Creative Writing - Exercise 1 - Warmups
Oct 6, 2009 16:51:22 GMT
Post by Kiri on Oct 6, 2009 16:51:22 GMT
This is from the writing course I did - and I quote it verbatim.
I find them very useful to start the imagination going when it's been a bit neglected.
Also as part of the writing course - the teacher was very definite that we should write with pen on paper. Not because of anything else except that it slowed down our thought processes - and because it was a physical action which includes a lot more visceral sensations than typing on a keyboard - it is easier to get in touch with the more physical sensations.
Where I think something needs to be expanded on - I'm making notes in blue.
If you're having trouble getting into the exercises you can do what we used to do first thing in class:
1. List everything that we can hear. (Close your eyes to make it easier to concentrate).
2. List everything that we can see. (Or at least 20 things).
3. Write what you are thinking - don't lift the pen or stop writing - for 2 minutes. Even if it's a page of 'I don't know what I'm thinking' - it gets the obstructionism out of the way.
The first two centers you in your body, and the third one settles your mind and gets it into writing mode.
Especially if you do this exercise everytime, it becomes a trigger for getting into writing.
Remember: The imagination is a fragile muscle and like any muscle it needs work. The most important thing is to write regularly. These exercises are designed as triggers to stimulate your imagination. Don't try and do them perfectly. Simply write and notice the effect that the built in desire and opposition has on your writing.
Guidelines for when you write:
Kiri's Note: Bricks of Detail = what you can see in that image, hear, smell and touch. If we're talking about a specific emotion - anger for example - it's how the anger looks in the person's face, sounds like in their voice, how it is exhibited in their movements, and stance.
Also - Giving yourself permission to write junk is VERY important! Seriously. I found going out of my way to write junk was a good way to do this when the editing voice in my head was having it's way.
Exercise One:
Think of a character who is in love with another person. Have the two meet in the street. When you write follow the above guidelines.
Exercise Two:
Think of a character who wants a promotion. They meet their boss at a party. When you write follow the above guidelines.
Exercise Three:
Thin of a character who wants their partner to tell them a secret. Imagine they are both in the bath together. When you write follow the above guidelines.
Exercise Four:
Think of a character who wants someone to do something specific for them. It doesn't matter what, as long as it is concrete and specific. Who is fighting whom over what: When you write follow the above guidelines.
Exercise Five:
Think of a character who wants something specific that someone else has. It doesn't matter what, as long as it is concrete and specific. Who is fighting whom over what? When you write follow the above guidelines.
Kiri's Note: Concrete and specific means something real and tangible. Examples are from the course:
You don't have to post your results here - these are warmups after all, and possibly quite junky. But do tell us what you've learnt doing them, or even just that you've done them.
I'm going to be putting my Main characters - Petr, Amelia, Marie and Gregor through one of the exercises, as also away of cementing their characters in my head. This also may be a good idea for you.
I find them very useful to start the imagination going when it's been a bit neglected.
Also as part of the writing course - the teacher was very definite that we should write with pen on paper. Not because of anything else except that it slowed down our thought processes - and because it was a physical action which includes a lot more visceral sensations than typing on a keyboard - it is easier to get in touch with the more physical sensations.
Where I think something needs to be expanded on - I'm making notes in blue.
If you're having trouble getting into the exercises you can do what we used to do first thing in class:
1. List everything that we can hear. (Close your eyes to make it easier to concentrate).
2. List everything that we can see. (Or at least 20 things).
3. Write what you are thinking - don't lift the pen or stop writing - for 2 minutes. Even if it's a page of 'I don't know what I'm thinking' - it gets the obstructionism out of the way.
The first two centers you in your body, and the third one settles your mind and gets it into writing mode.
Especially if you do this exercise everytime, it becomes a trigger for getting into writing.
Remember: The imagination is a fragile muscle and like any muscle it needs work. The most important thing is to write regularly. These exercises are designed as triggers to stimulate your imagination. Don't try and do them perfectly. Simply write and notice the effect that the built in desire and opposition has on your writing.
Guidelines for when you write:
- Close your eyes, take three to five breaths.
- Get in touch with the emotion your character is feeling.
- See an image in your mind's eye that evokes that emotion.
- Create that image on the page using bricks of detail. Keep the pen moving, capturing first thoughts and letting yourself write junk.
- Do three pages or write for 10 minutes.
Kiri's Note: Bricks of Detail = what you can see in that image, hear, smell and touch. If we're talking about a specific emotion - anger for example - it's how the anger looks in the person's face, sounds like in their voice, how it is exhibited in their movements, and stance.
Also - Giving yourself permission to write junk is VERY important! Seriously. I found going out of my way to write junk was a good way to do this when the editing voice in my head was having it's way.
Exercise One:
Think of a character who is in love with another person. Have the two meet in the street. When you write follow the above guidelines.
Exercise Two:
Think of a character who wants a promotion. They meet their boss at a party. When you write follow the above guidelines.
Exercise Three:
Thin of a character who wants their partner to tell them a secret. Imagine they are both in the bath together. When you write follow the above guidelines.
Exercise Four:
Think of a character who wants someone to do something specific for them. It doesn't matter what, as long as it is concrete and specific. Who is fighting whom over what: When you write follow the above guidelines.
Exercise Five:
Think of a character who wants something specific that someone else has. It doesn't matter what, as long as it is concrete and specific. Who is fighting whom over what? When you write follow the above guidelines.
Kiri's Note: Concrete and specific means something real and tangible. Examples are from the course:
- Not Love - but Ms Finch in Room Eight.
- Not Money - but the million dollars in the National Bank at the Bondi Beach Branch.
You don't have to post your results here - these are warmups after all, and possibly quite junky. But do tell us what you've learnt doing them, or even just that you've done them.
I'm going to be putting my Main characters - Petr, Amelia, Marie and Gregor through one of the exercises, as also away of cementing their characters in my head. This also may be a good idea for you.
