Review Becoming a Writer by Dorothea Brande

Review by Lynne Mahan

Becoming a Writer
by Dorothea Brande
First printing: Harcourt, Brace & Company, New York, 1934
J.P. Tarcher, Inc., Los Angeles, 1981
175 pages

Some of the amazing things about Dorothea Brande’s Becoming a Writer, a writing how-to book (in addition to the fact that it was written in 1934), are the techniques used by  Brande to loosen up a writer’s creativity. The fact is that, without creativity, a writer cannot write, so all the technical information in the world cannot unlock the muse, thus causing the writer discontent. Brande believes “that basis of [this] discontent was that the difficulties of the average student or amateur writer begin long before he has come to the place where he can benefit by technical instruction in story writing.” She goes on to say that the frustrated writer seems to think there is a magic or trade secret that successful writers have, and she says in a way he is right.

Her target audience includes “those who are fully in earnest, trusting to their good sense and their intelligence to see to it that they learn the elements of sentence and paragraph structure, that they already see that when they have chosen to write they have assumed an obligation toward their reader to write as well as they are able, that they will have taken every opportunity to study the masters of English prose writing and that they have set up an exigent standard for themselves which they work without intermission to attain.”

Motivated to write the book by attending one too many technical classes where the instructors never addressed the magic, Brande breaks the problems down into four categories; the difficulty of writing at all, the one book author, the occasional writer, and the uneven writer.  She suggests that “we must try to cure them where they arise—in the life and attitudes and habits, in the very character itself.” Addressing them one at a time through the lens of character, Brande zeros in on the issues and creates exercises to practice.

First, the two sides of the writer, the child and the adult must be discerned in daily activities. Creativity is the child’s world, spontaneous and imaginative, and the adult is the business manager; first work, then play. Call it left brain and right brain, or child and adult—some part of the writer has to dream up the plan and some part has to execute the plan. Brande gives us hope that they are both embodied in us and can be recognized and utilized at the right time and place to reach our writing goals.

As we learn to know ourselves through Brande’s exercises, we progress to levels of writing discipline very similar to Julia Cameron’s morning pages and writer’s date. Natalie Goldberg’s techniques are similar, as they involve freeing yourself to write anything without the internal editor, stopping us at every word to check for accuracy.

Following the exercises religiously frees our creative side (the child) and honors the adult to provide for the real passion (the writing). Set up a time for writing. Under no circumstances stand yourself up. If you do, she warns, “give up writing. Your resistance is actually greater than your desire to write, and you may as well find some other outlet for your energy early as late.”

Her intention here is not to discourage, but to encourage the writer to set up a time daily to invite the unconscious to come and play. If the child (the unconscious creative mind) knows it is acceptable to come out every day at eight in the morning, come it will, and serve until it is put away when the adult must provide structure so that the child can come another day.

She says simply, “for the root of genius is in the unconscious, not the conscious, mind. It is not by weighing, balancing, trimming, expanding with conscious intention, that an excellent piece of art is born. It takes its shape and has its origin outside the region of the conscious intellect. There is much that the conscious can do, but it cannot provide you with genius, or with the talent that is genius’ second cousin.”

In a way, this simplifies the writing process. Turn it on and turn it off. Although, when you are a writer, you are writing all the time. But there is a time to turn the faucet onto the paper, and that is the delicious part of writing. To see the words you have been nurturing in your unconscious take form before your eyes.

Brande has several other very practical suggestions. She advises exchanging coffee for Maté and enjoying a meditation session before your writing appointment. She also advises to pay attention to the people who encourage your flow of consciousness and those who do not. If watching television stifles your creativity, do less of it (she would advise!). Be aware of what puts you in a creative mindset and what does not. Be disciplined! “If you are unable to finish a piece of work at one sitting, make an engagement with yourself to resume work before you  rise from the table. You will find that this acts like a posthypnotic suggestion in more ways than one. You will get back to the work without delay, and you will pick up the same note with little difficulty, so that your story will not show as many different styles as a patchwork quilt when it is done.”

I liked this book. I loved this book. The fact that it sat on my bookshelf for nine years has nothing to do with the book. Had I picked it up sooner, I would have avoided many pitfalls.  Brande’s 1934-style prose was a little difficult to wade through at times, but soon I found myself sitting down with her for a cup of Mate and discussing my latest writing block . . . this review!

Dorothea Brande was born in Chicago and later attended Mrs. Starretts’ School for Girls and the University of Chicago, Lewis Institute of Chicago, and the University of Michigan. She held editorial positions at Chicago Tribune, and the Board of the Journal of American Medical Association. She taught private writing classes and lectured throughout the country. Among her other books are Most Beautiful Lady, a novel, and Wake Up and Live, which sold over 2,000,000 and was published in eleven languages. (I remember it on my mother’s bookshelf.)

According to the National Cyclopedia of American Biography, volume 39, she was a member of Phi Beta Kappa, an Episcopalian, a Republican, and enjoyed reading, knitting and embroidery!

I leave you with her words. “All that is necessary to break the spell of inertia and frustration is this: Act as if it were impossible to fail. This is the talisman, the formula, the command of right-about-face which turns us from failure towards success.”

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.

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