He Said, She Said - Writing Exercise

This is a writing exercise with the emphasis on dialogue.

The first part is to write a scene with two people who are happily in love. The scene should be short, no more than 250 words - about one page, double spaced. Most of it should be dialogue - keep the tags and narrative to a minimum.

Next, using the same basic characters, write a scene with the couple in the midst of a nasty break up.

Now try to do the characters as enemies.

Finally, take a look at your scenes and make a list of all the issues that were revealed - setting details character insights, and plot movement. If you cannot find one issue, then your dialogue needs some work.

Getting There From Here - Writing Exercise

A frequent novice question is, how do you get from point A to point B? This writing exercise is structured to help you practice this skill. Great writers can concoct the most ingenous ways to advance a scene.

This exercise can be a scene or an entire story (if the story is under 1500 words). I've provided the starting and ending points. I've also included a few story elements that must appear somewhere in the scene/story.

Start:
... POV Character hears someone at the door.
End:
... POV Character is in deep water (literal water).

Character Detail:
A character knows CPR.
Setting Detail:
Desk
Plot Detail:
POV character is hiding a crime.

Hooks

What words will grab the reader and keep them engaged?

That question plagues every writer. Some writers fall into the trap of dwelling on the hook. They obsess over that perfect opening line, paragraph, or chapter. Although it is important, it is more important to finish the story. After all, most writers have experienced the necessity of deleting or radically changing that cherished first chapter. Finish the story, then you can turn your focus to how to hook the reader (and the agent or editor).

Which brings us to the hook. Your words must enthrall the reader without being trite. This is hardly an easy task. Writers across many generations have contrived a wide array of unique and worthy openings. Which means that it is incredibly difficult to come up with something new. Great writers make it seem easy. Some drop the reader into the mist of an argument, a battle, a crime, or any number of other happenings. Some use beautiful prose to pull the reader into their thrall. Some grab the reader with a cleaver twist.

As a writer, your job is to find the appropriate opening for the story you are telling.

Show Don't Tell

Show, don't tell. Writers hear this a lot. Show the reader, don't tell them. It's the difference between recapping the events for the reader and engulfing the reader in an experience.

But what does "show, don't tell" mean?

Let's first look at telling. This is when the prose states the bare bones of what happens. She prepared for the party.

Showing is the opposite. The prose provides details of everything that happens. She arranged the warm cookies on the silver tray.

Consider what is omitted when you tell: actions, setting, plot twists, etc. It may be that there is nothing to gain by showing that the character cooked the cookies or that she owns a silver tray. On the other hand, that silver tray may be essential to the plot later on.

This is where you must be a writer. It is up to you to determine what is relevant to your story. This also is part of what editors and agents will be gaging when they review your submission - your ability to show and tell at the appropriate times.