Today’s poetry writing exercise is from 101 Creative Writing Exercises. The exercises in this book encourage you to experiment with different forms and genres while providing inspiration for publishable projects and imparting useful writing techniques that make your writing more robust.
This exercise is from “Chapter Eight: Free Verse.” It’s titled “Cut-and-Paste Poetry.” Enjoy! Read more
I recently shared a writing exercise that encouraged you to get into a character’s head. Today’s exercise asks you to go a step further and explore characters and ideas that are your polar opposites.
One of the most exciting and challenging aspects of being a writer is creating characters. It is an opportunity to step outside of your own reality and take on a completely different persona.
Unless you’re an actor, an undercover agent, or just plain crazy, you don’t get many chances in life to do that.
Writing also lets us explore ideas and share our thoughts, opinions, and feelings on a wide range of topics. To Kill a Mockingbird addressed racism, The Da Vinci Code critically explored religious doctrine, and The Hunger Games examined troublesome aspects of our society, particularly glam culture, class systems, war, and violence among teenagers.
As a fiction writer, there will be times when you need to get into the head of a character who is your polar opposite. You’ll need to have a deep comprehension of ideologies that are not aligned with your own. If you can’t do that, then your story will lack believability.
Today’s fiction writing exercises give you practice in stepping out of your shoes so you can walk in someone else’s. Read more
In honor of next week’s launch of the third and final book in the Adventures in Writing series, I’d like to share an entire chapter from the first book in the series, 101 Creative Writing Exercises. “Chapter One: Freewriting” includes instructions for freewriting plus several variations and applications that you can use to make freewriting work for you.
Freewriting is one of the simplest, fastest, and most flexible creative writing exercises you can do. Use it for daily writing practice, idea development, and problem solving. I encourage all writers to give it a try. Read more
Writers are not actors, but sometimes we need to get into character.
To truly understand the nature of a character, a writer must step into that character’s shoes. You can use character sketches and descriptions while you’re creating a character, but the character will remain two dimensional until you can get into the character’s head and understand what makes him or her tick.
It’s harder than it sounds. Your first impulse might be to act like a puppet master, pulling the character’s strings and controlling every action and line of dialogue. But what you really need to do is scoot over and get in the passenger’s seat. Let your character do the driving and ride along as an observer. And that’s exactly what today’s fiction writing exercises will help you do. Read more
Do you ever feel like the story you’re writing is bland? Like it needs to be spiced up? Or maybe you want to write a story but you’re fresh out of ideas. Perhaps you need to practice storytelling?
Fiction writing exercises are perfect for toning your storytelling muscles. They can also provide you with a wealth of ideas for writing projects.
Today’s fiction writing exercises are designed to stimulate creativity and get you thinking about story from fresh angles.
Stimulate Your Creativity with These Fiction Writing Exercises
Below, you’ll find a list of simple scenarios. Each one could form the basis for a story. Your job is to come up with three story premises for each scenario. Be creative and try to avoid the most obvious premises.
Let’s use the following scenario as an example:
While hiking alone in the woods, a character comes face to face with a bear.
The obvious premise might show the hiker getting attacked by the bear or dropping and rolling to avoid getting attacked by the bear, but how could you put an unexpected twist on this scenario? Maybe the bear and the hiker strike up a conversation (fantasy or children’s literature). Maybe the bear is sick and weak, so the hiker decides to nurse it back to health. Maybe the bear isn’t a bear at all. Could it be someone in a bear suit?
For each scenario below, come up with three different premises that could be used to build a story. Try to stretch your story premises across a range of genres, including literary fiction, mystery, thriller, suspense, science fiction, fantasy, paranormal, horror, romance, historical, humor, satire, children’s, and young adult.
- A cruise ship gets caught in a storm, veers off course, and then sinks far from the mainland, but many of the passengers survive and make it to a deserted island.
- A man and a woman are sitting across from each other at a small table in a dimly lit restaurant.
- A family watches as their cat gives birth to a litter of nine kittens.
- Moments after arriving home from a long and difficult day at work, a character is shocked when the police show up with an arrest warrant.
- In a mid-sized town, somebody is dressing in disguise and fighting crime–a real-life superhero or a masked vigilante?
Feel free to change these scenarios or mix them up. Maybe instead of a cat having kittens, the family’s dog is having puppies. Maybe the character who is served with an arrest warrant is either the man or woman who was dining in the dimly lit restaurant.
If you try any of these fiction writing exercises, come back and tell us how they worked for you.
