119 Best Creative Writing Exercises for Authors in 2025

_Voice separates MEH stories from the ones that grab attention. _Voice is the unique way _a writer combines words and strings together sentences. It is _a story's personality, its manner of expression. _A compelling voice is the difference between "Oh, shucks!" and "Oh, slippery slush!" (Little Red Gliding Hood)_. Between "Charmaine's showing off" and "Charmaine's strutting hard enough to shame a rooster" (The Quickest Kid in Clarksville). And between "Pancake _escaped_" and "Pancake rappelled down a rope of linguini" (Lady Pancake and Sir French Toast)_. _Examine your story for common language - for example, circle blah verbs and insert something more unique.

When you meet new people, how do you react? Tell a story to illustrate this.

Nothing can create conflict for your characters like good old-fashioned fear. Take time now to define your protagonist's biggest fear. Is it something physical (e.g. tight spaces or flying in an airplane) or internal (e.g. fear of failure, commitment, or rejection)? Write a scene in which your protagonist must face this fear.

How do you start a story - or get a story back on track? If you're feeling lost or blocked, try templating to get your plot on course.Here's what to do: bullet point your initiating incident, your rising action, your crisis, and your resolution for both your main plot and subplots. Make a table to see events running parallel, remembering subplots exist to enhance, complicate _ ultimately, compliment _ your main action. Listing like this highlights any irrelevancies, keeping your tale on track, and makes all you write intertwined and significant to your protagonist's journey. Plan out using this framework as your reference.

Are you finding it difficult to get to know your fictional characters and/or differentiate them from yourself? Try this: Choose a character from your project and let her/him take a walk into a place you know well. Then describe this place from this character's perspective and ask yourself:

1. What does (or doesn't) s/he notice?
2. How does s/he feel about what she notices?What thoughts do the things s/he notices trigger in her/him? This can be memories, social critique, enjoyment or disgust etc.
3. How do your character's impressions of, and responses to, the place differ from yours?

Your protagonist has just made it into a New York Times headline. What does the headline say? Write down the reaction of your protagonist to hearing the news that day.

Moments of crises force characters to act without thinking, revealing things that might not have been previously obvious. Now imagine that there has been a blazing fire in your protagonist's house. What are the three things that your protagonist would unthinkingly grab as he or she breaks for the door? In 500-1,000 words, put this scene and its aftermath down on paper.

Part of writing great dialogue is ensuring each character has a unique voice. Pretend three of your characters have won the lottery. How does each character reveal the big news to their closest friend? Write out their dialogue with unique word choice, tone, and body language in mind.

Who are the three most unlikely people your protagonist would have dinner with? Why? Write the scene.

If you have 5 minutes, prep for your outlining by making a list of lists. This could include:

• 5 possible endings for your book
• 5 twists
• 5 possible subplots
• 5 ways the subplots could tie into the main plot
• 5 ways the character could grow
• 5 surprising things that we could learn about a character
• 5 ways to add some unexpected elements to the book (humor, suspense, sadness, fear)
• 5 ways to describe the main setting/another setting