The Healing Journey of Journaling: Madness, Rapture and Angst

By Julia Rosien

Women in conflict with the law have taught me more about my own journals than any book or motivational speaker ever will. I teach journal writing at a federal prison for women. They write to heal. And their writing reflects a path filled with heartache, shame, courage, and for some, hope.

We gathered for the first time on a snowy afternoon in November. The wind pushed against the institutional windows as I wrapped my hands around my steaming coffee. I had just handed each woman a journal. Some leafed through the pages to read the quotes, while others nervously twirled a pen or munched on a bag of chips.

I pointed to a prompt I had written on the board and asked each woman to write it on the first page of their journal.

I am hopeful.
Like the Phoenix rising from the ashes,
knowing that from those remains comes
A new beginning.

Then I asked them to write a poem using that as a model. They could use a list of things to describe themselves and every sixth line had to begin with I am. I sat back as they began to write. When we shared what we’d written, their descriptions of themselves surprised and delighted me. These women were bruised, but not broken.

Here are some of their words:

I am summer,
still as a steamy afternoon,
alive with promise,
the sky is mellow, like an vanilla cookie,
comforting, like my grandmother’s hug, my daughter’s warm hand.

I am a diamond,
a complicated pattern of emotions,
joy, grief, anger and love,
compressed into a perfect, admired jewel,
sparkling and priceless.

I am navigating solo through my life,
the space between sinner and saved,
so much like my other
of a lifetime ago.
similar on the surface, changed inside,
learning the ropes, getting burned, but holding on…

I am hopeful.

Permission to Enter, Please

Each woman stood at a doorway. Some walked through, eager to begin their journey of self-discovery. Others hovered, waiting for guidance. One woman locked her emotional door and left the class. She thought the demons behind that door were just too huge and too powerful to conquer.

My doors differ from a fellow teacher’s doors and from our students’ doors, but they exist. Some people swear they don’t harbor “emotional baggage”; they bury it in a place no one can touch. Instead of the ground though, they’ve buried it behind that door. Each time something terrible happens it gets shoved “in there.” And another padlock is added to that door, until its weight bears the soul down.

I began journaling again during a severe depression. I retreated to my journals to heal, to find a way to live my life with happiness and purpose. Writing created a bridge between my past and the future, between my fear and courage. I soon realized I possessed everything all writers have—paper, pen, language, my mind. I required no special talent, skills or experience—only a willingness to explore my despair and my ecstasy.

Looking back through the journals I’ve kept throughout my life, I wonder about that girl who wrote of her life in melodramatic prose. Her first journal entry is at twelve years old and her letters sit like fat little balls of dough on the lines. At sixteen her free-spirited strokes glide across the page like sails on a boat. Sometimes though, her writing resembles a soul searching desperately for a body as her words trail down the sides and across the bottom. It’s as if she’s afraid she’ll run out of time and forget what it was that was so important. Nothing is written in passive tones; it’s all emotion and angst and tears.

Journal writing is not second nature though, and there have been times in my life that I’ve reduced it to a luxury, something I only do when I have time. But I’ve learned self-care is anything but luxury. Self-nurturing provides the foundation for a fulfilling life. Journaling can be a vital component of that journey.

Moving Beyond

Each of us has unique stories to tell, yet we shy away. When we write to express our feelings, we often censor our true thoughts. When the raw truth puckers our taste buds, we deny the specifics rather than confronting them head-on. Perhaps telling it like it is, rather than how we wish it to be, is not so easy. Editing our words, or sugar-coating the truth, makes swallowing easier.

journal writing isn’t about writing a masterpiece with grammatically correct sentences and stunning phrases. It’s about telling the truth, your truth.

Perhaps you’ve thought of writing, but the time didn’t feel right. Or maybe you thought you didn’t have anything to say, or felt that you couldn’t put pen to paper (or fingers to a keyboard). But journal writing isn’t about writing a masterpiece with grammatically correct sentences and stunning phrases. It’s about telling the truth, your truth. Your words, the color of ink, the slant of your handwriting, and the doodling (or lack of it) makes these stories uniquely your own. There are no deadlines, grades or judgments. Only you determine the start and finish.

Your stories, like fingerprints, memories, emotions and way of processing information make you unique. Dressed up truth is like donning gardening gloves when you’d really rather just stick your hands in the cool, dark earth.

