Errant Epiphanies
A home for writing and creativity exercises

‘The Sleeping Beauty Proposal’

June 30th, 2008 by heather

This morning I reviewed Sarah Strohmeyer’s wonderful book The Sleeping Beauty Proposal. One of the nifty things about that book is the way in which Strohmeyer takes the concept of the ‘Sleeping Beauty’ tale and applies it to modern-day life:

“For the last four years,” she explained, “your life has been on hold. You haven’t grown or changed or anything. You’ve just been washing Hugh’s socks and doing his bidding, waiting for him to ask you to be his wife so you can start your life. …

“You remind me of that idiot Sleeping Beauty, lying around like a zoned-out zombie waiting for your prince. Well, guess what, he rode right past your castle tonight and now you have a choice—you can either go back to bed or you can wake up.”

Take another fairy tale and apply its basic concept to a modern-day relationship (romantic or otherwise). Take any approach you like, from literal to figurative, from physical to psychological. Try to do at least something interesting and ‘different’ with it. You can free-write your ideas on one side of a sheet of paper, brainstorm a story, start free-writing a piece of fiction, free-write an essay on the relationship between your chosen fairy tale and modern-day relationships, or anything else that occurs to you.

 


Mystery Addict

Wedding Bells

June 19th, 2008 by heather

Imagine that one of your fictional characters is getting married. How would it happen? Write the scene.

Alternative #1: Imagine that someone close to one of your fictional characters is getting married.

Alternative #2: Imagine that you are getting married!

Weddings can bring out the best and worst in people. They’re watershed moments that tend to be remembered for decades. They can be small or large, happy or bittersweet, tragic or uplifting. And like many other such moments, they can tell you so much about all involved.

 

As an illegitimate daughter, Cea had only been allowed to attend her father’s wedding as any other unrelated member of the house might: standing anonymously amongst the other unmarried, low-ranking sons and daughters of the house. At the reception she hung back, away from the wedding party, sipping her drink to cover the disconnected feeling that haunted her.

Her father’s new wife was barely two years her senior.

This shouldn’t have surprised her—didn’t—but it certainly felt awkward. She hadn’t even met the young woman, and had no idea what to call her.

It was late when Cea’s father steered his new wife toward Cea. His handsome face was impassive; she knew the wedding hadn’t been his idea, and he likely hadn’t met his new wife before the wedding was arranged several weeks earlier. He obviously wasn’t pleased with the turn of events, but she knew he’d do what the family required of him. The young woman at his side had long brown hair tied back in a thick braid that hung below her waist; she was a vision in silks and velvets. Her face was flushed; some observers might mistake her high color for excitement, but Cea saw the flustered look on her face as she glanced at her new husband. And who could blame her? Dern was a handsome, highly sought-after match; she’d probably hoped to be swept off her feet, not to find that her spouse could hardly even look at her.

Dern lowered his hand to Cea’s shoulder and gifted her with one of his small smiles. “This is my daughter, Cea.”

Cea watched the young woman’s eyes widen. She would have been told of Dern’s daughter, of course, but she’d probably imagined someone rather younger than Cea’s sixteen years.

“Cea, this is Selena.”

Cea curtsied to her father’s wife, lowering her eyes. “Lady, welcome to our home,” she said softly, an almost-undetectable note of sympathy in her voice.

“I see someone I should speak with; why don’t you two get acquainted?” And just like that, he was gone, abandoning his new wife to his daughter.

Cea suppressed a sigh. “Most of the guests you should meet have gone; if you’d like, I could give you a tour of the house.”

Selena pulled herself up as tall as she could, which was several inches short of Cea’s height. “I don’t need the charity of an illegitimate daughter.”

Cea saw one or two heads turn, and again suppressed a sigh. “Of course, Lady. If you change your mind, any servant can tell you where to find me.” She turned and walked away, placing her empty glass on a table and fisting her hands to drive down the frustration that built inside of her. As she left the room she felt a cold chill pass through her hands. She rubbed them together to warm them, stretched her fingers out as she uttered a frustrated oath, and caught her breath as a small, glowing bolt of cold flicked out from her fingers to leave a pock mark in the wall. She stared in shock for a moment, then glanced around quickly to make sure no one had noticed. Seeing no one, she ran all the way to her room, closing and locking the door behind her.

