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50 fun group writing exercises

Group writing exercises you can do with your writing circle or critique group are a fun ice-breaker and a way to get creative ideas flowing. Read 50 ‘fill in the blank’ creative writing prompts.

• Post author By Jordan
• 6 Comments on 50 fun group writing exercises

‘Fill in the blank’ writing exercises are fun to do in a group. Writing exercises with some set parameters highlight the diverse, interesting ways different writers interpret and respond to the same prompts. Try one of 50 ‘fill in the blank’ creative writing prompts below, and share your creativity in the comments or tag @NowNovel if sharing your version on social media.

The group writing exercises

The first prompt was a prompt for a contest to win a place on our Group Coaching writing course .

Contest prompt

Every year, I’d made a resolution not to ever __ again. Yet by January 20th I’d already __ and __.

Entries were voted on blind by a panel of four from the Now Novel team, and the winner was Ethan Myers with this entry:

Here are 49 more prompts to enjoy and stimulate creative ideas:

Writing exercises featuring scene-setting

On leaving As soon as I turned 18, I left__. It was a town of__and__ .

On arrival I walked through the arched entryway and my jaw dropped. Everywhere you looked there were__. Marco Polo himself could never have imagined__.

The first time It was my first ever flight. I was__. Then a__ sat down next to me, turning to me and asking, “__?”

Compare and contrast My hometown was__. When I got to__, a college town, the first thing I noticed was__.

Use the senses The minute you entered, you could smell __. Paired with the sound of __, it was unmistakably home.

Be specific The home we’d rented for the holidays was neither__ nor__, contrary to the listing. Yet my younger brother was delighted when we found__.

Build a bucket list I’d always wanted to go to__. I’d read so much about its__, though nothing had prepared me for__.

Create a world In the books I had read as a kid, portals were gateways to worlds where __. Yet here, I was surprised to find a__.

Outside/inside Outside, the sounds of__ filled the air__. Yet inside, the 19th Century __was like another world, full of strange __.

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Group writing exercises featuring conflict

Lovers’ quarrel We thought it would be a romantic getaway to Rome. Then__. By the end of the day, hot and fed up, we__.

A troubling lookout He climbed the watchtower, yet when he turned to the window, what he saw made him tremble.__.

The duel Many had said that if they were ever to duel, no two could be more equally matched. But what his opponent didn’t know was__.

Alien invasion In alien movies, they always blew up The White House or__. So he hadn’t expected to be toe to toe with an extraterrestrial having a screamed debate about__.

An assassin As the most skilled contract killer in the kingdom, she knew how to__. Yet nobody knew that she__.

Warring nations It started with a trade embargo. Then the president said that our neighbors’ president was a __ with a __. Next thing we knew, __.

Difficult decisions I couldn’t decide whether to__ or to__, but it was 4:45 pm and the last train was leaving in five minutes.

Writing exercises using dialogue

Secrets and lies “I never__,” he said. Yet I knew he was lying because__.

Surprises “Guess what I have behind my back?” she said. “__?” I guessed. “No!” She held out__.

Confessions “I didn’t know how to tell you this … I__.” “I’m glad you told me, now we can__.”

Embarrassing family “Your son is very talented, Mr Jones,” the__ said. “You say that now. You should have seen when he was 9. He__ and we were told that__.”

Thinking aloud “You should__.” “What did you just say?” “Did I just say that out loud? I was thinking about__.”

Know-it-all “Bet you didn’t know__,” he gloated. “Bet you didn’t know__,” I clapped back, full sass.

Bad bard “Shall I compare thee-“ I married a thespian. “Shall I compare you to __?” I rolled my eyes.

Writing exercises using simile and metaphor

Wild reactions His face was as __ as a__ after the bug bite and we were all a bit worried.

Comparing the moon The moon is a__ tonight, its thin crescent glowing like a__.

Making abstraction specific My anxiety is like a__ on the first day of school. A__ with a __.

Sound and simile The first minutes the orchestra was like a __, the music shimmering like __. But in the allegro the principal violinist’s string broke and the conductor__.

Describing emotions Fear is a__ with a__.

Describing the human voice He had a voice like__, like a__ echoing in a __.

Degrees of comparison The mysterious drink they prepared was sweeter than__. But sweeter still was__.

Writing exercises using different POVs

Fugitive I had run all night, adrenaline keeping fatigue at bay. When I saw__ as dawn broke, I knew__.

Collective They had ways of dealing with dissent. If you dared to go against the clan, you would be__, God help you.

The reader as reader You decide to go to the library. You want to read a book about__. The librarian raises an eyebrow as they run the barcode scanner. “__?” They ask, as you blush.

The group as one That summer, we__ until we couldn’t__. We were all in our twenties, and the days were__.

Writing exercise using different moods of the verb

Future perfect tense, indicative mood In several years’ time, she will have changed, our__ changing like__.

Present tense, potential mood “They may change their minds,” the King says, scowling, “or else we may have to__ and__.”

Future tense, subjunctive mood If I should__, then tell everyone I never__.

[See a helpful explanation of verb moods and tenses in Ursula K. Le Guin’s Steering the Craft . ]

Writing exercises from creating blanks in books

Colum McCann – Let the Great World Spin We had a short driveway full of__. If we crossed the road, we could stand on__ and__.

Gabriel Garcia Marquez – Love in the Time of Cholera He had returned from a long stay in Paris, where he__, and from the time he set foot on solid ground he__.

Margaret Atwood, Oryx and Crake Jimmy’s earliest complete memory was of a huge__. He must have been five, maybe six. He was wearing__.

Virginia Woolf – Mrs Dalloway Her only gift was__. If you put her in a room with some one, up went her back like a cat’s; or she__.

Italo Calvino – The Complete Cosmicomics I thought only of the Earth. It was the Earth that caused each of us to__.

David Sedaris – Me Talk Pretty One Day When painting proved too difficult, I turned to__, telling myself__.

Eva Hoffman – Lost in Translation The library is located in a__ street, in an ancient building, which one enters through a__. It is Plato’s cave, Egyptian temple, the space of__.

Chimamanda Ngozi Adichie – Half of a Yellow Sun Richard said little at the parties Susan took him to. When she introduced him, she always added__. But they were pleasant to him; they would be to__.

Ursula K. Le Guin – The Left Hand of Darkness I’ll make my report as if I told a story, for I was taught__.

Colson Whitehead – The Zone The reunions were terrific and rote, early tutelage in the recursive nature of human experience. “__?” the girlfriends asked as they padded in bearing__, and he’d say “__”.

