Skip to content

Posts from the ‘Writing Exercises’ Category

Oct 7

3 Comments

Rhetorical devices: Your secret writing weapon

When a book instantly grabs me and draws me in, I like to go back later and analyze why. Sometimes, it’s the subject matter. Sometimes, it’s the narrator’s voice. Sometimes, it’s a simile or metaphor that hooks me. Always, it’s the strong writing. Strong writing means that the arrangement of words on the page “works.” Strong writing is an art that we can learn.

Many award-winning, best-selling authors have a secret weapon that helps them produce strong writing. That secret success weapon is the use of rhetorical devices.

Award-winning poet and author Jack Remick discusses his use of rhetorical devices in his interview with Joel Chafetz. He says that the devices all conspire to create a certain cadence in his work. He goes on to say:

…”it’s not enough to put the words down, that’s information. You have to make the words dance and rhetoric can make your words dance. Most people dismiss rhetoric but rhetoric cannot be dismissed. Rhetoric can give you rhythm, rhetoric can give you cadence, rhetoric can give your writing new life. So the writing in Blood is thick with rhetorical devices. And that’s what you’re picking up—the poetry of violence couched in rhetorical devices driving images at full speed so the story spins out ahead of you, drawing you along with each one.”

I’ve used rhetorical devices in my poetry for years–alliteration, assonance, similes, metaphors, etc. These are some of the more common devices with their definitions below: Read more

Sep 18

A simple prompt that reveals new writing ideas

I believe you have to make your own writing inspiration rather than waiting for it to happen. I’ve found I can generate inspiration by being observant, reading, and by using writing prompts and freewriting. Even when I feel resistance, I find that if I just start, I surprise myself.

One of the most effective prompts I use is one in which I type or write in a notebook, “I remember.” Then I time myself for about 20 minutes and list everything I can think of. If you’re trying to access memories for a memoir or to spark a short story or poetry ideas, you’ll be surprised at what this exercise reveals.

The second step is to do the same thing with the phrase, “I don’t remember.” You might think, “how can I write about what I don’t remember if I don’t remember it?” Have faith. These prompts are a good way of letting go of writing resistance. These exercises, especially done together, have a way of revealing themes and emotional moments that will take your writing to a whole new level.

What are your favorite ways to warm up for writing or excavate new ideas?

For more ideas to nurture writing inspiration, read Carol’s post, Four ways to cultivate writerly inspiration.

Aug 7

3 Comments

How to create your own “dialogue cue” practice

In an earlier post, I wrote about some of the great tips I learned from writing guru Margie Lawson at the recent Pacific Northwest Writer’s Conference.

Lawson coined the term “dialogue cues” to describe the psychological/emotional subtext around dialogue. (For a great discussion of subtext with examples, read The Art of Subtext: Beyond Plot by Charles Baxter).

I’ve been experimenting with creating dialogue cues since Lawson’s class and made up my own “dialogue cue” practice as I did with metaphor practice.  Here’s what I do:

1.  Using one word or a short phrase make a list of attributes of your character—try using what Lawson calls “power words,” words that have an emotional or psychological impact on your reader.

The list for the antagonist in my current work might look like this: Sexy, Sensual, Ancient, Devious, Infectious, Hypnotic, Charming. Read more

Jul 30

3 Comments

Write dialogue cues like a bestselling author

At the Pacific Northwest Writer’s Conference this weekend, I took a series of phenomenal classes from writing teacher and psychologist Margie Lawson. I thought I was a fairly decent writer—I have a few awards to prove it—but what I learned this weekend after taking Lawson’s classes is that “I don’t know nothing yet.”

Let’s just say that by the end of the day I literally had one brain cell left.

One of my favorite classes was on dialogue cues. For the most part, I’ve already learned to keep my dialogue tags short. He said. She said. And to avoid attributions like the following:

  • “I don’t like you,” he said, disdainfully
  • “I hate you,” she said, angrily
  • “Don’t move,” he growled
  • “Get away from me,” she hissed Read more

Jul 18

How momentous events lead to compelling personal writing

What are the big events in your life? Big, life-changing, world changing events can be turning points and crucial material for writing a memoir, autobiography, or essay.

Some of the most compelling stories I’ve heard from students in my memoir classes have been about events, including 9-11, the assassination of President John F. Kennedy, and the Apollo 11 mission in which Buzz Aldrin and Neil Armstrong made history by being the first men to walk on the moon.

Writing about the big moments in history grounds your stories in time and place and adds historical context. When I began writing my memoir, I created a timeline with dates and ages of key characters, including significant events in my family and in history. Read more

May 31

3 Comments

Trust in randomness and mine your subconscious with this writing exercise

Poet and teacher May Swenson said, “The best poetry has its roots in the subconscious to a great degree. Youth, naivety, reliance on instinct more than learning and method, a sense of freedom and play, even trust in randomness, is necessary to the making of a poem.”

In the spirit of being random, turn up your observation skills and as you go about your day, note 12 phrases or words that strike you. You might see something in an e-mail, a text, or an overheard conversation at the tea shop. Use them to spur the writing of a poem or flash fiction.

For inspiration, read Earth Your Dancing Place and other poetry on Poets.org, the website of the Academy of American Poets. Learn more about May Swenson.

Apr 24

6 Comments

Original idea & logline: using them to write a better story, part two

In my previous post, I wrote about the importance of writing down your one-sentence original idea. This is the very first idea you had—whether it’s about plot, character, or theme—that got you excited about writing your story. Reading your original idea each day before writing will keep you focused on your story. 

Another exercise is to develop your one-sentence logline. In his book, Save The Cat! The Last Book on Screenwriting You’ll Ever Need, screenwriter Blake Snyder said that if we develop our logline before we begin writing, it will help us write a better manuscript.

According to Snyder, there are four main elements to a great logline:

  1. A good logline has to have irony. He gives an example from the blockbuster movie Pretty Woman: “A businessman falls in love with a hooker he hires to be his date for the weekend.” Pretty ironic, huh? Another way to define irony, Snyder said, is that something unexpected happens. He also calls this the “hook.” Read more
« Older Entries
Newer Entries »