When we writers discuss fiction, we usually focus on plot, setting, dialogue, and especially characters. These, of course, are the essential elements of decent storytelling. But what we often forget to address is the prose.
The words we choose to depict action, express characters’ thoughts, and render their dialogue is another important, albeit often overlooked, element of writing–and that’s true of any form of writing, including storytelling.
Language can raise a story to new heights or it can make a story sink. If readers are struggling to understand words and phrases or if they’re constantly distracted by unnecessary words and repetition, the story will take a backseat to the poorly constructed prose, and you’ll risk losing the readers.
No matter how compelling your story is, if you can’t convey it through well crafted prose, it will get lost in the slush pile and end up in the discount bin. Today’s fiction writing exercises encourage you to set story aside and focus instead on the language, which is at the very heart of the craft of writing.
Fiction Writing Exercises: Practice in Prose
These fiction writing exercises encourage you to dig into the marrow of your writing–the language. You’ll need a few pieces of your own writing; they can be drafts or polished pieces. Choose one exercise below or tackle all of them.
Exercise One: Modifier Madness
Start with a short story or a scene you’ve completed. Use about five pages of narrative. Go through the piece and highlight all adjectives and adverbs. Now read it back without those modifiers. Did it lose meaning? Did some sentences gain strength because they weren’t weighed down with unnecessary detail? Look for adjective-noun and adverb-verb combinations that you can replace with more vivid nouns and verbs. For example, running quickly becomes sprinting. If you’re struggling to replace words that aren’t working, use the thesaurus.
Exercise Two: Dialogue Diversions
Find a dialogue scene in a story you’ve written. Make a copy of the scene and strip away the action and description, leaving only the dialogue. Use a different color of highlighting for each character’s dialogue so you can easily distinguish them from each other (for example, yellow for character A, green for character B, etc.).
- Read one character’s dialogue aloud, skipping the other characters’ lines. Is the character’s manner of speech consistent? Does the character use any dialect or catch phrases that make his or her speech patterns distinguishable? Is the dialogue peppered with filler words like um and well? Does it sound like natural speech? Does it reflect the character’s background, education, and social status?
- Read all of the characters’ dialogue aloud (better yet, get a friend to help so each of you can read different characters’ lines). Is each character’s dialogue distinct from the other characters? Does the conversation flow? Does it stay on topic or go off on tangents? Do the characters refer to each by name too often (people don’t usually refer to each other by name in real life)?
Exercise Three: Rhythm and Pacing
Pull one to three pages of narrative from a story that’s in progress or completed. Make a copy of it and format it with double line spacing so you have plenty of room to work between the lines. Print it out. Now go through and count the words in each sentence and make a note of the word count at the beginning of each sentence. Then go through and count the syllables in each sentence and make a note of the syllable count at the end of each sentence. Use different color pens for word count and syllable count or use highlighters so you can easily tell the difference.
Do you tend to write short or long sentences? Do your sentences vary in length or does the rhythm drone in a repetitive manner? Could you link two short sentences together to make a single, longer sentence? Can you break up any long sentences into two or more shorter sentences?
Did these fiction writing exercises help you view your prose in a new light? Which exercise did you tackle? Do you have any tips for crafting compelling prose? Share your thoughts by leaving a comment.
101 Creative Writing Exercises is jam-packed with fun and practical writing exercises.
You’ll learn useful writing techniques while gathering ideas and inspiration for all your creative writing projects.
Experiment with fiction, poetry, freewriting, journaling, memoir, and article writing.
Today, I’d like to share an exercise from “Chapter Five: Fiction.” This creative writing exercise is titled “Potter Wars.” Enjoy!
A lot of artists struggle with the desire to write original material. Of course we all want to be original, but is that even possible?
Some say there are no new stories, just remixed and rehashed versions of stories we’re all familiar with. When we say a piece of writing is original, a close examination will reveal that it has roots in creative works that preceded it.
Most of us writers have had ideas that we shunned because we thought they were too similar to other stories. But just because your story idea is similar to another story, perhaps a famous one, should you give up on it?
Look at this way: everything already exists. The ideas, plots, and characters—they’re already out there in someone else’s story. Originality isn’t a matter of coming up with something new, it’s a matter of using your imagination to take old concepts and put them together in new ways.
To test this theory, see if you can guess the following famous story:
A young orphan who is being raised by his aunt and uncle receives a mysterious message from a stranger. This leads him on a series of great adventures. Early on, he receives training to learn superhuman skills. Along the way, he befriends loyal helpers, specifically a guy and a gal who end up falling for each other. Our hero is also helped by a number of non-human creatures. His adventures lead him to a dark and evil villain who is terrorizing everyone and everything that our hero knows and loves.
