fight it in the moment between reaching into the refrigerator, and touching the orange juice, when my arm rebels and tries to reach for something else. I shake it off, but I’m fighting it again in the sound of pouring. And I fight it in the taste when I swallow, and I feel like I’m losing when there is nothing in my chest but coolness. Above my shoulders, there is not skin and skull and eyes and brain, only swarming, churning, throbbing.

Everything is sharper, harder, colder than it used to be. I remember it soft, and dim, and weightless, when the monster was young and just beginning to grow. Before I decided to fight it. Why did I decide to fight it? Suddenly, I can’t remember. Why should I? It’s never going to give up. It’s never going to get any easier. The shoes will never be filled and there will always be too many pillows. We used to be friends, the monster and I. The keys are in my hand, and I realize that, in a matter of minutes, in a matter of miles, I could exchange those keys for a bottle, for some relief.

But there are footsteps on the linoleum, and I am startled by a figure in pink pajamas. She smiles – she has her mother’s smile. I unconsciously hide the keys in my fist. She shuffles past me to pour herself a bowl of Cheerios, but pauses to kiss me on the cheek.

“It’s a year today,” she says. Nothing else. No I love you or I’m proud of you, but I can see it in her face, that she feels safe. Her old man fights a war for her every day. And every day, she’s the one who wins it. I slip my keys back into my pocket.

How to write plot

“I have a great book idea, but I have no plot.”

I hear this pretty frequently. Most new writers seem to think that plot lines are supposed to spring into their heads fully formed. Then they feel deficient when they come up dry. But plotlines rarely appear out of the blue – and never fully formed. More often an idea is nothing but a world, a character, a single scene, or a mere image. We must take these fragments and grow them into stories.

But how? Yes, some of it still has to be inspiration, and I can’t teach you how to be inspired, but here are some methods that will help:

Image – have nothing but a picture in your head? Don’t fret. C.S. Lewis started out with nothing but a mental picture of a faun carrying an umbrella, and got the seven-book Chronicles of Narnia out of it. Let yourself daydream about the image for a while. Once it has grown into a scene, read below.

Scene – Markus Zusak got the idea for I Am the Messenger when he noticed a 15-minute parking zone outside a bank and wondered what it would be like to be stuck lying on the floor of the bank during a robbery, worrying about a parking fine. So start by writing down everything you know about that scene. Is it a beginning scene, a middle scene, or the climax? Who is there? How did they get there? What will be the result of their actions ?

World – maybe your idea centers on a world that has some interesting little difference from ours (like it’s full of mutant humans with magical powers). How did the world get that way? (Are they mutating due to a nuclear explosion, or are they doing it to themselves intentionally?) What are the social, political, religious ramifications? (Are they suing a power plant? Are they fighting laws against genetic manipulation?) What are the real-life ramifications for an individual person? (Is the psychic teenager ostracized by his parents? Is the housewife fighting crime at night?)

Character – maybe you’ve invented Sherlock Holmes, Sydney Carton, or Margo Roth Spiegelman and this person is begging to have a story written about them. Again, write down everything you know. Pretty, plain, strong, smart, cowardly, kind, mean, funny? What is the most important thing in the world to this character? Maybe it’s his wife, maybe her son, maybe it’s getting into Harvard or on Broadway, or escaping prison. Then, threaten this thing. Take it away and make them rescue it. Endanger it and make them protect it. Entice them to pursue it, and throw obstacles in their path.

Moral – Stop. Rewind. I forbid you from writing a book based on a moral alone. It will come off as salesy, preachy or both. Come up with some other idea, follow the directions above, and if a moral happens to grow naturally out of the story you are already writing, more power to you.

Inspiration Monday II

Thanks and kudos to Debra at Find An Outlet for participating in last week’s Inspiration Monday. Read her (two!) fantastic pieces here. If I missed any participants, let me know in the comments!

 

The Rules

There are none. Read the prompts, get inspired, write something. No word count minimum or maximum. You don’t have to include the prompt in your piece, and you can interpret the prompt(s) any way you like.

No really; I need rules!

If you work better with guidelines: write 200-500 words on the prompt of your choice. You may either use the prompt as the title of your piece or work it into the body of your piece. You must complete it before 6 pm CST on the Monday following this post.

 

The Prompts

I ignored the raised eyebrow of the checkout girl

Time capsule from the future

The answer, one day too late

Saved by a broken law

Everyday villain

If you want to share your Inspiration Monday piece, post it on your blog and link back to today’s post; I’ll include a link to your piece in the next Inspiration Monday post.

Happy writing!

An open letter to Avi

Dear Avi,

Last Sunday I was reading The End of Time, the last book in your Crispin trilogy. I was fully absorbed in the story when I turned the page and…let out a sound of shock and disgust. The story had stopped. It didn’t end, it just stopped.

You didn’t resolve anything! The only indication you gave of an ending was to match the last line with the title of the book. All you left me with was the suggestion that Crispin might get to Iceland, where he might find his freedom, but it probably won’t be nearly as nice as he was hoping. And he’s probably never going to see Troth again, and he’ll never claim his birthright as an English lord. What is that about?

I suppose you will give some excuse like, “I left it open ended so the readers can decide for themselves.” That’s a load of baloney sandwiches. If I wanted to make up an ending for myself, I would make up the whole story and never pick up a book at all. Don’t spend 300 pages buying my trust with your words only to abandon me when it’s too late to turn back.

Open endings are only acceptable in short stories, because short story readers are looking for a roller coaster ride, not a trip around the world. They are looking for something that will spark their imaginations and make them think. Novel readers, on the other hand, want something more – they are giving you more of their time and therefore expect a certain amount of satisfaction.

The moment you touch fingers to keys, you are making promises to your readers. Every problem you introduce is a promise for a solution. A novel is like a magic trick – the pledge (“Look at this ordinary bird in a cage!”), the turn (“But see, the bird and cage have vanished!”), and the prestige (“The bird returns!”). What you did was the literary equivalent of cutting a woman in half and not putting her back together again.

I’m counting three possible reasons you didn’t write an ending: you are lazy, you are a coward, or you are a lazy coward. The lazy can’t be bothered to come up with an ending that is simultaneously logical and surprising, happy and realistic. The coward is afraid that his sentimental readers will be unhappy if he writes it sad, and that his snobbish readers will deride him if he writes it happy. Neither of these types has any business writing books. So either hang up your quill for good, or get up off your derrière, grow a spine, and write an ending.

Sincerely,

Be Kind Rewrite. (Seriously. Rewrite it.)

P.S. I see on your website that Kirkus Reviews wrote “Avi guides his hero toward a final, very satisfying destiny in this wonderfully realized conclusion to the Crispin trilogy.” Fess up, that was your mother, wasn’t it?