Archive for the ‘Wordsparks! Free writing exercises.’ Category

Wordspark #004: The Ones you Love: Plucking and Patchwork.

Sunday, June 13th, 2010

 

I love Frankenstein. You might too - but do we like it for same reasons?

I love Frankenstein. You might too - but do we like it for same reasons?

This Wordspark Exercise explores influences, and by the end of it you will have a greater idea of what makes you tick as a writer: the ideas, philosophies, situations, facets of character, genres, structures and styles that create the little alchemies inside you.

 

 

 

Understanding these influences is valuable for two reasons:

 

-        It helps you write something you yourself would like to read, rather than writing what you think you ought to be writing. When you write what you would enjoy as a reader, the sincerity and enthusiam you feel creates interesting currents in your work, that are hard to convey unless    you are truly engaged with what you’re writing.

 

 

      It also brings disparate ideas together, allowing you to ask ‘What If’ and look for unexpected possibilities that can set your writing apart.

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Wordsparks #003: Maps, territories and 3D Space

Saturday, June 5th, 2010

Here is an exercise that seeks to draw out a character’s inner landscape via their external, so they become a product of place, just as we all are.

Have you ever looked at one of your characters, peered at them between the words on the page, a bit like a kid at a fence, and found they aren’t quite real yet?

We’ve all had it, but to some extent it’s a bit like looking at the tomato plants you’ve grown from seed and, after four weeks of healthy growth, calling it a ‘problem’ that there are no tomatoes yet. They’ll get there in their own time, of course, you just have to maintain the right conditions.

It’s the same with your characters, they need the warmth of your continued attention, patience and some kind of nourishment. Many exercises suggest profiling – the interrogation of your character using a series of questions that look at, say, personality, past, likes and dislikes, ambitions etc. This can be very useful, and it works because it makes you look inwards – into the character – to get a sense of what you might call their internal landscape.

But we can also turn that on its head and instead look outward. In Writing Fiction, Janet Burroway says ‘…just as character and plot are interlinked, so character itself is a product of place and culture.’ This exercise seeks to explore those links. It might have particular appeal to writers whose minds work visually. (Or who like crayons.)

A creative map I drew for 'Nailing Cats to Trees,' a short story I'm working on. I used 'bubbles' to represent the three most significant places to the character and explored how they connected.

A creative map I drew for 'Nailing Cats to Trees,' a short story I'm working on. I used 'bubbles' to represent the three most significant places to the character and explored how they connected. I learnt some new things about interconnection within the piece, and it also helped me locate the 'fuzzy' areas.

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Wordsparks #002: Cure for Writers’ Block

Thursday, May 27th, 2010

 

 

This morning, I sat down to write, intending to work on a story I’d started a couple of weeks ago, but I couldn’t find it. I can only guess it’s on the other computer, but that left me with a problem. I was unexpectedly catapulted into ‘White Page Syndrome,’ you probably know what I’m talking about, but in case not, here is some medical detail, because the Internet is a great tool for self-diagnosis after all. 

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According to many eminent doctors, White Page Syndrome affects 97% of writers at some point in their life[1]. Unless they are fortunate enough to take dictation straight from God, but that brings it’s own problems, as Mohammed would probably agree.

 

 

 

Symptoms include, fidgeting, nose-picking, palpitations, shortness of breath, restlessness and an involuntary compulsion to do low-priority household tasks, like sewing up the holes in tea-towels and fishing goo out of plug holes with a crochet hook[2]. Some resultant behaviours are harmless enough – doing repeated ‘Word Counts’ on works-in-progress and formatting the page to how it would look in a book is admittedly a waste of time, but causes no real damage. But in extreme cases you can develop a full-blown ‘Fraud Mentality’: that you will never write again, you never were a writer in the first place, and why on earth would anyone be interested in what you have to say anyway…

 

Familiar, at all?

 

If so, here’s something you should try. This is my ‘In Emergency Break Glass,’ exercise, and I used it this morning after an hour and a half of drawing blanks for ideas and progressing through an accelerated series of symptoms. It may not work for everybody, but I swear by it, and I hope it works for you too.

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Wordsparks! #001: Rorschach Inkblots

Sunday, May 23rd, 2010

rorschach

Here are some Rorschach inkblots – these images alone might be enough to spark a piece of writing. If so, go with it!

 

OR, play with questions:

          - What do I see?

          - What emotions do they stir in me?

          - What is your Inner Observer noticing as they watch you looking?

          - What visual associations do I make with, say the natural world or the 

             synthetic?

          - What other senses can I tap into e.g. if these inkblots had sounds,

            what would they be?

          - What 3 experiences do I have that are in some way connected, however

             obliquely?

 

OR,  read this Wikipedia article. This can be close or loose reading. (In close reading, you read slowly and carefully, taking time to process ideas, possibly rereading sections, or exploring subsections further. In loose reading you let the eye wander; on wikipedia you might notice hilighted phrases, that taken in isolation may allow unexpected connections or interpretations

 

E.g.    Thought disorder

          Ambiguous design

          Bilateral symmetry

 

Can you use these phrases to cluster more, until you have the start of a poem?