If you guessed that this synopsis outlines Harry Potter, then you guessed right. But if you guessed that it was Star Wars, you’re also right.
This shows how two stories that are extremely different from one another can share many similarities, including basic plot structure and character relationships, and it proves that writing ideas will manifest in different ways when executed by different writers.
If it’s true that originality is nothing more than putting together old concepts in new ways, then instead of giving up on a project that you think has been done before, you should simply try to make it your own by giving it a new twist.
Use the synopsis above to write your own short story. However, do not write a space opera or a tale about wizards.
Tips: One of the key differences between Star Wars and Harry Potter is the setting. One is set in a galaxy far, far away; the other in a magical school for wizards. One is science fiction; the other is fantasy. Start by choosing a completely different genre and setting and you’ll be off to a good start. For example, you could write a western or a romance.
Variations: Instead of writing a short story, write a detailed outline for a novel or novella.
Applications: This exercise is designed to demonstrate the following:
- It’s not unusual for two writers to come up with similar ideas.
- A vague premise or concept will be executed differently by different writers.
Instead of worrying about original characters and plots, focus on combining well-known elements in new ways.
These fiction writing exercises are designed to help fiction writers gain a better understanding of their characters, including antagonists, by learning how to relate to contradictory or opposing viewpoints.
Remember, an antagonist is not necessarily a villain. An antagonist is anyone whose purpose is at odds with the protagonist’s goals.
In addition to antagonists, we should be writing characters who are unique and complex, not characters who are all cardboard cutouts of ourselves. That means we have to get into the heads of people who are strikingly different from ourselves.
These fiction writing exercises will help you do just that. The idea is to try and view the world from a perspective that is completely different from your own and to get inside the head of someone who is not like you.
Fiction Writing Exercises
Fiction writing exercises are a great way to work your writing muscles, especially when you’re feeling uninspired. Like all good fiction writing exercises, these are great for aspiring novelists and folks who enjoy penning short stories. Characters are the heart and soul of any story, and to make them real and vivid, you have to be able to get inside their heads. And that’s a challenge–especially when dealing with antagonists and characters whom you have little in common with.
By stepping into a villain’s shoes or writing from a viewpoint that contradicts our own, we can learn to generate characters that are more realistic. For these writing exercises, you will select a person, position, or belief with which you are at odds. Do you have a neighbor who argues that he should not pay his share for the fencing on your shared property line? Are you for or against the death penalty? What’s it like to be the villain?
Here are some ideas to get you started:
Think of a person who constantly makes you grit your teeth. It could be someone close to you, perhaps a relative. Or it could be someone in the media–a politician, celebrity, or sports star. It could even be a character from a book or movie. It needs to be someone with whom you feel inner conflict and who possibly makes you uncomfortable.
When you sit down to write, you will write as if you are this individual. Write an essay, in first person, from this individual’s perspective, and make a concentrated effort to address those things that bother you.
Many of us have very strong positions on various issues. Some are serious and others aren’t very important in the grand scheme of things. Do you eat meat or are you a vegetarian? Are you a conservative or a liberal? Do you support stem cell research? Are you for or against the war? Look at some of the top news stories this week for more ideas. For a more lighthearted approach, look to lifestyle differences. Do people outside the mainstream intrigue or offend you? How important are table manners? Mac or PC?
Whatever your personal stance is, write as if you held the opposite position. Argue against your own arguments and discover what the other side is thinking. This can build empathy and lead to discovery and insight.
What religion or philosophy do you adhere to? Chances are, whatever it is you believe with regard to ethics and spirituality, there are a whole bunch of people out there who see things in quite a different light. Are you an atheist? Write as a Catholic. Do you believe in evolution or intelligent design? Write as an agnostic.
Use this exercise to better understand the similarities and differences between contrary ways of thinking and believing.
Tips for Tackling These Fiction Writing Exercises
In tackling these exercises, write at least 1000 words. The piece can take the form of a letter, an opinion editorial, or personal essay written in the voice of a character who significantly different from you. Don’t be afraid to get creative! Try writing a monologue or a poem (great approach if you’ve chosen to write about beliefs).
This is a great writing exercise to revisit, especially if you get stuck with one of your fictional characters. Can’t figure out what your villain would do next? Write a short piece in first person point of view from your villain’s perspective.