Barbara Kingsolver – The Poisonwood Bible Once every few years, even now, I catch the scent of__. It makes me want to keen, sing,__.

Jorge Luis Borges – Labyrinths He opened a drawer of the black and gold desk. He faced me and in his hands he held__.

Emily Brontë – Wuthering Heights While enjoying a month of fine weather at the sea-coast, I was thrown into the company of a__, a real__.

Find daily writing prompts plus literary device definitions and terms.

Build focus and a steady writing routine, and get help from experienced coaches and editors while connecting with other writers on our 6-month Group Coaching course. Learn more and see what alumni loved.

Related Posts:

• How to find a writing group plus 7 pros of workshops
• Writing exercises: 10 fun tense workouts
• 6 creative writing exercises for rich character
• Tags writing groups , writing inspiration , writing prompts

Jordan is a writer, editor, community manager and product developer. He received his BA Honours in English Literature and his undergraduate in English Literature and Music from the University of Cape Town.

6 replies on “50 fun group writing exercises”

These exercises look like fun!

Sometimes there comes a point when you can’t think of anything worth writing. I guess every writer will know what I mean. But with these templates, I can get some inspiration and share whole stories with my friends.

Thank you, Jordan.

Hi Daisy, I’m glad that you found these ideas inspiring, it’s a pleasure. Thank you for sharing your feedback!

I love these! They’re inspiring (although I want to cheat and use them as-is). Lots of material for future fun 😉

Hi Margriet, thank you! I’m glad you find these writing exercises fun. We can share fill-in-the-blank exercises in the challenge group, that’s another idea.

Thankyou Jordan for these great points.

It’s a pleasure, Dave. Thank you for reading our blog.

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43 Creative writing exercises

A selection of fun creative writing exercises that can be completed solo, or with a group. Some are prompts to help inspire you to come up with story ideas, others focus on learning specific writing skills.

I run a  Creative Writing Meetup  for adults and teens in Montpellier or online every week. We start with a 5 to 20 minute exercise, followed by an hour and a half of silent writing, during which each participant focuses on their own project. Every exercise listed below has been run with the group and had any kinks ironed out.  Where the exercises specify a number of people, if you have a larger group, simply split everyone up into smaller groups as appropriate.

The solo exercises are ideal to help stimulate your mind before working on a larger project, to overcome writer’s block, or as stand-alone prompts in their own right. If a solo exercise inspires you and you wish to use it with a larger group, give every member ten minutes to complete the exercise, then ask anyone who wishes to share their work to do so in groups of 3 or 4 afterwards.

Looking for something quick to fire your imagination? Check out these  creative writing prompts for adults .

Writing Retreat in South France

A note on running exercises remotely

While you can enjoy the exercises solo, they are also designed for online writing groups using Zoom, WhatsApp, or Discord.

If you're running a group and follow a ' Shut Up and Write ' structure, I recommend connecting on WhatsApp (for example) first, doing the exercise together, sharing writing samples as needed. Next, write in silence for an hour and a half on your own projects, before reconnecting for a brief informal chat at the end. This works great with small remote groups and is a way to learn new techniques, gain online support, and have a productive session.

If you have a larger online group, it's worth looking into Zoom, as this has a feature called  Breakout Rooms . Breakout Rooms let you split different writers into separate rooms, which is great for group activities. The free version of Zoom has a 40 minute limit, which can be restrictive, but Zoom Pro is well worth it if you're going to use it on a regular basis. In my experience, Zoom has a better connection than Facebook chat or WhatsApp.

A Letter From Your Character To You

Spend ten minutes writing a letter from a character in your novel to  you , the author, explaining why you should write about them. This serves three purposes:

• As you write, it helps you get into the mindset of the character. Ask yourself how they would language this letter and what they would consider important.
• It's motivating to know that your character wants you to write about them.
• If your goal is to publish a complete work of fiction one day, whether it be a novel, a play or a movie script, you will want to contact an agent or publisher. This helps you practice in an easy, safe way.

If you're doing this exercise with a group of teens or adults, and some of the group haven't already started working on their masterpiece, they can instead choose any fictional novel they love. Ask participants to imagine that a character within the book wrote to the author in the first place to ask them to write their story. How did they plead their case?

The Opening Sentence

The opening sentence has to grab the reader's attention and make them want to keep reading. Many authors achieve this by starting with an action scene. In modern literature, it's best to avoid starting with someone waking up, or a description of the weather. In this exercise the task is to write an opening sentence either to a book you're currently writing, or simply for an imaginary piece of literature.  Here are some of my favourite opening sentences to get you going:

It was a bright cold day in April, and the clocks were striking thirteen.

George Orwell , 1984

The Golem's life began in the hold of a steamship.

Helene Wecker , The Golem and the Djinni

All happy families are alike; each unhappy family is unhappy in its own way.

Leo Tolstoy , Anna Karenina

It wasn't a very likely place for disappearances, at least at first glance.

Diana Gabaldon , Outlander

You better not never tell nobody but God.

Alice Walker , The Color Purple

The cage was finished.

Gabriel Garcia Marquez ,  Balthazar’s Marvelous Afternoon

Imagine that you are living your life out of order: Lunch before breakfast, marriage before your first kiss.

Audrey Niffenegger ,  The Time Traveler's Wife

Far out in the uncharted backwaters of the unfashionable end of the western spiral arm of the Galaxy lies a small unregarded yellow sun.

Douglas Adams ,  The Hitchhiker's Guide to the Galaxy

There are a plethora of ways you can start a book, however two ways that help engage the reader immediately are:

• Set the scene in as few words as possible, so the reader immediately knows what's happening and wants to know what happens next.  The scene must be original and create a vivid image in the reader's mind.
• Surprise the reader with an unusual event or usual point of view.

Spend 5 minutes working on your own opening sentence, then share it with the other participants.

Make your protagonist act!

Exercise for 2 writers, or can be done solo.

According to John Gardner:

"Failure to recognise that the central character must act, not simply be acted upon, is the single most common mistake in the fiction of beginners."

Spend 5 minutes writing a scene where the protagonist is passive in a conversation with one other character. It could be that the other character says something dramatic, and the protagonist just listens, or it could be anything else of your choice!

Once the 5 minutes is up, swap papers with another writer. If you're using Zoom, or working online, send it to each other in a private chat. Now the other person spends 8 minutes rewriting the scene to make the protagonist as active as possible. This might include:

Read both scenes together. Which makes you want to keep on reading?

