Please remember to send me up to four pages, double-spaced in 12-point type, as a Word or Google document. Please email it to me by Sunday at noon. Please put your name and the prompt you’re using at the top of your pages.

You can add characters and change anything about the prompts below.

• Two characters who don’t trust each other are trapped together—you decide how and where. Also, the characters don’t have to be human. For example, one could be a dragon and the other an ogre. They have to work together to escape. Write what happens.

• If you don’t know the fable, “The Tortoise and the Hare,” look it up (it’s very short). Rewrite the fable your way and feel free to change the ending if you want to. If you like, the animals can be people, one slow and steady, the other quick but easily bored. The ending can change too.

• Your main characters are a brother and a sister (and, if you like, a talking sheep as well). One of them is suddenly and mysteriously unable to move all but one body part. You decide which. Together, they have to figure out what’s going on and find the remedy. Write what happens.

• This is a variation of the beginning of the fairytale, “Rumpelstiltskin.” One of your two main characters goes to the greedy king of the kingdom and tells him that the other one can spin straw into gold, which that character has no idea how to do. The king takes that character to a barn full of straw and says that he, she, or they has to make gold by the next morning or be executed. The character in the barn wants to escape and get revenge (and make gold if possible). The character outside the barn feels sorry for what he, she, or they has done and wants to fix the problem. Write what happens.

• A magician is performing for the king, his family, and the entire court. The king’s only daughter volunteers to be the magician’s subject for the disappearing and reappearing trick. She disappears perfectly and then fails to reappear no matter what he does. The king gives him one day to get her back. When he’s alone, he finds a note tucked under his cap that says, “My return depends on the crocodile.” Write what happens.

Five friends go together to the State Fair and visit the fortune teller’s tent. Each receives a different fortune:

• Beware of a girl with a pony tail.
• You will be given a thousand dollars. Don’t keep any of it.
• Don’t get on a boat this year.
• Stay at home on August 12^th and close the windows and curtains. Lock the door.
• Accept an impossible challenge.

Pick one friend or two friends and write what happens as a result of the fortune teller’s advice, which may be followed—or not.

Use one or more of these in a story. They can be dialogue, as I have it, or woven into the narration. They can be a beginning or an end or show up in the middle. You may not finish your story in the time you have. Just write as much as you can.

Keep in mind as you write that everything in fiction is connected. Dialogue reveals character; character produces dialogue (or even silence).  

“Do you think these fangs are just for show?”

“You’re staring at me.”

“You’re not me. I’m me!”

“Please help me climb down.”

“I always wanted to kick someone through a portal.”

“Hmm. Um. Er.”

You can continue what you started during the workshop or do one of the options below. Email me no more than four double-spaced pages in 12-point type as a Word or Google document. If it’s a Google document, please remember to give me permission to edit it. Get your homework to me no later than Wednesday at noon.

Make one of these adages the title of your story and write how the precept works out for your characters—which can be disastrously or perfectly. (You can change the title later if you come up with something you like better.)

• Better safe than sorry

• What you don’t know can’t hurt you

• Two wrongs don’t make a right

• Look before you leap

• Two heads are better than one

• If at first you fail, try, try, try again

There are my notes to myself for the first writing workshop of the summer last year. The workshop this year will run from 7/14 to 7/31, Mondays and Thursdays from 1:30 pm to 3:00 pm:

Things (for me) to bring:

1. Writing Magic and Writer to Writer

1. this page!

1. Pad

1. WELCOME!

• My phone #, email address. Don’t share. Website, can share. Take a screen shot.

• My name & pronouns. Intro Jen and Debbie

Go around & say pronoun, what grades they’re going into. What do they hope to get out of summer? Say if it’s more than writing better, if there’s something partic you want. Poetry possible. Tell everyone: If you could time travel to the past or future, when in the past or how far in the future would you visit? Why?

• How c we make it better? You can say it out loud or email me.
• Ask if any will miss ½ summer.  If they don’t like it, not forced to stay. How much will they miss?

1. How many like to write poems?  Read poems? How many prefer story-writing to poetry?  How many vice-versa?  How many equal?

• Keep what you’ve written, and keep in mind that we want a collection by the end of the summer. I’ll expect you to email in something after the fifth week for copying for the sixth week.