Remember, you’re not mimicking the character, you are stepping into his or her head. Try to relate to the way the character thinks and feels, and remember that each of us is shaped by our life experiences.
Good luck and have fun with these and other fiction writing exercises!
If you have any fiction writing exercises to share, feel free to post them in the comments.
Are you looking for more fiction writing exercises? Pick up a copy of 101 Creative Writing Exercises, available in paperback and ebook.
Whenever I’m working on a story idea, I spend a lot of time during the development stages making character sketches and writing backstories for my characters. I usually end up with too many of them and some characters get cut. The lucky ones get resurrected in some other story.
Some of my favorite stories are plot-driven, but character-driven stories tend to resonate with me on a deeper level, which is why I believe that regardless of plot, stories with strong and compelling character arcs are the best. They start with a character who wants something and we see the character through conflict after conflict until he or she emerges changed, usually stronger and for the better.
The most compelling characters are unique in some way and brimming with personality. But they are flawed too, and I think that oftentimes, readers find themselves more in the characters’ flaws than in their strengths.
Conversely, the least interesting characters are boring. They lack personality or their goals aren’t clear. Oftentimes, they act “out of character,” doing things that are inconsistent with their established personalities and behaviors.
Character exercises can help with all that.
Create Characters with These Fiction Writing Exercises
You can use these exercises all by themselves–create a character just for fun, and who knows? Maybe one of these exercises will lead to your next big writing project. Or you can use them to develop a character for a story you’re already working on, but keep in mind that the story itself often shapes characters, so be flexible and allow your character to change with the story. In other words, you don’t have to stick to the profile you’ve created for your character.
1. Character Backstory
I define backstory as everything that happened to the character up to the point where the narrative begins. Sometimes it helps to start at the beginning:
This character was born in a small town south of San Francisco just a few days before the 1906 Earthquake. Her mother was a schoolteacher and her father ran a general store…
The character backstory can be simple, covering the highlights and important events throughout your character’s life. It can also become rather elaborate, depending on how much detail you want to put in and how clearly the character speaks to you.
For this exercise, write a character backstory starting with your character’s birth and hitting all the major events of your character’s life up to the point where the story starts. Try to write a minimum of 1000 words.
2. Psychological Profile
As with backstory, a psychological profile can be minimal or detailed: What is your character’s greatest fear? What traumas has your character experienced and how did it shape his or her personality? Does your character have any psychological disorders or conditions?
But the most important question you ask in a psychological profile is this: What does the character want and why?
If you really want to create a character who is complex, then try identifying an internal goal, an external goal, and figure out what the stakes are. If you can come up with an internal goal and an external goal that are at odds with each other, all the better.
For example: let’s say your character’s internal goal is to improve his community and his external goal is to become a politician so he can accomplish his internal goal. In his mind, his community is at stake. Those are big stakes if the character loves the community and has deep ties to it. What happens when the character gets into politics and has to start wheeling and dealing? With he sacrifice another community’s well-being to make things better for his own? Will he hang his city’s factory workers out to dry so he can do something to benefit the town’s small businesses?
For this exercise, list your character’s internal goal, external goal, and what’s at stake. This is an especially useful exercise to do with a protagonist. Whenever your story gets stuck, remind yourself what the protagonist’s goals are, and that will often get you back on track.
Bonus: if you’re creating a character who is not the protagonist, write a short description (it might be just a single sentence) stating the character’s purpose to the story.
3. Coping with Conflict
Some say that story is conflict–just one conflict after another. These conflicts are constantly pushing characters toward their goals and pulling them away from their goals.
For this exercise, you’ll experiment with writing scenes that show your character coping with conflict. Write one scene where your character faces conflict and gets defeated. Write another where your character overcomes some conflict. If you’re working on a short story or novel, write scenes that take place outside of your story. Try to write a minimum of 1500 words per scene.
A Few More Activities for Creating Characters
- Sketch picture of your character; search the web for images that resemble your character; or find video showing an actor, actress, or other public figure that you can use as a model for your character.
- Create a character journal and write a few entries in the character’s voice about his or her daily life.
- Write a letter from your character to a loved one (or write a letter from a loved one to your character).
Got any fiction writing exercises or activities that will help writers create characters? Share your thoughts and ideas in the comments.
Are you looking for more writing exercises? Pick up a copy of 101 Creative Writing Exercises, available in paperback and ebook.
Today’s creative writing exercise comes from 101 Creative Writing Exercises, a book I wrote on the craft of writing.
