Dragon Writing Prompts

Updated every day of Nano. You may need to scroll down to see today’s prompt.

I had a last minute NaNo inspiration that will help me. I tend to skip over description. So for each day of NaNo month I’ll send out a prompt to focus your attention on something you might not ordinarily notice in whatever scene you’re working on. The intent is not to generate great prose but to force you to expand your vision of what’s going on around and inside your characters.

Write at least one paragraph for the day’s prompt:

Today’s prompt:

22. Your POV character hears a song and it evokes strong memories full of emotion and sensory detail.

Previous prompts:

1. Describe your point of view (POV) character’s current emotional state and how it affects him or her from head to toe.
2. Describe the shoes of the next character that walks into the scene and what they remind the POV character of.
3. Describe the weather (or environment if weather isn’t relevant to your story) in the scene you’re writing right now. Involve all 5 senses.
4. Relate something in your current scene to a toy from your POV character’s childhood.
5. The current situation to your POV character is [fill in an animal]. Extend the metaphor. What in the situation are the teeth? Why is something like the breath? How does it relate to the sound the character makes? (And whatever else you can come up with. Use all five senses!)
6. It starts raining (or stops raining). Describe the emotions *and* memories this evokes in your POV character.
7. In the next conversation, describe something the character is doing as they speak each line of dialogue.
8. Relate your POV character’s best friend (current or childhood) to one of the characters they’re with right now. Likenesses and differences. Relate both physical traits as well as attitude, temperament, life story …
9. Describe your POV character’s inner state in terms of one of the seasons, that is, the seasons that are relevant to your story.
10. A bug is in your current scene. Use the bug’s actions as a mirror of what’s going on with the situation or inside your POV character.
11. My daughter’s favorite: Food descriptions! For the next meal your character has, describe, obviously, taste and sight and smell, but also texture, presentation, how the colors work together, emotional reactions, physical reactions, memories.
12. My daughter’s favorite: Food descriptions! For the next meal your character has, describe, obviously, taste and sight and smell, but also texture, presentation, how the colors work together, emotional reactions, physical reactions, memories.
13. Something in the current scene transports your POV back to a place they frequently played (playground, tree house, junker car behind the shed, mom’s closet …) Pay particular attention to the resonance of the emotions between the two places.
14. In the next populous area your character visits, sum up their impression with one word. Rather than agonizing over the right word — which wastes valuable NaNo time! — use the first word that comes to mind. Take it as far as you can. How does it relate to the people, buildings, atmosphere, smell, colors, sounds …
15. Relate the current situation the character is in to a game, like chess, dice, Monopoly, dominos, poker. Even if your setting isn’t contemporary it’s likely every culture will have games of chance involving dice-like objects (bones for instance) or strategy board game (like chess or go or parchisi).
16. Describe the next store your POV character visits. How are the proprietor or associate like the store? How do the appearances (dirtiness, cleanliness, order, chaos) relate? The voice and speech mannerisms?
17. Relate your POV character’s current emotional state to a storm. It might be the anticipation of an approaching storm, the middle of the storm, or the relief or aftermath of a storm. Work the metaphor for all it’s worth!
18. Another character is fiddling with an object — jewelry, something in or from their pocket, something they picked up. Use the manipulations as a window in the character’s fluctuating emotional state.
19. If the current situation continues, how does your POV character envision himself and the important players in his life in the future.
20. In the current scene, your character picked up some skill she’s using during the course of her life. Reflect on that, particularly the emotional resonance the experience has for your character.
21. Rather than expand, synopsize. Someone new enters your story, or your character needs to relate what’s been happening since the beginning of the story on a post card or Tweet. Make each word count for dozens.

NOTE: Don’t link to this post! Blogsome includes the day in the URL and I’ll be updating the date as I add each item to keep it at the top of the blog throughout November. If you’d like a link, use the post at Blogspot: A month of NaNo prompts.

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For each of your main characters, including your antagonist, write out how they think at this moment in your story all this will end, who will live, who will die, who will get what they want or what they’ll get instead and what are the consequences? Maybe the bad guy will come up with a better ending that you have planned! ;-)

(If you’re not doing NaNo, use this for a story you never finished.)

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Michael Arnsen keeps popping up like a zombie who just won’t accept a shovel to the head! And as usual time is crunched during NaNo so I’ll totally rip off his delicious list of Twisted Prompts for Nanowrimo Writers to inspire you:

• Unexpectedly kill a character. Have your protagonist hear their dying words…but only partially.
• Take a break and reflect: What element of fiction is the weakest in your book right now: character, setting, dialogue or conflict? Choose one. The next time you hit the keyboard, write three paragraphs of prose dedicated just to that element in some way. And make it DARK.
• The next time you give a description of a character’s physical features, identify a disfigurement. ANYTHING, ranging from an almost imperceptible scar on their brow to giant webbed feet. Expound through dialogue or monologue about what sort of torment that disfigurement causes the character, and how they endure it.
• Notice the teeth.
• Give your viewpoint character permission to have a lengthy flight of fantasy, imagining what they would do if they had psychic powers or dreaming how they might solve the main conflict if they had superhuman powers of some kind.
• Set your next dialogue-driven scene in a foul restaurant. Break up the conversation with intermittent observations of the low hygiene and filthy food. At the end, draw comparisons between the establishment and the novel’s conflict or antagonist.
• Use a banal object in a scene as a makeshift weapon.
• “Goth up” a minor character and give them something morbidly pithy or darkly ominous to say.
• Take your main character’s hostilities and frustrations out on an inconsequential object…but in prose that dramatizes this eruption in an ultraviolent way.
• Treat weather as a monster.
• As you head into your next plot point, ask yourself: “And what could make the outcome even worse?”
• Review your manuscript so far. Seize on an object or image from your description that you mentioned in passing, and bring it back into the picture in an uncannily meaningful way.
• Something strange is hidden under the desk/table/seat. Your protagonist stumbles on it. This is important to a future scene. But keep the discovery a secret for now. You’ll figure out its importance later.
• Make your main character sick. Whether a cold or a contracted disease. Use this sickness in an unexpected way to solve a problem.
• Describe a new character (as they enter the story) in the darkest way you know how, from head to toe. Then make them so nice it’s laughable.
• Introduce your viewpoint character to Insanity.
• Reference a horror movie or book in an explicit/overt/obvious way. Then turn it inside-out.

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Use the following idioms as literally as possible without mentioning the original idiom, so “wet blanket” will include a real wet blanket. For Nano you may want to pick just one :-) For others, write a few sentences for as many as you can in 10 minutes, or use one and see where it takes you.

Cry over spilled milk.
Pull the wool over his eyes.
Wet behind the ears.
Wild goose chase.
Sky’s the limit.
With flying colors.
Face the music.
Throw a monkey wrench into the works.
Can’t make heads or tails out of it.
The pen is mightier than the sword.
Third time’s the charm.
On cloud nine.

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Have your character list 5 ways they’re ordinary (for their world, of course!) and 5 ways they’re not ordinary. (Though you don’t need to include it, they picked those particular items out of the totality of who they are for a reason.)

Idea from Charloft where’s there’s a new theme each day for your characters. (A very active community.) There are loads of responses to this particular one. In case the Live Journal community disappears one day, I saved the list.

I also opened an Ordinary and Special topic at the NaNoWriMo forums.

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What’s special or ordinary about the picture? Go to Face Research — Make an Average. Click on several pictures. Click View Average and see what a composite of the pictures is like. (Try all the thin faces, all those with dark hair, all those with long chins, all with large ears ….) I tried to create a girl’s face where race wasn’t easy to pinpoint.

Roll over the post’s image and you can see all the faces, male and female, averaged together. (The sampling of images does contain a large proportion of Caucasians.) Is it a girl or a boy? It would be interesting to see a composite of all 20 yos, 30 yos, etc in the world :-)

What’s interesting is that average isn’t bland but tends toward beauty. So beauty isn’t so extraordinary as it is average!

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Come up with a zombie party plan — for real zombies. Invitations (date, time, place). Special instructions for guests (as in bring your own brains, dress). Food. Games.

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Create your own comic strip with the Historic Tale Construction Kit. There are people, buildings, animals and text from the Bayeux Tapestry to play with. When you’re done you can submit it to the gallery. (Though I couldn’t get the email or gallery to work. I had to save all the images and paste them together in Photoshop.)

Don’t let the historic images limit you! Googling images for the kit I see several Harry Potter comics. (Like this bit of Harry Potter slash: A Chance Meeting. Note: preview it before you show it to your kids so you’re not surprised by unexpected questions! ;-)

If all the possibilities leave you stuck for a story, begin with the foundation of storytelling: a desire, a want, a need. One of those characters wants something. Other characters will get in the way with desires of their own. One of those desires will triumph. Or not. Maybe a dragon will eat them all ;-)

(Click the image to see mine.)

Two tips:

If you like your backgrounds consistent from panel to panel, line images up with flaws on the fabric.

Sometimes the images misbehave. (At least they did for me in Safari.) Back up to the previous panel then return.

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“Morning.”
“Morning.”
“Sleep well?”
“Yeah.”

Somewhere in your piece will be those lines of dialogue. (You can build up to the first “Morning.”)

Not much to go on. Or, really, too many possibilities! This is from an exercise on subtexting from Getting Into Character by Brandilyn Collins. The point is that we often don’t say what we mean … and it builds tension when our characters don’t either.

The first “Morning,” might really mean, “Where were you last night?” or “I know where you were last night (heh, heh, heh),” or “I’d like to bash your head in with a 2x4,” or “I wish everything were as normal as I’m trying to make it feel.”

One challenge of hinting at what’s beneath the surface is that only one character, the point of view character, reveals their thoughts to the reader. The other character offers only a tiny, foggy window into what they’re thinking through their body language, facial expression, tone and what they’re saying instead of what they mean. What’s going on beyond the fog is open to interpretation by the reader and by the, not necessarily objective, other character. (The point of view character is often not objective about their own thoughts and feelings either!) But the cool thing is that not knowing builds tension also and raises questions in the reader’s mind that makes them want to read on and find the answers. (Which are all the current skills I’m working on!)

As always, and as mundane as the lines are, don’t feel tied to a contemporary setting.

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Is this unexpected?

Is this normal in your world?

Are other animals fighting or just the squirrels? Fighting over what?

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