If you can’t delve into the garden with both hands, try using a shovel first, working on the border. Instead of stepping into the middle with a shovel, sit on the edge and examine each event in your life as you would examine a weed or a flower. Write about what you saw one day, what you felt the next. Take baby steps. Remind yourself that expressing your story without censorship is necessary and beneficial.

When you’re ready, take off your gloves. Give yourself permission to bleed and then heal.

We are not who we present to the world, but a complicated tapestry of emotions, experiences and beauty that can’t be realized with a cursory glance. Like the underside of a tapestry, our journals reveal the loose threads of life, the knots and lumps. Looking below helps us understand, even years later. Maybe our journals are more of a guide than anything else. They help us navigate our lives, and maybe they’ll help others understand us after death.

They’ll be our defense and our alibi. They’ll be our secrets, our lies and our truths.

Write it by yourself, for yourself.
Write for your loved ones, your children, your parents, and your significant other.
Write for someone not born yet.

Here are a few suggestions for rediscovering you within your journal:

1. Make Sense of Pain

Write down your traumatic experience using your five senses and your feelings. Keep writing until it becomes less painful and loses its power to hurt you. If you have a chronic or life-threatening illness, for example, a journal can be the perfect place for you to discover your inner strength.

2. Take Control of Your Life

Instead of worrying, turn to your journal. Draw a line down the center of the page. On the left side list what worries you and on the right side list what steps will help you resolve the issue.

3. Stay Focused and Motivated

Whether you are trying to reach a weight loss goal, a financial dream, a spiritual plateau, or an educational aspiration, use your journal to log your progress.

4. Use Your Journal to Practice Positive Thinking

Taking time to list at least one thing you give thanks for. Finding and focusing on at least one positive thing in your life makes it hard to paint your whole world black.

5. Make Scribbling in Your Journal A Happy Habit

Pick a comfortable spot with minimal distractions and try to write for at least 15–20 minutes a day, depending on the subject. A log-type journal requires daily entries while major life issues are best dealt with if you write for a few days in a row.

Julia Rosien wields her pen for newspapers, international magazines and various on-line venues. She teaches creative writing at a women’s penitentiary, and at community college. Words she tries to live by: “Happiness is a way of life, not a destination.” You can find Julia Rosien at her website

Writers’ Resolutions for the Newly-Published—and the Yet-To-Be Published Alike

By Karyn Langhorne 

It’s that time of year again: the time of reassessment and reevaluation, renewal and revision.  In short, it’s time to resolve.

Since we’re all writers here, it seems appropriate to use this space to make some writing resolutions for 2005, resolutions that are true for me—and might also resonate for you as well. I’m writing them down here to solidify them for myself . . . and in the hope that the public confessional aspect will help me to stick to them better in the year ahead.

So here they are, my Top Three Writing Resolutions for 2005. Feel free to adopt as many as apply to you—and Happy New Year!

1. Let ’Em Live!

If you’re like me, you probably have a least a couple good ideas every day—and maybe more. Sadly, though, most of my good ideas die quick, brutal deaths. They should be killed off by editors, agents or publishers. But those folks never even see them, never even hear about them.

Why?

Because I kill my good ideas first . . . before anyone else can.

It may be only me, but I think writers get so used to rejection that we exercise a kind of “preemptory rejection process” or PRP.  PRP means that, in the speed of thought, we talk ourselves out of viable plans, possible story ideas, and future revenue streams. In short, we save ourselves the trouble of writing out proposals, and the pain of rejection by “getting ourselves . . . before THEY can.”

When I write about it in a column like this, it’s obvious to me how damaging and dangerous PRP is.  Sure, there are times when an idea is really half-baked and needs to stay in the oven a little longer . . . and there are ideas that we probably should toss out with the trash before they stink up the whole room. But there are many more ideas that need to have their moment in the sun– or least to be offered to the world– that never get their chance because PRP reinforces our laziness and appeals to our desire to protect our tender feelings from the possibility of further rejection.

And that’s the problem. PRP thrives in a mindset that assumes rejection. But maybe, just maybe there’s an acceptance or two or twelve out there with my name on it— with your name on it.  With PRP as my default expectation, I may never know how many acceptances are possible for me, and if it’s your default expectation, you’ll never know how many acceptances belong to you, either.

The truth of the positive possibilities of presenting ideas more aggressively was confirmed by my talented editor, Selina McLemore, who, when I informed her of the deluge of ideas coming her way, responded enthusiastically.