If you're doing this as a solo writing exercise, simply complete both parts yourself.

• Showing the emotion this evokes.
• Getting them to disagree with the other character.
• Showing how they respond physically (whether it's as a physical manifestation of how they feel, or a dramatic gesture to make a point).

Overcoming writer's block

Are you staring at a blank page or stuck for any story ideas? This exercise will help anyone who's experiencing writer's block with a particular piece of writing. If this isn't you, that's great, others will value your input!

If anyone has a particular scene they're stuck with (a pool of blood on the floor they have no explanation for, a reason why the rich lady just walked into a particular pub, etc.) then at the start of the exercise everyone briefly describes their scenes (if working online with a large group, typing it into the chat might be best). Everyone then chooses one scene to use as a writing prompt to write a short story for 10-15 minutes.

Afterwards, split into small groups if necessary, and read out how you completed someone else's writing prompt. As everyone listens to everyone else's ideas, this can be a wonderful source of inspiration and also improves your writing. As an alternative solo exercise, try free writing. With free writing, simply write as quickly as you can on the topic without editing or censoring yourself - just let your creative juices flow. If you're not sure what happens next, brainstorm options on the page, jot down story ideas, or just put, "I don't know what happens next." Keep going and ideas will come.

Writing Character Arcs

There are several different types of character arc in a novel, the 3 most common being:

For this exercise choose either a positive or negative character arc. Spend 8 minutes writing a scene from the start of a novel, then 8 minutes writing a scene towards the end of a novel showing how the character has developed between the two points. Don't worry about including how the character has changed, you can leave that to the imagination.

The point here is to capture the essence of a character, as they will be the same, but show their development.

• Positive  - Where a character develops and grows during the novel. Perhaps they start unhappy or weak and end happy or powerful.
• Negative  - Where a character gets worse during a novel. Perhaps they become ill or give in to evil tendencies as the novel progresses.
• Flat  - In a flat character arc the character themself doesn't change much, however the world around them does. This could be overthrowing a great injustice, for example.

Sewing Seeds in Your Writing

In this exercise, we will look at how to sew seeds. No, not in your garden, but in your story. Seeds are the tiny hints and indicators that something is going on, which influence a reader's perceptions on an often unconscious level. They're important, as if you spring a surprise twist on your readers without any warning, it can seem unbelievable. Sew seeds that lead up to the event, so the twists and turns are still surprising, but make intuitive sense. Groups : Brainstorm major plot twists that might happen towards the end of the novel and share it in a Zoom chat, or on pieces of paper. Choose one twist each. Individuals : Choose one of the following plot twists:   -  Your friend is actually the secret son of the king.   -  Unreliable narrator - the narrator turns out to be villain.   -  The monster turns out to be the missing woman the narrator is seeking.   -  The man she is about to marry happens to already have a wife and three kids.

Write for ten minutes and give subtle hints as to what the plot twist is. This is an exercise in subtlety. Remember, when the twist occurs, it should still come as a surprise.

This is a fun writing activity for a small group. You’ve found a magic potion labelled ‘Cat Chat’ and when you drink it, you turn into whichever animal you’re thinking about; but there’s a problem, it also picks up on the brainwaves of other people near you!

Everyone writes down an animal in secret and then reveals it to the other writers.  The spell will turn you into a creature that combines elements of all the animals.  Each person then spends 5 minutes writing down what happens when they drink the potion.

After the 5 minutes is up, everyone shares their story with the other participants.

If you enjoy this exercise, then you may also want to check out our  Fantasy and Sci-Fi writing prompts  full of world building, magic, and character development prompts..

Joe Brainard wrote a novel called:  I Remember It contains a collection of paragraphs all starting with “I remember”.  This is the inspiration for this exercise, and if you’re stuck for what to write, is a great way to get the mental gears turning.  Simply write “I remember” and continue with the first thing that pops into your head.

Spend 5 minutes writing a short collection of “I remember” stories.

Here are a couple of examples from Joe Brainard’s novel:

“I remember not understanding why people on the other side of the world didn't fall off.”

“I remember waking up somewhere once and there was a horse staring me in the face.”

Giving feedback to authors

If you're running a workshop for more experienced adult authors and have at least an hour, this is a good one to use. This is the longest exercise on this page, but I felt it important enough to include.

Give each author the option to bring a piece of their own work. This should be double spaced and a maximum of 3 pages long. If you're running a workshop where not everyone is likely to bring a manuscript, ask everyone who wants to bring one to print two copies each. If someone forgets but has a laptop with them, the reader can always use their laptop.

Print out a few copies and hand them around to everyone in the workshop of the guide on: 'How to give constructive feedback to writers'

Each author who brought a sample with them then gives them to one other person to review. They write their name on the manuscript in a certain colour pen, then add any comments to it before passing it to a second person who does the same (commenting on the comments if they agree or disagree).

Then allow 5 minutes for everyone to discuss the feedback they've received, ensuring they are giving constructive feedback.

The Five Senses

Painting by Giovanni Battista Manerius -  The Five Senses

Choose a scene and write it for 5 minutes focusing on one sense, NOT sight. Choose between:

Hearing  Taste Smell Touch

This can be internal as well as external (I heard my heartbeat thudding in my ears, or I smelt my own adrenaline).

After the 5 minutes stop and everyone reads it out loud to each other. Now write for another 5 minutes and continue the other person's story, but do NOT use sight OR the sense they used.

You can use any sense to communicate the essentials, just focus on creating emotions and conveying the story with the specific sense(s).

If you need some writing prompts, here are possible scenes that involve several senses:

• Climbing through an exotic jungle
• Having an argument that becomes a fight
• A cat's morning
• Talking to someone you're attracted to

Show don't tell

2 or 3 people

A lot of writing guides will advise you to, "Show, don't tell". What does this actually mean?

If you want to evoke an emotional reaction from your reader, showing them what is happening is a great way to do so.  You can approach this in several ways:

Split up into pairs and each person writes down a short scene from a story where they "tell" it.  After this, pass the description of the scene to your partner and they then have 5 minutes to rewrite it to "show" what happened.  If there are an odd number of participants, make one group of three, with each person passing their scene clockwise, so everyone has a new scene to show.  After the 5 minutes, for small groups everyone reads their new description to everyone else, or for large groups, each person just reads their new scene to their partner.