This book guides writers through an adventure in writing. You’ll explore different forms and genres of writing, including freewriting, journaling, memoir, fiction, storytelling, poetry, and article or blog writing.
101 Creative Writing Exercises imparts proven writing techniques while providing writing practice and creative inspiration.
Today, I’d like to share an exercise from “Chapter Nine: Philosophy, Critical Thinking, and Problem Solving.” This exercise is titled “Moral Dilemmas.” Enjoy!
We each have our own personal philosophies and values. Our values come from our families, religions, and cultures. They shape our morals and the decisions we make.
People are complex. What we believe is right or wrong changes when we find ourselves in real situations. Consider an honorable character who believes that one’s highest loyalty is to his or her family. Then, that character learns his brother is a serial killer. Does he turn him in? Testify against him? Stories get interesting when characters’ morals are put to the test.
We all know the knight in shining armor should risk his life to save the damsel in distress. If he doesn’t, then he loses his status as hero and becomes a coward. What if the knight is forced to make a more difficult decision? What if his true love and his beloved sister are both in distress but he only has time to save one of them?
For this exercise, you will put a character’s morals to the test. Below, you’ll find a short list of moral dilemmas. Write a scene in which a character faces one of these moral dilemmas and has to make an agonizing decision.
- In the novel Sophie’s Choice, a young Polish mother and her two children are taken to a concentration camp. Upon arrival, she is forced to choose one child to live and one to die. If she doesn’t choose, they both die. Write a scene in which your character must choose between the lives of two loved ones.
- A single woman is close friends with the couple next door and has secret romantic feelings for the husband. She discovers that his wife is having an affair. Normally, this woman minds her own business but now she sees an opportunity to get closer to the man she wants.
- Some countries have strict laws regarding drug possession. A family has traveled to one such country for vacation. Upon arrival (or departure), one of the teenagers’ bags is sniffed out by a dog. The bag is opened, the drugs are identified, and the guard asks whose bag it is. Both parents are considering claiming ownership. Everyone in the family knows the sentence would be death.
- Your character gets to travel through time and face this classic moral dilemma: the character finds himself or herself holding a loaded gun, alone in a room, with a two-year-old baby Hitler.
- A plane crashes into the sea. Most of the passengers escape with inflatable lifeboats but they do not board them correctly. Your character ends up on a lifeboat that holds eight people but there are twelve people on it, and it’s sinking. Your character can either throw four people overboard and eight will survive or they will all die except your character, who will get rescued after the others drown.
During the scene, the character should agonize over the decision and reveal his or her reasons for the choice that he or she makes.
Tips: Search online for “lists of moral dilemmas” to get more scenarios.
Variations: If you don’t want to write a scene, challenge yourself to come up with a few moral dilemmas of your own.
Applications: These moral dilemmas also work as story prompts. They force you to put your characters in situations that are deeply distressing, thus creating conflict and tension.
Today’s post is from my book, 101 Creative Writing Exercises, which is available from your favorite online bookseller in paperback or as an ebook.
Chekhov’s Gun is a literary device in which an element is mentioned in a story and its purpose or significance becomes clear later. For example, early in a story, the narrative mentions that the hero carries a knife. Later, he uses that knife to defend himself in a fight. If the knife hadn’t been mentioned earlier, it might feel like an object of convenience. On the other hand, if the knife is mentioned but he never uses it, the reader might feel cheated after anticipating a good knife fight.
The real purpose of Chekhov’s Gun is to remind writers that they have an obligation to fulfill all promises made to readers. If the narrative mentions that the hero carries a knife, the reader expects that he will, at some point, use it. If he doesn’t, the writer has failed to fulfill a promise. In other words: don’t pepper your story with unnecessary, insignificant, or meaningless elements. Make everything count!
The term “Chekhov’s Gun” comes from a letter from Anton Chekhov to Aleksandr Semenovich Lazarev (also known as A.S. Gruzinsky) in which he said, “One must not put a loaded rifle on the stage if no one is thinking of firing it.”
Write a short scene and introduce two objects right at the opening of the scene. Make sure one of the objects is used later in the scene, but leave the other object unused. Note that these objects will not be part of the descriptive content. For example, if the scene includes a description of a room and mentions a chair in the corner, you don’t have to use the chair later because it is part of the setting description.
Let your scene sit overnight then read it back the next day. Notice how the unused object lingers in the reader’s mind in an unpleasant way. Once you’re done, feel free to revise and edit out the unnecessary object or add action in which it becomes significant.
