Sample Fiction
Exercises from The 4 A.M. Breakthrough
These are some exercises from The 4 A.M. Breakthrough
(a follow-up to my book The 3 A.M. Epiphany),
which was published in January 2009, by Writer’s Digest Books. Let me
know what you think (bkiteley@du.edu). And here’s an interview I did with Ben Pfeiffer, in part
about The 4 A.M. Breakthrough. Take a look, too, at The 4 A.M. Breakthrough’s Introduction.
1. The Coma. Write from the point of view of
a person in a coma. This is a permanent condition; the patient will not come
out of the coma but still understands the outer world. The catch: voices of
loved ones are familiar, even intimately familiar, but the comatose person
cannot attach names to the voices. The coma patient has lost this capacity. 500 words.
2. Money. In one short scene show us a
character who has relatively little money—say
$503 in his or her checking account and a $3,006 credit card debt. In the next
scene, show us this same character suddenly very wealthy. Don’t worry too
much about how the character got this money—inheritance, a lottery
winning, an unexpected windfall. What is the difference between these two
states of being? How has the character changed? 700 words.
3. Falling out of the sky. Write a very brief story about
someone who has jumped from the burning top of one of the two towers of the
4. Dying Young. Write a fragment of a story about
a character who is relatively young (under 40), who will die in a few years,
but has no inkling of this. You, as author, do, though, and
let that knowledge affect this brief 500-word story however it will affect the
story.
5. Concordance. I’m not sure why, but
Amazon has a feature for books called a Concordance. A concordance is the
alphabetical index of the principal words in a book (or the works of an
author). I noticed this on the page for my own book, I Know Many Songs, But I Cannot Sing. The
concordance lists the 100 most common words in my book:
across again against American another Arabic arm asks away
balcony building Cairo call chair Charles city come daughter day does door down
Egypt Egyptian English European even eyes face feels few first friend Gamal
girl go going good hand head himself home hour Ib know language last laughs Ib
Lena lights long look man men moment name next night now old own people
prisoner read right room Ruqayyah Safeyya
say saying see sits small something speak stands still story street table take
talk tell thing think three time told turns two walks want wife without woman
word years Yehya
This is an interesting distillation of a book. Here is the
concordance for James Joyce’s Ulysses:
again always arms asked away behind bit black Bloom call
came come course day Dedalus door down ever eyes face
father fellow first get girl give go god going good got hand hat head heart
high himself house Joe John know last left let life little long look lord love
man men might mother Mr Mulligan must name new night now old own place poor put
right round saw say see sir something Stephen still street take tell thing
think though thought three time told took two voice want water went white wife
without woman words world years yes young
Pick a book you like and know well that has one of these
concordances on the Amazon site. Write a 500-word exercise using only these
words as your vocabulary. Let the words guide you toward the subject of this
fragment of fiction—see if you can find, independent of the novel you
know, the sort of content and mood or tone this piece of narrative should have.
6. Happy. Here are Gretchen Rubin’s twelve commandments for her Happiness Project:
1. Be
Gretchen.
2. Let it go.
3. Act as I would feel.
4. Do it now.
5. Be polite and be fair.
6. Enjoy the process.
7. Spend out.
8. Identify the problem.
9. Lighten up.
10. Do what ought to be done.
11. No calculation.
12. There is only love.
This
is from Gretchen Rubin’s website (http://www.happiness-project.com/happiness_project/).
Write
a very short story (no more than 700 words long) in which the main character is
happy, following some or all of these rules, but silently, without pronouncing
any of them aloud (and without using the name Gretchen, though it is a lovely
and archaic name).
7. Blind. Write a short scene from a
third-person attached point of view of a character who
has just lost his or her sight. Do not tell us how this person became blind. 400 words.
8. Lost. Write about a town that has
disappeared. It could be a Palestinian village on a hillside in what is now
Israel, forcibly evacuated in 1948 and then “erased” from maps and
view (though there are vegetable remains of the town). It could be a ghost town
in the American west—a silver or gold rush boom town which remains in
substantial form but is empty of people. It could be an African town erased by
the encroaching
9. A Beautiful Woman. Describe a couple of encounters
a beautiful woman has with several strangers within a short space of
time—an hour or two. Don’t tell us that this is a beautiful woman,
the sort of beautiful woman who turns heads, who receives slightly better treatment
than the average human being, who moves through the world constantly aware of
people’s observation of her. Don’t tell us any of this—just
let her move through your story untroubled by her beauty. It will be our little
secret. 600 words.
10. The Apocalypse. Heinrich Heine said, “
11. Your Swann. Write a letter from one of your fictional
characters to another. In this letter, tell a brief history of another (third)
character over many years who plays at least three significantly different
roles over the letter-writer’s lifetime. The person receiving this letter
may know a little bit about your character’s acquaintance, but she
shouldn’t know too much. Because you’ll have so little space to
expand upon this character, it’s okay to use narrative shorthand, as all
letters do. 500 words.
Doubtless
the Swann who was a familiar figure in all the clubs of those days differed
hugely from the Swann created by my great-aunt when, of an evening, in our
little garden at Combray, after the two shy peals had
sounded from the gate, she would inject and vitalize with everything she knew
about the Swann family the obscure and shadowy figure who emerged, with my
grandmother in his wake, from the dark background and who was identified by his
voice. But then, even in the most insignificant details of our daily
life, none of us can be said to constitute a material whole, which is identical
for everyone and need only be turned up like a page in an account-book or the
record of a will; our social personality is a creation of the thoughts of other
people.
—Marcel Proust
Swann
is the first “character” is Proust’s book The Search for Lost Time. He is the
first character outside the narrator’s immediate family who impinges on
his childhood. He appears initially as someone who takes his mother away from
her bedtime ritual with young Marcel. Then, years afterward, he is the father
of Marcel’s first crush. Later, when Marcel is an adult, Swann becomes
his friend.