• Avoid internal dialogue (thinking), instead have your protagonist interact with other people, or have a physical reaction to something that shows how s/he feels.  Does their heart beat faster?  Do they notice the smell of their own adrenaline?  Do they step backwards, or lean forwards?
• Instead of using an adjective like creepy, e.g. "Mary entered the creepy house", show why the house is creepy through description and in the way the protagonist responds - "The light streamed through the filthy skylight, highlighting the decomposing body of a rat resting on top of it.  As Mary stepped inside, she felt a gust of freezing air brush past her. She turned, but there was nothing there..."

World building

World building is the art of conveying the magic of living in a different world, whether it's a spaceship, a medieval castle, a boat, or simply someone's living room. To master world building, it's not necessary to know every intricate detail, rather to convey the experience of what it would be like to live there.

Choose one of the above images as a prompt and spend 10 minutes writing a scene from the perspective of someone who is seeing it for the first time. Now, move your character six months forward and imagine they've spent the last six months living or working there. Write another scene (perhaps with an additional character) using the image as a background, with the events of the scene as the main action.

Click the above image for a close-up.

Gossiping about a character as if they're a friend.

Judy Blume says that she tells her family about her characters as if they’re real people. 

Chris Claremont said, "For me, writing the 'X-Men' was easy - is easy. I know these people, they're my friends." 

Today’s exercise has 2 parts. First, spend 5 minutes jotting down some facts about a character you’ve invented that might come up if you were telling your friends about them. Either choose a character in something you’ve already written, or invent one from scratch now.

Answer the questions:

What are they up to? How are they? What would you say if you were gossiping about them?

Then split up into groups of 4 to 6 writers. 2 volunteers from each group then role-play talking about their character as if they were a friend (perhaps another character in the story).  The other participants will role-play a group of friends gossiping about the character behind their back and ask questions. If you don’t know the answer, invent it!

Degrees of Emotion Game

This is based on an acting game, to help actors understand how to perform with different degrees of emotion.

Ask everyone to write the following 4 emotions:

For groups of 5 or less, write down numbers starting with 1 and going up until everyone has a number, then give them out in order. For groups of 6 or more, divide groups into 3's, 4's or 5's.

Each person has to write a scene where the protagonist is alone and is only allowed to say a single word, e.g. "Banana".  The writer with number 1 should write the scene with a very low level of the emotion (e.g. happiness), number 2 increases the intensity a bit and the highest number writes a scene with the most intense emotion you can possibly imagine.

Once each writer has written about happiness, rotate the numbers one or two spaces, then move onto anger, then fear, then sadness.

It can help to give everyone numbers showing the intensity of the emotions to write about at the start of the exercise, in which case you may wish to print either the Word or PDF file, then use the ones corresponding to 3, 4 or 5 writers.

Everyone shares their scene with the other course participants.

Three birds, one line

The first paragraph of a surprising number of best-selling novels serves multiple purposes. These are to:

• Establish a goal
• Set the scene
• Develop a character

Nearly every chapter in a novel also serves all three purposes. Instead of establishing a goal though, the protagonist either moves towards it, or encounters an obstacle that hinders them from achieving it.

Some books manage to meet all three purposes with their opening lines, for example:  

Mr and Mrs Dursley, of number four, Privet Drive, were proud to say that they were perfectly normal, thank you very much.

J.K. Rowling ,  Harry Potter and the Philosopher's Stone  

A little more than one hundred days into the fortieth year of her confinement, Dajeil Gelian was visited in her lonely tower overlooking the sea by an avatar of the great ship that was her home.

Iain M. Banks ,  Excession  

"We should start back," Gared urged as the woods began to grow dark around them.

George R.R. Martin ,  A Game of Thrones

For this exercise write a sentence or short paragraph that serves all three purposes. If you're already writing a novel, then see if you can do this for the first line in a chapter. If not, choose any combination from the following table:

Blind Date on Valentine's Day (Exercise for Adults)

In pairs one writer spends a minute or two describing a character they're writing about, or alternatively they can describe a celebrity or someone from a work of fiction.  The next writer then describes their character.

The story is that these 2 characters (or in my case, person and alien, as I'm writing a sci-fi) have accidentally ended up on a blind date with each other. Perhaps the waiter seated them in the wrong location, perhaps it's an actual blind date, or perhaps they met in some other fashion the writers can determine.

Now spend 10 minutes discussing what happens next!

A Success (Works best for online groups)

This exercise works best for online groups, via Zoom, for example.  The instructions to give are:

"In a few words describe a success in your life and what it felt like to achieve it. It can be a small victory or a large one."

Share a personal example of your own (mine was watching my homeschooled sons sing in an opera together).

"Once you have one (small or large), write it in the chat.

The writing exercise is then to choose someone else's victory to write about for 10 minutes, as if it was the end of your own book.

If you want to write for longer, imagine how that book would start. Write the first part of the book with the ending in mind."

This is great for reminding people of a success in their lives, and also helps everyone connect and discover something about each other.

Your dream holiday

You’re going on a dream holiday together, but always disagree with each other. To avoid conflict, rather than discuss what you want to do, you’ve decided that each of you will choose a different aspect of the holiday as follows:

• Choose where you’ll be going – your favourite holiday destination.
• Choose what your main fun activity will be on the holiday.
• Decide what mode of travel you’ll use to get there.
• If there’s a 4 th  person, choose what you’ll eat on the holiday and what you’ll be wearing.

Decide who gets to choose what at random. Each of you then writes down your dream holiday destination/activity/travel/food & clothes in secret.  Next spend 5 minutes discussing your dream holiday and add any other details you’d like to include, particularly if you’re passionate about doing something in real life.

Finally, everyone spends another 5 minutes writing down a description of the holiday, then shares it with the others.

A haiku is a traditional Japanese form of non-rhyming poetry whose short form makes it ideal for a simple writing exercise.

They are traditionally structured in 3 lines, where the first line is 5 syllables, the second line is 7 syllables, and the third line is 5 syllables again. Haiku tend to focus on themes of nature and deep concepts that can be expressed simply.

A couple of examples:

A summer river being crossed how pleasing with sandals in my hands! Yosa Buson , a haiku master poet from the 18 th  Century.

And one of mine:

When night-time arrives Stars come out, breaking the dark You can see the most

Martin Woods

Spend up to 10 minutes writing a haiku.  If you get stuck with the 5-7-5 syllable rule, then don’t worry, the overall concept is more important!

See  How to write a haiku  for more details and examples.

Unlike a haiku, which is profound and sombre, a limerick is a light-hearted, fun rhyming verse.

Here are a couple of examples:

A wonderful bird is the pelican. His bill can hold more than his beli-can He can take in his beak Food enough for a week But I'm damned if I see how the heli-can.

