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âNaming the Worldâ edited by Bret Anthony Johnston
âBeing a writer is, in the fullest sense of the word, a vocation. Itâs labor, to be sure, often very lonely and stilted and compromising labor, but itâs also more than that; itâs a calling, an act of courage, an act of faith.â p. xv
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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...[writing prompts] aim to stoke your imagination, to heighten your attention to language, and to focus your concentration before the day's real writing begins. Think of them as literary jumping jacks or a shot of tequila, a regimen to get the blood pumping and the muscles limber so that your work is as strong as possible.
âNaming the Worldâ edited by Bret Anthony Johnston, p. xix
Readers care what you see and they respond to how your observation of the world makes them feel. And you can't make anybody feel anything if you aren't rendering real emotion on the page.
Michael Knight, âThrough Your Characters Eyesâ from p. 112 of âNaming the Worldâ
Do not allow the reader to dismiss your character as a type. Prove to the reader--by choosing unique but concrete details--that your character is worthy of their sympathy, worthy of their investment in all that is at stake for your character.
Julia Fierro, âGet Closer: Exposing Your Characters (With Compassion)â p. 107 from âNaming the Worldâ edited by Bret Anthony Johnston
We can't identify, not completely, with perfect characters, so as readers we resist and retreat from protagonists with impeccable clothes, flawless skin, overflowing bank accounts, prodigious children. Regardless of genre, and whether you're writing fiction or non-fiction, the goal of the writer is to create likable, fully developed characters.
Bret Anthony Johnston, p. 68 of âNaming the Worldâ
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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âNaming the Worldâ edited by Bret Anthony Johnston
âStories are how we make sense of our lives, how we attempt to impose some discernible order on the chaos of existence, and such attempts make the chaos bearable.â p. xviii
Naming the World and other exercises for the creative writer edited by Bret Anthony Johnston
âWriting exercises, I believe, serve to introduce or elucidate techniques and strategies that authors can use to bridge that void.â p. xviii
The void is in reference to the ease of verbally telling a story versus the struggling of writing that same story down, or, as the editor states:Â â...the distance between the perfect idea in your mind and the foundering jumble of words on the page.â p. xviii
- Use an audio recording device, such as your phone, to verbally tell a story. For the purposes of this writing prompt, start recording your story with the intention of taking at least 5-10 minutes to tell it. Then, without listening to the recorded audio, write the same story down. Was it harder or easier to write it down? Next, listen to your audio recording and see what essential pieces of the story were missed or mixed up.
Exercise: (Start With a Line)
The one thing youâll notice when it begins to rain is that people huddle. They feel the community that they usually shrug away. A man, soaked completely from the storm, seeks refuge in a cafe. He sloshes into the warmness and, in unison, all the caffeinated poets raise their heads, distracted from their local newspaper and their steamed cream. This look is us humanâs way of saying, âWe understand the hardships of being umbrellaless. Come, share some of our warmth. We have room.â These huddles last until the blue sky, when everyone scatters their own way like a jar of marbles dropped to the kitchen floor. And it was during this particular huddle, and this particular downpour that I first met Annie.
