119 Best Creative Writing Exercises for Authors in 2025

A stranger walks into the general store and buys a hammer, a hatchet, some rope, and an apple. What does he do with them?

Write a presidential speech about why your country needs more ice cream.

_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.

If you're working on a novel or short story, write a pivotal scene from an outside observer's perspective who has no role in the story.

Keep asking your characters why. Here's an example:

• Why are you grumpy? I have a hangover.
• Why do you have a hangover? My friend was in a bad accident and I thought he might die?
• Why did you think he might die? His girlfriend lied to me about how serious the accident was.
• Why did she lie about that? She's jealous of our relationship.
• Why? I think she's insecure and has trust issues.

Do you see how much that question will dig into a character?

Have you read a book you couldn't put down? A good writer knows how to keep the reader's attention - and the secret of that is pacing. Take a page-turner and analyse how it kept you gripped. Usually it's because each scene introduced something new, which might be a major revelation or a tiny shift in the way the reader perceives a character. Run through the entire book and write down the purpose of every major scene and turning point.

We've all read about the grey autumn day, the crisp spring morning, the dewey summer evening. Flex your descriptive muscles by spending some time writing about your surroundings. Look for new, interesting, evocative ways to explain the world around you. For instance, instead of writing, "a breeze blew in through the open window, try, "papers fluttered in the gust that swept in through the window, throwing dust into the air like confetti."

This exercise is particularly helpful for those who write for children and youth. Study an old photo of yourself or your family from your childhood. It's probably easy to remember the who, the where, the what. But for this exercise we want to go deeper.Close your eyes and remember the details of the event. Then remember how you felt at the event in that photo. How did you feel when anticipating the event? How did you feel if it was a surprise? How did you feel if it didn't turn out as you anticipate? How did others at the event treat you? How did you react/respond to them?Now, translate those FEELINGS into an event, place, child that would take place today.

Memorable characters are ones that mirror real people: their feelings, experiences, needs, and goals. Challenge yourself to get real with your character by first getting real with yourself. Grab a notebook and answer the following questions as they pertain to you:

• What emotion do you struggle with because you feel it so deeply?
• What type of situation makes you feel vulnerable or inadequate?
• What past mistake causes you the most regret?
• What core moral belief is so ingrained that you live it every day?

These questions require a deep look within and put us in touch with our authentic selves. This is what readers come to the page for, so answer these again, this time as your protagonist. When you finish, think about how you can incorporate some of these vulnerable moments into your story to show readers the deeper side of your character.

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.