Dixon Lanier Merritt, 1910

There was a young lady named Bright, Whose speed was far faster than light; She started one day In a relative way, And returned on the previous night.

Arthur Henry Reginald Buller in  Punch,  1923

The 1 st , 2 nd  and 5 th  line all rhyme, as do the 3 rd  and 4 th  line.  The overall number of syllables isn’t important, but the 3 rd  and 4 th  lines should be shorter than the others.

Typically, the 1 st  line introduces the character, often with “There was”, or “There once was”. The rest of the verse tells their story.

Spend 10 minutes writing a limerick.

Time Travel - Child, Adult, Senior

Imagine that your future self as an old man/woman travels back in time to meet you, the adult you are today.  Alternatively, you as a child travels forward in time to meet yourself as an adult.  Or perhaps both happen, so the child you, adult you, and senior you are all together at the same time.  In story form write down what happens next.

Participants then share their story with other writers either in small groups, or to the whole group.

Focus on faces

Solo exercise.

One challenge writers face is describing a character. A common mistake is to focus too much on the physical features, e.g. "She had brown eyes, curly brown hair and was five foot six inches tall."

The problem with this is it doesn't reveal anything about the character's personality, or the relationship between your protagonist and the character. Your reader is therefore likely to quickly forget what someone looks like.  When describing characters, it's therefore best to:

• Animate them - it's rare that someone's sitting for a portrait when your protagonist first meets them and whether they're talking or walking, it's likely that they're moving in some way.
• Use metaphors or similes  - comparing physical features to emotionally charged items conjures both an image and a sense of who someone is.
• Involve your protagonist  - if your protagonist is interacting with a character, make it personal.  How does your protagonist view this person?  Incorporate the description as part of the description.
• Only give information your protagonist knows  - they may know if someone is an adult, or a teenager, but they won't know that someone is 37 years old, for example.

Here are three examples of character descriptions that leave no doubt how the protagonist feels.

“If girls could spit venom, it'd be through their eyes.” S.D. Lawendowski,  Snapped

"And Ronan was everything that was left: molten eyes and a smile made for war." Maggie Stiefvater,  The Dream Thieves

"His mouth was such a post office of a mouth that he had a mechanical appearance of smiling." Charles Dickens

Spend 5 minutes writing a character introduction that is animated, uses metaphors or similes and involves your protagonist.

If working with a group, then form small groups of 3 or 4 and share your description with the rest of the group.

Onomatopeai, rhyme and alliteration

Today's session is all about sound.

Several authors recommend reading your writing out loud after you've written it to be sure it sounds natural.   Philip Pullman  even goes as far as to say:

"When I’m writing, I’m more conscious of the sound, actually, than the meaning. I know what the rhythm of the sentence is going to be before I know what the words are going to be in it."

For today's exercise, choose the name of a song and write for 10 minutes as if that's the title for a short story. Focus on how your writing sounds and aim to include at least one onomatopoeia, rhyme or alliteration.  At the end of the 10 minutes, read it out loud to yourself, or to the group.

Alliterations

An alliteration example from Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner”

The fair breeze blew, the white foam flew, The furrow followed free; We were the first that ever burst Into that silent sea.

Onomatopoeias

Buzz, woof, quack, baa, crash, purr, beep, belch,...

The alphabet story - creating a story as a group

This is a novel way to write a story as a group, one word at a time.  The first person starts the story that begins with any word starting with “A”, the next person continues the story with a word starting with “B”, and so on.

Keep going round until you have completed the alphabet.  Ideally it will all be one sentence, but if you get stuck, start a new sentence.  Don’t worry if it doesn’t make complete sense!

It can be tricky to remember the alphabet when under pressure, so you may wish to print it out a couple of times, so the storytellers can see it if they need to, this is particularly helpful if you have dyslexics in the group.

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Here’s an example of an alphabet story:

A Band Can Dance Each Friday, Ghostly Hauntings In Jail Kill Lucky Men, Nobody Or Perhaps Quiet Rats, Still That Unifies Villains Who X-Ray Your Zebras.

As I mentioned, it doesn’t need to make sense!

A question or two

Small or large groups

The standard format in our group is a short writing exercise followed by an hour and a half of silent writing on our projects.

At one point I felt like we'd done a lot of small group exercises, and wanted to gain an insight into what everyone was working on, so we did the following exercise instead:

Go round the table and ask everyone to briefly talk about their writing.  Each person then asks one or two yes/no questions.

Everyone responds either by raising their hand for 'yes' or shaking their heads for 'no'. You can also leap up and down to indicate a very strong 'yes'.

Questions can be about anything, and you can use them either to help guide your writing or to help find other people in the group who have similar interests.

Here are some random examples you might ask:

• I want to write a romance novel and am considering setting it in Paris, a traditional romantic setting, or Liverpool which is a less obvious setting. Who thinks Liverpool would be best?
• I need to know more about the life of a farmer. Has anyone got farming experience who I can interview in exchange for a drink?
• My character gets fired and that night goes back to his office and steals 35 computers. Does that sound realistic as the premise of a story?

This works best when you give participants some advance notice, so they have time to think of a question.

Murder Mystery Game

Groups of 3 or 4

This exercise takes 20-30 minutes and allows participants to create a murder mystery outline together.

Phase 1 (3 minutes)

• Split into groups of 3 or 4
• Decide as a group where the murder occurs (e.g. the opera house, a bar, a casino)
• Decide one person who will write the details of the victim and the murder itself.  Everyone else writes the details of one suspect each.
• The ‘victim author’ then invents a few extra details about the scene of the crime, who the victim was (a teenage punk, an adult opera singer, etc.) and the murder weapon and summarises this to the others.

Phase 2 (10 minutes)

Each person then writes a police report as if they are either describing the scene of the crime, or recording the notes from their interview with a single suspect:

Write the following:

• 1 line description of the victim.
• When they were last seen by a group of witnesses (and what they were doing).
• How the murder occurred in more detail based on the evidence available.

Write the following (from the perspective of the investigator):

• 1 line description of the suspect
• What they said during the interview (including what they claim to have doing when the murder occurs).
• A possible motivation (as determined by the police from other witnesses).

Phase 3 (5 minutes)

• Each person reads out their police reports to the other members of their small group
• As a group, decide who the murderer was and what actually happened

See more ideas on  creating murder mystery party games

The obscure movie exercise

Pick a famous movie and spend 5 minutes writing a scene from it from an unusual perspective.  Your aim is to achieve a balance between being too obscure and making it too obvious.  Feel free to add internal dialogue.