“I think it’s great to pitch as many ideas as you can,” she said. “When editors talk to new writers BEFORE they sign them, they’ll ask questions like ‘Do you have other projects you are working on? Are you developing any other story ideas?’ You want to have as long a list as possible. Lots of ideas shows an editor you’re always thinking . . . and that’s a good thing.”

So, my first resolution for 2005 is to change my selector from “assumed rejection” to “I-don’t-know-what’s-going-to-happen-but-I’m-willing-to-give-it-a-shot.” I’m not quite willing to assume that what I submit will be accepted . . . but I’m willing to give up PRP and see what happens.

What about you? Are you squelching your ideas before they’ve had a chance to grow? Maybe you should consider resolving to replace your PRP with something a little more optimistic in 2005!

2. Review the contents of the “The Drawer” for marketable ideas and get them out there.

You know “the drawer.”  The place where dead ideas go.  The home of stories with great beginnings that never grew middles or endings.  The holy repository of finished projects that were rejected all over town, and for unfinished projects with no clear future. Every writer has a “drawer,” a file folder,  or a floppy disc (or several of them) of projects that never quite made it out into the world.

The drawer is suspended animation.

Too often, however, writers consider the drawer not as project hibernation, but as the project graveyard. Once surrendered the drawer, the project is never revived again– except in reminiscent conversations, “Yeah, I started a story about that once, but it’s gone to the drawer now.”

Opening the drawer is like revisiting the skeletons in your closet– sometimes it’s a reminder of weaknesses, a chance to confront failures. Shifting your view of the drawer from death to life means being willing to confront your failures and to see them as stepping stones to a better, stronger and more vibrant future project.

In 2005, I’ve resolved to go deep into the drawer– and to look hard at its contents. I’m going to stop looking at the drawer as “defeat” and start seeing it as a “resting place” for those projects that I either didn’t have the ability, maturity or life experience to finish back then… but that might just have a shot now that I’m older and wiser.

Or not.

The point is, I’ll never know if I’m not willing to re-read, re-open, and reconsider.

Again my editor, Selina McLemore, agrees: “If you have one idea I like, I’m going to ask you about your other ones.  Even if those ‘dead ideas’ aren’t your absolute best, it’s great to be able to present as many ideas as possible. You might say something to an editor like, ‘Well I’m always thinking, and while I’m not in love with everything, some of my ideas have been x, y, z…’ And as I said before, having lots of ideas shows me you’re thinking all the time. That’s what editors want to see from writers: new ideas, all the time.”

How about you? What’s in your drawer? Maybe 2005 is the year to revisit a project from the past– and make it your magnum opus for the future!

3. Network with other writers.

Friends are good things—not just because it’s good to have folks around you who have similar interests, but because you never know whom you can help– or who can help you! Already in my long and checkered path to becoming published, I’ve met people who have turned out to be great supporters, friends and resources (some through this column, thank you!) who have helped me in innumerable ways.  They’ve taught me that the more willing I am to share, reach out, network, and assist others, the more good things come back to me in ways both anticipated and unanticipated.

I’ve been hesitant to share in the past; partly because I’ve doubted that my experiences would have meaning or value to others. And it’s true, not everything I do or say has worth to everyone. But that doesn’t mean my words are worthless to everyone either.  Sometimes, one little comment goes a long a way to one person, and that alone is enough to make the communication worthwhile.

Are you holding back because you think your contributions won’t please the masses?  Maybe it’s time to stop thinking about “the masses,” and start thinking about the impact you might have on just one person, if you’re willing to put yourself and your work out there!

In 2005, let’s all resolve to help each other—as fellow writers and as human beings—and see what a difference it can make!

Happy New Year—and happy writing!

Karyn Langhorne is a “recovering” lawyer and a long time writer, who recently signed a two-book deal with Harper Collins. Her first novel, A Personal Matter, will be released in September, 2004. She has also written several screenplays and a play, Primary Loyalties, which was produced off-Broadway and was optioned by NBC-TV in 2000. Karyn Langhorne has a Website.

Review: Ask the Pros: Screenwriting 101 Questions Answered by Industry Professionals

Ask the Pros: Screenwriting
101 Questions Answered by Industry Professionals

Edited by Howard Meibach and Paul Duran
Lone Eagle Publishing Company
2004
205 pp.
Amazon.com price: $12.57

Review by Patrick Beltran 

Ask the Pros: Screenwriting is not your typical screenwriting book. Edited by Howard Meibach (of Hollywoodlitsales.com fame) and writer-director Paul Duran, this book does not attempt to teach you how to write a screenplay – at all. The book is exactly what the subtitle says it is: 101 Questions Answered by Industry Professionals.