Tips: Differentiating between what constitutes a necessary or unnecessary element can be tricky. In some cases, a knife that is mentioned may not need to be played later (for example, a knife might be mentioned in the context of one of the characters eating). In other cases, a chair that is mentioned will need to be played. A woman might carry a purse, but that doesn’t mean she needs to retrieve anything from it because most women carry purses. On the other hand, if she’s carrying a file marked “TOP SECRET,” the reader expects to eventually be let in on the contents of the file.
Variations: Go through a story you’ve already written and look for instances in which you included unnecessary or misleading elements.
Applications: The difference between excellence and mediocrity in storytelling often lies in the details. Chekhov’s Gun is one of the many details that could cause a story to lose credibility with readers. Therefore, checking your narrative for unnecessary or irrelevant elements will strengthen and improve your work.
Fiction writing exercises can help you discover storytelling techniques and provide ideas and inspiration for your fiction writing projects.
For writers who are young or just starting out with fiction, these exercises provide practice and experience. For more experienced writers, these exercises offer inspiration and can help you see a story from new angles.
Today’s fiction writing exercises are carefully chosen to help you develop some of the most critical components in a story. If you can create a few characters; identify a conflict, climax, and resolution; and choose a theme, you’re well on your way to writing a short story or novel that will resonate with readers.
These exercises are similar to assignments you would complete in a college-level fiction writing class, exercises that push you in the direction of writing material that can be published. You can tackle these exercises separately, but I recommend using them to develop ideas around a single story.
1. Character Exercise: Sketching a Protagonist and an Antagonist
We often think of them as the bad guy and the good guy or the hero and the villain, but those terms are becoming outdated as modern storytelling increasingly embraces protagonists who are highly flawed and antagonists who aren’t 100% evil.
The Exercise: Sketch two characters who are in conflict with each other.
Do not identify a protagonist or antagonist, just create two characters. Both characters should have the potential to be good or evil. Start with physical descriptions, then get inside the characters’ heads to establish their inner landscapes, and finally, work up a bit of backstory for each of them. Remember, these two characters have a fundamental conflict with each other. What is it? The core of this exercise is identifying that conflict.
2. Plot Exercise: Conflict, Climax, and Resolution
The three-act structure is one of the simplest and most effective way to break down a story. Often, the acts are 1) Setup, 2) Confrontation, and 3) Resolution. I think of the three-act structure as 1) Conflict, 2) Climax, and 3) Resolution because those are the three pinnacles in each of the three acts. In the first part of a story, we learn what the conflict is. The second (and largest portion) of the story builds up to a climax in which the conflict hits boiling point. Finally, the third act resolves the conflict.
The Exercise: Determine a conflict, climax, and resolution for a story. You can use the two characters you created in the first exercise for this.
Conflict examples: Two people vying for the same job, a natural disaster, people-eating aliens landing on Earth.
Climax examples: In a big showdown, one job candidate smears the other and knocks the opponent out of the race. A natural disaster claims the lives of half of Earth’s population. Humans engage in a final battle with people-eating aliens.
Resolution examples: The job candidate who got smeared makes a comeback and gets the job. Earth’s survivors rebuild after a planet-wide natural disaster. Against all odds, humans win the battle against aliens with superior technology.
3. Theme Exercise: Universal Ideas
Theme is difficult to explain, but Wikipedia does a good job:
A theme is a broad idea, message, or moral of a story. The message may be about life, society, or human nature. Themes often explore timeless and universal ideas and are almost always implied rather than stated explicitly. Along with plot, character, setting, and style, theme is considered one of the fundamental components of fiction.
I usually think of theme as the big questions that a story asks or its underlying philosophies.
The exercise: Choose a theme and write a list of ways in which a theme can be executed through the course of a story.
You can choose a theme for the characters you sketched in the first exercise or for the three-act structure you developed in the second exercise. For example, in a story where two characters are vying for the same job, the theme might be dream fulfillment (if it’s one or both of the characters’ dream job).
As an alternative, try to identify themes in other stories. Think about your favorite books, movies, and TV shows and make lists of some themes you’ve found in storytelling.
Get Busy with Fiction Writing Exercises
Do you think about character, plot, and theme when you’re working on a story? Do you plan these elements in advance or let them unfold through discovery writing? Who are some of your favorite characters? Can you think of a truly original plot in modern storytelling? What themes in fiction appeal to you the most? And finally, do you use fiction writing exercises and if you do, how have they helped you improve your writing?
Are you looking for more writing exercises? Pick up a copy of 101 Creative Writing Exercises, available in paperback and ebook.