 

Tell their story

June 18th, 2008 by heather

Visit this page and, for the moment, simply look at the photograph without reading the text. (Just in case you read this entry sometime months from now and the picture is gone, it’s an old black-and-white photo of young men in suits marching down a road carrying signs that read ‘WE WANT BEER’.)

Now, you have two options.

1. Read the hysterically funny ‘explanation’ stumbleupon user kish-me concocted for the photo. Then go out and find your own photo of who-knows-what and write your own creative tale to go with it. You don’t have to emulate kish’s style; do anything you want!

2. Before reading the explanation for the photo, write your own. When you’re done you can read kish-me’s hilarious creation.

The stories we can come up with when inspired by an innocuous image can be touching, hilarious, moving… anything at all. Let your imagination run wild.

The ultimate niche genre

June 9th, 2008 by heather

One thing that fascinates me is discovering that what seems like a simple plot idea has been turned into an entire mini-genre of its own. I’m still agog at the wealth of Scottish Highlands time travel romances out there—who knew authors could come up with book after book from the idea?

Today, create or choose what seems to you like a basic plot idea, seemingly too narrow to be a genre or sub-genre. Then spent 20 minutes brainstorming different ways to approach that idea, such that by the time you’re done you hopefully have a whole list of book ideas, as though the plot had become a genre.

This kind of flexibility and expansion exercise can be very helpful when you’re looking at commercial outlets for your work.

Birth of a character

May 29th, 2008 by heather

Write up a scene depicting your character’s birth or arrival in her parents’ arms or home. You’ll probably find this says a lot about your character’s family and parents, but by extension this can also give you insight into the kind of welcome your character had and how that might have affected her.

For play, here’s a similar scene I wrote recently. I used it just as suggested—as an exercise to get greater insight into a character’s background—so I won’t claim it’s a great work of writing. But then, I’ve often argued that when it comes to prompts and exercises you need to let go and feel free to write crud anyway.

 

The figure at the door consisted of a brown cloak, hood pulled over his face, gloves on his hands. His entire identity was comprised in that moment of a soft voice and an accent the doorman couldn’t quite place. He held a basket in his hands; the baby tucked inside couldn’t be more than a week old at most. It was tiny, pink and wrinkled, fragile-looking inside the gray blanket wrapped around it. At the moment it slept, but the House Khatru* doorman tensed for the inevitable onslaught of noise should it wake and start to cry. “We don’t take in—” he started to say, his voice softened only by the desire to keep the baby asleep as long as possible.

“She belongs to Dern,” the soft voice said, and the gloved hands placed the basket on the ground in front of the door. The figure turned and walked away as the doorman fumed silently. An envelope rested in the folds of the blanket. The stationery was a rich cream color, expensive, and Dern Khatru’s name had been inscribed in an elegant hand on the front. When he picked it up, he found that black wax held the flap closed although no seal had been used on it. Perhaps this wasn’t an attempt to dump a low-born child on the house after all.

He gestured imperiously to a young boy in house livery. “Tell Master Dern that a… an urgent delivery has arrived for him.”

 

Dern followed the nervous page through the halls of his home. It was only an hour or so past sunup and he’d already worked up a good sweat from sparring with his two older brothers. His black hair curled around his face and dripped sweat onto his shoulders. He wondered why the page kept glancing sideways at him as though expecting to be kicked; unlike some of his family he strove to be fair as well as strict. And he was barely considered a full adult himself, which meant he didn’t cut nearly the imposing figure some of his older, battle-scared relatives did.

As Dern entered the sitting room a piercing wail cut the air. He raced forward and drew his sword, fearing some sort of attack. He stopped dead at the sight that greeted him: a man-at-arms stood next to a basket, calling for a wet-nurse and desperately trying to calm a tiny child. Dern sheathed his sword.

“Oh for heavens’ sake, give me the child.” He frowned at the man’s ineptitude and took the little girl into his arms. He’d held and calmed his youngest sister in just such a manner many a time. He couldn’t help smiling at the girl’s healthy cries even as they quieted to faint gurgling noises. Finally a wet-nurse entered and he gave the child to her to feed.

“Whose child is this? And why was I summoned?”

The man-at-arms held an envelope out to him. “Ahh, we’re not certain whose she is, sir.”