Now, I have to admit that when I first sat down to read it, I did not think I was going to like this book or find much value in its approach to screenwriting “education.” A big fat frequently-asked questions (FAQ) list, in book form, for screenwriters? Containing such hoary gems as, “what makes a screenplay great?” (that was the first question of the first chapter). As a well-read wannabe, I prepared for the worst; I expected to find all the same questions and answers that I’d already read and heard in various forums, and in a thousand different ways, from every screenwriting seminar, how-to book, and advice columnist on the web.

So you can imagine my surprise when I started liking the book – and my total shock when I realized that I was actually learning from it.

Based on the “Ask a Hollywood Pro” forum from hollywoodlitsales.com, the premise of the book is deceptively prosaic: Gather a long and impressive list of working Hollywood professionals – writers, directors, producers, agents, studio executives, etc. – and get them to answer, in detail, the most common questions that screenwriters always ask about writing, selling, making movies, and breaking into the business. Arrange the answers according to question topic and the profession of the answerers, pepper the pages with sidebars to give extra details and relevant definitions, and voilà, you have Ask the Pros: Screenwriting.

But the real value, I discovered, comes not from the individual answers but from the collection itself – from seeing how each answer compares, side-by-side, with answers by similar professionals responding to the same questions. Look, we’ve all heard stories about the capricious nature of Hollywood, about the Politburo-like mindless conformity that supposedly permeates the corridors of power and leads executives to march in lock-step, regularly rejecting mega-blockbuster scripts like, say, My Big Fat Greek Wedding (“You’ve got to be kidding, right? There’s just no Greek demographic.”). Intellectually, we know that’s not the whole story – we know that good scripts rise or fall for a lot of reasons, and that somewhere on the other side of that monolithic Wall there are individual human beings with differing tastes, opinions and abilities.

Well, Ask the Pros: Screenwriting puts that diversity of opinion in stark black and white, right on the page for all to see. Sometimes the effect is comical: for example, one of the questions the producer-experts answered was, “How much does [script] coverage affect your [development] decisions?” One producer said, “coverage is very important”; a second one’s answer started off, “coverage is a waste of time”; and a third one said, in essence, “It depends.” Other contrasts weren’t so dramatic, but everywhere I looked, I detected subtle shades of difference in approach, attitude, and expectation. I suddenly realized – hey, these guys are professionals, and even they don’t agree on the best recipe for wannabe success.

This was the first, best lesson I learned from reading this book: When it comes to an artistic, creative endeavor such as making movies or writing screenplays, there is always more than one right answer.

The second best thing about Ask the Pros is its sidebar blurbs. I especially like the “Buzz Word” definitions, which explain various “Hollywood-speak” words in ordinary English. These are terms that most of us in “flyover country” (everything between NY and L.A.) don’t use in day-to-day life, but that regularly appear in industry magazines such as Variety. For instance, did you know that “tyro” means first timer? (As in: “Tyro scribe Jim Jones just sold his spec script ‘Drinking Kool-Aid’ to DreamWorks for an undisclosed six-figure sum”). Or that Praisery is another word for public relations firm? And if you ever see a film directed by Alan Smithee, you’ll know (after reading Ask the Pros) that this is a Director’s Guild-allowed pseudonym, and it is probably being used because the real director didn’t want his or her name associated with what he considered to be a train-wreck of a picture.

Ask the Pros also includes a CD-ROM with a demo copy of the latest version of Final Draft script formatting software. If you’re serious about your wannabe status, and if you want to have any real hope of ever tasting success on the other side of that Wall, then you absolutely must invest the money to buy a scriptwriting software package. I don’t care, save your dimes for a year if you need to, cause this type of software gives you 50 spoons’ worth of traction when you’re digging for that next killer script. Final Draft is one of two packages recognized and used throughout the industry (the other one is Movie Magic Screenwriter). The demo CD enclosed with this book has a full-featured copy of Final Draft that you can take for a time-limited test drive. If you like it, you can activate the full copy simply by purchasing and entering a valid serial number.