At the end of the 5 minutes, everyone reads their movie scene to the others and all the other participants see if they can guess what the movie is.

How to hint at romantic feelings

Write a scene with two people in a group, where you hint that one is romantically interested in the other, but the feelings aren’t reciprocated.

The goal of this exercise is to practice subtlety. Imagine you are setting a scene for the future where the characters feelings will become more important. Choose a situation like a work conference, meeting with a group of friends, etc. How do you indicate how the characters feel without them saying it in words?

Some tips for hinting at romantic feelings:

• Make the characters nervous and shy.
• Your protagonist leans forward.
• Asks deeper questions and listens intently.
• Finds ways to be close together.
• Mirrors their gestures.
• Gives lots of compliments.
• Makes eye contact, then looks away.
• Other people seem invisible to your protagonist.

A novel idea

Take it in turns to tell everyone else about a current project you’re working on (a book, screenplay, short story, etc.)

The other writers then brainstorm ideas for related stories you could write, or directions your project could take.  There are no right or wrong suggestions and the intention is to focus on big concepts, not little details.

This whole exercise takes around 15 minutes.

Creative writing prompts

Exercise for groups of 3-5

If you're in larger group, split up into groups of 3 or 4 people.

Everyone writes the first line of a story in the Zoom chat, or on paper. Other people can then choose this line as a writing prompt.

For this exercise:

• Say who the protagonist is.
• Reveal their motivation.
• Introduce any other characters

Once everyone's written a prompt, each author chooses a prompt (preferably someone eles's, but it can be your own if you feel really inspired by it.)  Then write for 10 minutes using this prompt. See if you can reveal who the protagonist is, what their motivation is (it can be a small motivation for a particular scene, it doesn't have to be a huge life goal), and introduce at least one new character.

Take turns reading out your stories to each other.

• Write in the first person.
• Have the protagonist interacting with an object or something in nature.
• The challenge is to create intrigue that makes the reader want to know more with just a single line.

Creative story cards / dice

Cut up a piece of paper and write one word on each of the pieces of paper, as follows:

Give each participant a couple of pieces of paper at random.  The first person says the first sentence of a story and they must use their first word as part of that sentence.  The second person then continues the story and must include their word in it, and so on.  Go round the group twice to complete the story.

You can also do this creative writing exercise with story dice, your own choice of words, or by asking participants to write random words down themselves, then shuffling all the cards together.

Alternative Christmas Story

Every Christmas adults tell kids stories about Santa Claus. In this exercise you write a Christmas story from an alternative dimension.

What if every Christmas Santa didn't fly around the world delivering presents on his sleigh pulled by reindeer? What if gnomes or aliens delivered the presents? Or perhaps it was the gnomes who are trying to emulate the humans? Or some other Christmas tradition entirely that we humans have never heard of!

Group writing exercise

If you're working with a group, give everyone a couple of minutes to write two possible themes for the new Christmas story. Each theme should be 5 words or less.

Shuffle the paper and distribute them at random. If you're working online, everyone types the themes into the Zoom or group chat. Each writer then spends 10 minutes writing a short story for children based on one of the two themes, or their own theme if they really want to.

If working alone, choose your own theme and spend 15 minutes writing a short story on it. See if you can create the magic of Christmas from another world!

Murder Mystery Mind Map

In a murder mystery story or courtroom drama, there's often conflicting information and lots of links between characters. A mind map is an ideal way to illustrate how everything ties together.

Split into groups of 3 or 4 people each and place a blank piece of A3 paper (double the size of A4) in the middle of each group. Discuss between you who the victim is and write their name in the middle of the piece of paper. Then brainstorm information about the murder, for example:

Feel free to expand out from any of these, e.g. to include more information on the different characters involved.

The idea is that  everyone writes at the same time!   Obviously, you can discuss ideas, but anyone can dive in and write their ideas on the mind map.

• Who was the victim? (job, appearance, hobbies, etc.)
• Who did the victim know?
• What were their possible motivations?
• What was the murder weapon?
• What locations are significant to the plot?

New Year’s resolutions for a fictional character

If you’re writing a piece of fiction, ask yourself how your protagonist would react to an everyday situation. This can help you to gain a deeper insight into who they are.

One way to do this is to imagine what their New Year’s resolutions would be.

If completing this exercise with a group, limit it to 3 to 5 resolutions per person. If some participants are historical fiction or non-fiction writers, they instead pick a celebrity and either write what their resolutions  will  be, or what their resolutions  should  be, their choice.

Verb Noun Fiction Exercise (Inspired by Stephen King)

Stephen King said, "I believe the road to hell is paved with adverbs, and I will shout it from the rooftops."

He also said, "Take any noun, put it with any verb, and you have a sentence. It never fails. Rocks explode. Jane transmits. Mountains float. These are all perfect sentences. Many such thoughts make little rational sense, but even the stranger ones (Plums deify!) have a kind of poetic weight that’s nice."

In this fiction writing exercise, start by brainstorming (either individually or collectively) seven verbs on seven different pieces of paper. Put those aside for later. Now brainstorm seven nouns. Randomly match the nouns and verbs so you have seven pairs. Choose a pair and write a piece of fiction for ten minutes. Avoid using any adverbs.

It’s the end of the world

It’s the end of the world!  For 5 minutes either:

If working as a team, then after the 5 minutes is up each writer reads their description out to the other participants.

• Describe how the world’s going to end, creating evocative images using similes or metaphors as you wish and tell the story from a global perspective, or
• Describe how you spend your final day before the world is destroyed.  Combine emotion and action to engage the reader.

7 Editing Exercises

For use after your first draft

I’ve listened to a lot of masterclasses on writing by successful authors and they all say variants of your first draft won’t be good and that’s fine. Terry Pratchett and Neil Gaiman summarise it the best:

“The first draft is just you telling yourself the story.”  

Terry Pratchett

“For me, it’s always been a process of trying to convince myself that what I’m doing in a first draft isn’t important. One way you get through the wall is by convincing yourself that it doesn’t matter. No one is ever going to see your first draft. Nobody cares about your first draft. And that’s the thing that you may be agonising over, but honestly, whatever you’re doing can be fixed… For now, just get the words out. Get the story down however you can get it down, then fix it.”

Neil Gaiman

Once you’ve written your first draft, it will need editing to develop the plot, enhance the characters, and improve each scene in a myriad of ways – small and large. These seven creative editing exercises are designed to help with this stage of the process.