Dern took the envelope. “Not certain?” He started to laugh, and then his eyes dropped to the envelope and his heart stopped momentarily in his chest. He recognized that careful handwriting. He looked at the child again, thinking of the little girl’s dark, almost black eyes, and suddenly he knew who those eyes reminded him of—the young woman he’d had such a brief and passionate affair with, who’d stopped seeing him without explanation just eight months ago. Eight months… His mouth dried up as he tore the envelope open. The small sheet of paper inside held only one short sentence, in the same hand as the envelope: “Your daughter’s name is Cea.”

He took his now-sleepy daughter from the wet-nurse’s arms, staring at her for a long moment before carefully tucking her back into the blanket. “Take my daughter to the nursery,” he said, looking away as the nurse’s eyes widened in surprise.

*House Khatru is from Monte Cook’s book Ptolus.

It’s a short piece, but I think it implies a lot about her father, her family-to-be, her upbringing to come, and even her mother.

 

What your readers feel

May 23rd, 2008 by heather

This morning I stumbled across Eudaemonia’s post on Bell’s plot & structure book (it’s a great book, and I highly recommend it!). Anyway, Lisa shared two exercises from the book and her results:

“Set aside ten minutes of undisturbed writing time. For those ten minutes, write a free-form response to the following: When readers read my novels, I want them to feel _________________________________ at the end.”

and,

The idea is to pull some of your favorite novels off the shelf and then analyze them by asking a series of questions. …
The questions about each book are: “What is it about the lead character that captures you? What is it the lead is trying to get away from? When did the story kick into “high gear”? What was the main opposition to the lead’s objective? How did the ending make you feel? Why did it work?” pg. 21.

Read through her entire post, and then do the exercises for yourself.

Conveying Emotion

May 20th, 2008 by heather

Yesterday I reviewed Rebecca York’s Ghost Moon, and it got me to thinking about how writers convey emotion to their readers. One truism I’ve seen repeated by a handful of romance & erotica writers is that if the writer isn’t ‘feeling it’ when he or she writes it, the reader won’t feel it when he or she reads it.

There are many elements of style that affect emotion. Pacing is used to ratchet up the tension in a thriller, for example. One of the things that makes Stephen Wilbers’s The Keys to Great Writing such a good book is that it explains the effect that various elements of style have on your work—such as the ways in which different sentence lengths affect emotion and pacing. Some writers can brilliantly convey emotion in their work by feel (without having to consciously plan the elements of style), but it never hurts, and often helps, to be able to more consciously shape the effect you have on your readers.

Take a look at that first review and some of my comments on the elements of style that seemed to rob the book of emotion for me. Then pick up a book you’ve read recently that struck you as being either particularly poor at conveying emotion or particularly good. Re-read the scene that was most unfortunately flat—or that made you tear up or whoop for joy—and then free-write for at least one side of a sheet of paper (or ten minutes, or whatever you like) about how you believe the writer’s style choices resulted in such a powerful or weak emotional impact.

Disappointments

May 9th, 2008 by heather

If you’re a non-fiction writer: What’s the biggest disappointment you’ve ever faced? Free-write for 10 minutes.

If you’re a fiction writer, pick a character and: What’s the biggest disappointment he or she has ever faced? Free-write for 10 minutes, or write the scene itself.

Bad Dialogue

April 29th, 2008 by heather

Today, spend 10 minutes free-writing every stereotypically bad line of dialogue you can think of. These could be genre-inspired (think of the worst examples of the romance, horror, fantasy, or adventure genres, for example), from TV, from novels, from movies… Use anything you’d like. Then spend a few minutes thinking about why you consider these to be ‘bad dialogue’ and how you’d go about fixing them up, replacing them, or changing the scene to make it better.

If you can’t think of specific lines, try to remember a scene from a book or movie and read or watch that scene before doing the latter half of this exercise.

This exercise inspired by The Secret Scroll.

After an extended absence

April 28th, 2008 by heather

I apologize for the length of time between posts; it’s been a crazy month! Anniversaries; endoscopies; cooking and planting; furniture shopping; reading like crazy; T-shirt redesigning like crazy… time flies! So today, let’s play with the concept of absence. Imagine that you (or one of your fictional characters) has been absent from home, friends, and family for some time with no word. As far as those people are concerned, the absence has been unexplained. They might have at least known that you planned to go away for a while, or they might have reported you missing.

Write the scene in which you or your character returns home.