Bottom line — Ask the Pros: Screenwriting is useful for getting inside the heads of the many Hollywood professionals interviewed. Although the book won’t help you with the mechanics of writing a script, it will give you a clearer picture of how the whole Hollywood success thing works (or doesn’t). It also helps prepare you for what you’ll encounter once you type “The End” and want to scope out which section of the Wall you’ll slam yourself into first. It’s a first-rate spoon, this one: I give it an A. Now go, young wannabe tyros — dig and be happy.

Patrick Beltran is a screenwriter, independent producer, and freelance writer who works as an IT professional during the day to pay the bills. He lives in Virginia with his wife and three daughters

Beating the Block: 10 Sure-Fire Ways to Cure Writer’s Block

By Magdalena Ball

You’ve got writer’s block?  So did I, for more than five years. I had plenty of grand ideas about what I wanted to write —the literary masterpieces which would stun the critics, the lofty poetry.  With idols and role models like Joyce, Woolf, Yeats and Faulker, it isn’t surprising that my meager efforts seemed hopelessly trite and mundane.  We live in a world of instant gratification, but quality takes time, hard work and many drafts.  No one simply brings forth genius in automatic and effortless writing.

The cure for my block was a simple one, and perhaps obvious too, but it took me a lot of lost writing time to work it out. Germination? The gaining of maturity and perspective?  Nonsense — just lost time.  The one and only way to beat writer’s block is to write.  It doesn’t much matter what it is.  Writing a full length novel is perhaps the hardest, most structurally and emotionally challenging type of writing you can do, so if you are having trouble starting, try something quicker and easier to get your work moving, and don’t worry if it isn’t an epic full of depth and pith.  That will come, but only with lots of rework.  In the meantime, here are a few ideas to get you through the block:

  1. Read the newspaper and pick a real life story that captures your imagination. Turn it into a fictional one.
  2. Keep a dream journal. The very process of translating those vague bits of imagery that make up a dream is the stuff of fiction writing.  Pick any dream theme that interests you and turn it into a full blown story.
  3. Pick a period of your life — any period. The year when you stopped believing in fairies, Santa Claus or the Easter Bunny, your first love (and breakup), the loss of a pet, childbirth — anything powerful, and write it out.  Have fun and change the ending to suit your story better — improve the characters, make that boyfriend suffer as you leave him instead of the other way around.  This is not only cathartic, it can make for very good writing as you recall those deep sensory impressions — the ring of truth will increase your impact.
  4. Pick an era or historical subject that interests you and research it like mad. Then write up a biography, historical paper or fictionalized story based on the original.  Some of the best examples of fictionalized stories based on real characters include Atwood’s Alias Grace or Carey’s True History of the Kelly Gang.  There are plenty of untapped famous characters whose lives make for excellent material.
  5. Write a pastiche of your favorite author. Try stream of consciousness, a sonnet, a short drama — anything you fancy.  Use it as a springboard for whatever theme you want to explore.  Try varying the form — do a sonnet and then turn it into flash fiction.
  6. Change tack. If you’re blocked on your normal style of fiction, try writing in a different genre.  Give horror, romance, science fiction, flash fiction, a children’s story (if you have children, try targeting their age group — you will have a good understanding of what will and won’t work) or fantasy a try. While this type of writing may not be your cup of tea, it can be quite liberating to write to a formula and you may produce something quite unusual by working across your normal genre.
  7. Try nonfiction. Write a book review, a piece on your last holiday, advice for saving money, for raising a child, for throwing a birthday party, gardening, make up a recipe — anything!  There are plenty of markets for this kind of work and it can be rejuvenating to produce a finished piece.
  8. Join a writing group. This is not for everyone, but if you are a socially inclined person, the pressure of having to produce something combined with the stimulation of being able to obtain criticism and support immediately could be just the sort of thing you need.  There is probably a local group in your area which would involve meeting up in a specific location with other like minded writers, and many of these are supported by a wider network.  The camaraderie, assignments, local submission information and support is worth the trouble to get to one of these groups.  You could also join or set up an online group.
  9. Take an on-line course. This doesn’t have to cost a lot of money.
  10. Buy a book filled with inspiration.There are many on the market.  One of my favorites is Judy Reeves’ A Writer’s Book of Days, which gives you a mini-assignment for every day of the year and Natalie Goldberg’s Writing Down the Bones.  Any writing book will provide inspiration, though.  Another favorite, which is a ‘must have’ for any writer is your local Writer’s Marketplace.  This has different names in different countries, but it is an invaluable list of markets, and very thorough.  Just reading the book will inspire you to produce material for submission.  Just read through its pages and stick a Post-it note on any of the markets you are interested in.  Then write for them!  One acceptance will generally pay for the cost of the book, so it is a very worthwhile investment.  In the US you can try the  Writers Market published by Writer’s Digest Books.  For other countries, just do a search at your favorite search engine on “Writer’s Market” + the country you live in and you should get a decent list of publications. The most current edition is also usually available at your local library if you want to just browse and say, choose a market a month to target.
  11. The secret is that writing begets writing. Your first efforts may well be trite, but the more you write the better you will get and the easier the words will flow.  Don’t ever use “lack of time” or “lack of inspiration” as an excuse. Inspiration comes out of the writing process — not before it, and time is an illusion. No one ever has time. Make time. You don’t need much as long as you are consistent and regular. Commit to writing something, anything, every day. If you wrote a page a day, you’d have a fat novel by the end of a year, a full length short story every month, or 2 articles a week. Few authors produce more than this. Even a half hour a day is worth committing to. Don’t make the mistake I did.  Write through the insecurity, the uncertainty and self-doubt and your block will most certainly disappear. Don’t expect immediate perfection, either. Ulysses took James Joyce 10 years to write. If you visit the archives containing his handwritten drafts, you’ll see that the first jottings were nothing like the finished product.  The main thing is to keep writing. Your own masterpiece is just around the corner.