• about homework. Don’t have to do it, but if they do, will get benefit of my editing. They can do the week’s assignment or keep going with something they started in the workshop. Don’t submit something you wrote for school, and no AI. I’ll get it back to you but maybe not instantly. Email to me as Word or Google doc. If it’s a google doc, give me permission to edit. Due by Wednesday at noon.
• email me if you want to set up a time for an individual meeting.

• can drink something, but no food. No lying in bed, unless you’re sick.

• How vocab works. Do not look up! Type in chat meaning and part of speech. What does part of speech mean? lycanthropy

PRONUNCIATION:

(ly-KAN-thruh-pee)

MEANING:

noun:
1. A delusion that one has transformed into a wolf.
2. The process of or ability to transform into a wolf.

ETYMOLOGY:

From Greek lykos (wolf) + -anthropy (human). Earliest documented use: 1584.

•  

Prompts. Discuss

Homework. Discuss. Remind them when it’s due.

These will help you delight your readers.

• In prose—including fiction, reports, essays, papers, newspaper articles—clarity is more important than anything else. Readers won’t enjoy our exciting plots and fascinating characters if they don’t understand what we’re saying.

• The most powerful parts of speech in English are nouns (people, places, and things) and verbs (action words). We sometimes need adjectives (modifying nouns) and adverbs (modifying verbs and adjectives), but they’re weaker. If you start to put one in, read your sentence with it and without it to see which way is better.

• Look for word repetition and substitute synonyms if you notice that you’re using a particular word too much.

• Vary our paragraph beginnings. We don’t want to start more than two paragraphs in a row with the same word.

• Vary our sentence structures. We don’t want to repeat two parts of a sentence connected by and or but over and over or to have all our sentences be very short. We want to mix it up. For but, we can use though, although, or however; for and we can use what’s more or plus or also.

• Long paragraph blocks make readers tired and worried that they’re not up to the job of reading through them. We can break our long paragraphs up wherever there’s an opportunity—a change in focus, in character, in what’s happening. Bits of white space on the page are relaxing to the eyes.

You can use these as starter sentences or as the idea for your story:

• When it rains toothpicks, you-know-who is coming.

• Ms. Chenchy said, “Copy down the homework,” and began to write on the blackboard in letters that weren’t familiar to Pat and didn’t even seem to be letters. Everyone else was writing as if nothing was wrong.

• When I finished washing my face, I looked up and saw an unfamiliar face in the mirror—on top of my neck, above my tee-shirt.

• The leader of the world’s smallest nation loved snakes.

• A raven landed on my head, and the people of the realm declared me their ruler.

Write toward one of these endings. You may not get there, but head your story in its direction:

• They parted friends.

• The stain never came out.

• That was the moral: finders really are keepers.

• The dog stopped barking.

• The castle was closed for repairs.

• Your main character is the friend everyone goes to when they’re unhappy. Your main character is keeping more secrets than they have fingers and toes combined. But two secrets don’t add up. Someone is lying, and someone is going to get hurt. Have them delve into the thoughts and feelings of her friends to find out what’s really going on.

• Take a minor bad characteristic, maybe something that drives you crazy when someone does it. For example, could be tickling people whether they want to be tickled or not. Make it bigger and write a scene or a whole story about someone who learns to stop or who becomes a villain and does it even more.

• Your main character, who’s been captured by the enemy, is held in a stone fortress. (You decide what the war is about.) They have a candle and a lady’s fan, determination, resourcefulness, and a bad habit of becoming distracted and losing focus. Have them escape or fail to escape.

• Write “Little Red Riding Hood” from the point of view of the wolf. Make him the hero. Grandma or Little Red is the villain. 

• Your main character is the friend everyone goes to when they’re unhappy. Your main character is keeping more secrets than they have fingers and toes combined. But two secrets don’t add up. Someone is lying, and someone is going to get hurt. Have them delve into the thoughts and feelings of her friends to find out what’s really going on.

• Take a minor bad characteristic, maybe something that drives you crazy when someone does it. For example, could be tickling people whether they want to be tickled or not. Make it bigger and write a scene or a whole story about someone who learns to stop or who becomes a villain and does it even more.

• Your main character, who’s been captured by the enemy, is held in a stone fortress. (You decide what the war is about.) They have a candle and a lady’s fan, determination, resourcefulness, and a bad habit of becoming distracted and losing focus. Have them escape or fail to escape.

• Write “Little Red Riding Hood” from the point of view of the wolf. Make him the hero. Grandma or Little Red is the villain.