The First Sentence

Read the first paragraph of the novel, in particular the first sentence. Does it launch the reader straight into the action? According to  On Writing and Worldbuilding  by Timothy Hickson,  “The most persuasive opening lines are succinct, and not superfluous. To do this, it is often effective to limit it to a single central idea… This does not need to be the most important element, but it should be a central element that is interesting.” Ask yourself what element your opening sentence encapsulates and whether it’s the best one to capture your readers’ attention.

Consistency

Consistency is crucial in creative writing, whether it’s in relation to location, objects, or people.

It’s also crucial for personality, emotions and motivation.

Look at scenes where your protagonist makes an important decision. Are their motivations clear? Do any scenes force them to choose between two conflicting morals? If so, do you explore this? Do their emotions fit with what’s happened in previous scenes?

As you edit your manuscript, keep the characters’ personality, emotions and motivation in mind. If their behaviour is inconsistent, either edit it for consistency, or have someone comment on their strange behaviour or be surprised by it. Inconsistent behaviour can reveal that a character is keeping a secret, or is under stress, so characters don’t always need to be consistent. But when they’re not, there has to be a reason.  

Show Don’t Tell One

This exercise is the first in  The Emotional Craft of Fiction  by Donald Maass. It’s a writing guide with a plethora of editing exercises designed to help you reenergize your writing by thinking of what your character is feeling, and giving you the tools to make your reader feel something.  

• Select a moment in your story when your protagonist is moved, unsettled, or disturbed… Write down all the emotions inherent in this moment, both obvious and hidden.
• Next, considering what he is feeling, write down how your protagonist can act out. What is the biggest thing your protagonist can do? What would be explosive, out of bounds, or offensive? What would be symbolic? … Go sideways, underneath, or ahead. How can your protagonist show us a feeling we don’t expect to see?
• Finally, go back and delete all the emotions you wrote down at the beginning of this exercise. Let actions and spoken words do the work. Do they feel too big, dangerous, or over-the-top? Use them anyway. Others will tell you if you’ve gone too far, but more likely, you haven’t gone far enough.

Show Don’t Tell Two

Search for the following words in your book:

Whenever these words occur, ask yourself if you can demonstrate how your characters feel, rather than simply stating it. For each occasion, can you use physiological descriptors (a racing heart), actions (taking a step backwards) or dialogue to express what’s just happened instead? Will this enhance the scene and engage the reader more?

After The Action

Find a scene where your characters disagree – in particular a scene where your protagonist argues with friends or allies. What happens next?

It can be tempting to wrap up the action with a quick resolution. But what if a resentment lingers and mistrust builds? This creates a more interesting story arc and means a resolution can occur later, giving the character development a real dynamic.

Review how you resolve the action and see if you can stretch out the emotions for a more satisfying read.

Eliminating the Fluff

Ensure that the words used don’t detract from the enormity of the events your character is going through. Can you delete words like, “Quite”, “Little”, or “Rather”? 

Of “Very” Florence King once wrote: “ 'Very' is the most useless word in the English language and can always come out. More than useless, it is treacherous because it invariably weakens what it is intended to strengthen .” Delete it, or replace the word after it with a stronger word, which makes “Very” redundant.

“That,” is another common word used in creative writing which can often be deleted. Read a sentence as is, then reread it as if you deleted, “That”. If the meaning is the same, delete it.

Chapter Endings

When talking about chapter endings, James Patterson said,  “At the end, something has to propel you into the next chapter.”

Read how each of your chapters finish and ask yourself does it either:

• End on a cliff hanger? (R.L. Stine likes to finish every chapter in this method).
• End on a natural pause (for example, you’re changing point of view or location).

Review how you wrap up each of your chapters. Do you end at the best point in your story? Can you add anticipation to cliff hangers? Will you leave your readers wanting more?

How to run the writing exercises

The editing exercises are designed to be completed individually.

With the others, I've always run them as part of a creative writing group, where there's no teacher and we're all equal participants, therefore I keep any 'teaching' aspect to a minimum, preferring them to be prompts to generate ideas before everyone settles down to do the silent writing. We've recently gone online and if you run a group yourself, whether online or in person, you're welcome to use these exercises for free!

The times given are suggestions only and I normally get a feel for how everyone's doing when time's up and if it's obvious that everyone's still in the middle of a discussion, then I give them longer.  Where one group's in the middle of a discussion, but everyone else has finished, I sometimes have a 'soft start' to the silent writing, and say, "We're about to start the hour and a half of silent writing now, but if you're in the middle of a discussion, feel free to finish it first".

This way everyone gets to complete the discussion, but no-one's waiting for ages.  It's also important to emphasise that there's no wrong answers when being creative.

Still looking for more? Check out these creative writing prompts  or our dedicated Sci-Fi and Fantasy creative writing prompts

If you've enjoyed these creative writing exercises, please share them on social media, or link to them from your blog.

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Erin Lafond

Writer, Reviewer, and Mom

10 Creative Writing Prompts to Get Your Group Started

April 11, 2018 · In: Creativity , Writing

Last updated on July 14th, 2022 at 08:55 am

This article is part five of a series about starting your own creative writing group/club. Part one is here .  Topics will include giving constructive criticism , running a workshop , and writing games / prompts .

Writing prompts are both fun and a great club icebreaker. There are several types of writing prompts. My favorites are story prompts and first-line prompts. I used to come up with them for the teen creative writing club I ran. I’ve put some of each below to get your club started.

Here are my general rules for writing games/prompts:

• Encourage everyone to share their writing, but no one ever has to share. This creates an environment where people feel comfortable. The important thing is doing the exercise. If they decide to share, they must read their prompt aloud so everyone knows what it was.
• Set a time limit. I would generally give everyone five to ten minutes per round to write, and then I would open up for sharing. Once everyone had the opportunity to read their work, I would start another round or move on. This also encouraged people to share. After all, no story is good after five minutes.
• No one ever has to keep their prompt. If someone doesn’t like their prompt, they’re allowed to put it back and pick something else.

One last thing. My personal rule for coming up with prompts was I would never put it in the basket unless I could take the prompt in at least a couple of directions. Take the first line prompt below, “I hated that smile.” I could imagine a creepy story where the main character faces someone that scares them. I could also see the main character coming home to their mother, and the smile means they’re about to do something they don’t want to, like spend the weekend volunteering. Those are two very different stories. So, the prompt went into the basket.

I would always allow people to change the pronouns for their prompts. He to she, she to I, you to they, etc.