Magdalena Ball is Editor of The Compulsive Reader and is the author of The Literary Lunch: Recipes for a Hungry Mind, and The Art of Assessment: How to Review Anything.  Her fiction, poetry, reviews, interviews, and essays have appeared in a wide range of on-line and print publications. Magdalena Ball also has a website, and blogs.

The Value of Writing Prompts

By Uma Girish

I often feel like a motor car, for I have starting trouble.
Pen poised over paper, I wait for the words to trickle.
Rarely do they gush from the word “go.”

When my brain does the freeze-mode act, I flick the computer on and run through my “Favorites” list. I look for a writing prompt that will thaw my machinery. I pick one that catches my fancy, then set my timer and start to scribble.

I don’t know about you, but I’m a big believer in the value of writing prompts to rev up my writing session. A writing prompt lubricates my creaking creative joints and limbers them up nicely so they can do cross stretches when I need fresh, inspiring ideas. Believe me, it works.

What I do is very simple. I give myself a program to follow.

  1. For the next fifteen minutes I will write non-stop.
  2. I will correct nothing; I will simply let my thoughts flow, whether they’re good, bad, or ugly.
  3. I will not think about grammar, punctuation, and syntax; I will let the words pour out of me.
  4. I will start my writing session with a positive reinforcement — I know I can do this really well.

When the timer goes off, I zoom back to the real world, and find I want to write more. When I read what I’ve written, I cringe, groan, shudder. A lot of it needs re-working, but I invariably spot a gem or two in the huge word rubble. Gems that I can polish and buff for later use.

I’ve actually sold a lot of work that started out as ordinary writing prompts and morphed into personal essays and short stories. What happens when I consciously turn off the Inner Critic is that my writing is unshackled, my ideas flow freely. I find a glimmer of something, the beginnings of an idea, a phrase I didn’t think I could produce. All valuable grist for the writing mill.

Many of us have trouble deciding how to start, and what to write when we arrive at our desks. I have at least 4–5 jobs on my To-Do list but I sometimes cannot figure out if I’m in the mood for a personal essay, a work of fiction, or an article that needs to tap into my reporting skills. So I choose my prompt of the day. Write about jealousy. Sounds simple enough. I’ve been jealous a million times, over issues big and small, and I can surely unearth one anecdote worth telling. I follow my instinct and slowly feel the sluice gates open wider and wider.

There was a time when my writing day got off to a predictable start with a prompt. With my top-heavy To-Do list I find myself diving into my assignments right away these days. But I always turn to a prompt to rescue me from dry days and find that it unclogs word passages and frees up idea highways.

Sites that Offer Writing Prompts

Uma Girish is a freelance writer based in Chennai (India), and mother of an 8-year-old. She writes both adult and children’s fiction. Her articles on parenting, freewheeling columns and short fiction have appeared in newspapers, magazines and websites. She has written extensively about coping with grief. You can find her Web site at UmaGirish.com