Story Prompts:

• You’ve decided to go on a road trip by yourself.
• You’ve wandered farther than usual and discovered an old cabin in the woods behind your house.
• You’re reading a book in the middle of the night when you hear a massive bang downstairs.
• You’re walking home, and you think you’re being followed.
• It’s been raining for a week straight with no signs of stopping.

First Line Prompts:

• I hated that smile.
• “Wait, isn’t he supposed to be dead?”
• It was too quiet.
• “Have you seen this?”
• Was that a scream?

Check out my Pinterest board for weekly writing prompts!

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Home » Blog » 25 Creative Writing Prompts for Your Writing Group

25 Creative Writing Prompts for Your Writing Group

“Writing is easy. All you have to do is cross out the wrong words.” Mark Twain

The venerable Mr. Twain certainly had a sense of humor. If only it were that easy to be a writer! The real trick to creative writing is that there is no trick. Aside from having a story to tell, writing it down — and writing it well — the art of creative writing takes discipline, grit, thick skin, persistence, and lots and lots of practice.

Bring courage. Find trust.

Jot down your thoughts at home and then create stories free-form or with creative writing prompts. Once you’ve got a good start, look for a writers group of your peers. It’s OK if you’re reluctant to do it at first, but it may help to know that even seasoned wordsmiths feel the same trepidation when sharing their work with others. While writing is by nature a solitary activity, you’ll find it impossible to improve unless you take the plunge. Your bravery will be repaid when you find a group where you feel supported and where you can grow as a writer.

Look for a writers group that provides constructive feedback without pandering. If your senior living community hosts a writers group, that’s a good place to start. Everyone’s work should be treated with equal respect and value. There should be clear rules on how to deliver feedback. And because writers often share personal information, there should be an agreement that sensitive matters remain confidential.

Silence your inner critic.

Beginning writers often introduce their work with statements such as, “I’m not really creative,” “This isn’t very good,” or “I’ve never done this before.” Writing is an art form that belongs to everyone, regardless of their age, background or education level. Whether you’re choosing to express yourself artistically, pass along memories and stories to your children and grandchildren, dive into your inner life, or achieve recognition, give yourself permission to try, fail and succeed. It’s only when you believe in yourself as a writer that you can begin to strengthen and develop your voice as one.

Get ready, get set, write!

Now, grab your laptop or pen and paper. We’ve created a list of creative writing prompts guaranteed to help you hurdle writer’s block and get your creative juices flowing. Some of these exercises will tickle memories, some will engage your senses, and others will challenge your imagination. Do them quickly by setting a timer for 10 minutes, or give yourself longer if you find you have more to say. The more you practice, the better you will be.

Our 25 favorite creative writing prompts

• 1. Write your life story in 10 sentences or less.
• 2. Which is the oldest tree in your neighborhood, and what has it seen?
• 3. Tell the story of who you are, and start with “I am from …”
• 4. Look through the news and describe an hour in the life of someone who has had something unusual happen to them.
• 5. Find a photo and write about what can’t be seen in the picture.
• 6. You’re a fugitive from justice. What was your crime, and where are you headed?
• 7. Find a favorite paragraph in a book you enjoy and rewrite it in your own words while keeping the original meaning.
• 8. What piece of advice do you give most to people your age? Is it the same or different from advice you would give a younger or older person, and why?
• 9. You wake up and realize it’s 100 years in the future. Describe your remarkable new life.
• 10. Start a story with, “I picked it up to have a better look and …”
• 11. Describe the smell wafting from the kitchen that’s making your mouth water.
• 12. You’ve never seen a sunset like this before. Describe it so someone would want to be right there with you.
• 13. Describe the music and lyrics from your favorite song in a way that someone else would immediately want to listen to it.
• 14. Based on people in your life, create two or three characters, giving them names and personalities. Describe what motivates them.
• 15. Have two characters sit across from each other and capture their interaction entirely in dialogue.
• 16. Pick an object that is ugly and have a character see it as beautiful. Have them describe the object to someone else to convince them of its beauty.
• 17. Describe the loudest sound you can think of and have a character hear it for the first time.
• 18. Describe two people having a conversation but make it clear that they’re not talking about the same thing even though they think they are.
• 19. List five fears in your life. Create a story where a character is forced to confront one of those fears.
• 20. Create a character based on someone in your life whom you dislike. Now write about a situation where they’re shown in a sympathetic way despite their faults.
• 21. Write an argument where a spouse tells their husband or wife about a physical ailment, but the spouse refuses to believe them.
• 22. Write a funny to-do list to a teenager about how to attract a boyfriend or girlfriend.
• 23. Think of an illness someone you love has suffered from. Have a character respond when they’re told someone close to them has the same illness.
• 24. Have a character respond in an unusual way to the pandemic. Write two versions: one where they’re unselfconscious, and one where they’re aware of their behavior but hide it.
• 25. Describe a conflict you remember and how it ended. Now, write an ending that is different from what actually happened and leaves the reader wanting to know more.

Read the book or watch the movie?

Do both at Lake Seminole Square. Our community offers 45+ committees, clubs and groups, including creative writing for seniors. Residents met regularly for book clubs and movie showings of new and classic films in our theater-style movie room. Learn how you can get together with friends and neighbors in this fun and energizing senior living setting .  

How to Decide: Aging in Place vs. Assisted Living

Lake Seminole Square gets nod for performance

How To Run A Successful Writing Group

• by Hannah Collins
• April 12, 2017

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The act and art of writing are usually solitary endeavors, even with a head full of a hundred different characters. If you’ve had enough of pacing around your living room trying to ease writer’s block, or terrifying your pets by acting out sword-fights, then a writing group might be just want you need. Maybe you’re even hoping to find the C.S Lewis to your J.R.R Tolkien .

But what can you do if there isn’t a writing group in your area, or the groups that do exist don’t meet your needs? Well, since writing groups can be so important for writers, maybe you should start your own. Here’s how.

Set objectives for your writing group

This is important to establish as early as possible. After all, success is based on achievement, so naturally you need something to achieve in order to feel like a successful writing group. And, without wanting to sound like a fun-sponge, it’ll also help give some structure to your meetings. Each member will probably have their own aims in mind already, so the best thing to do is discuss and collate all of these individual goals, then create a set of goals or a shared, singular goal for the writing group that everyone agrees on.

This could be many things, but here are some common examples to get you thinking:

• To write more often,
• To network with other writers working in similar genres,
• To critique each other’s work,
• To support and champion each other,
• To become better writers and editors ,
• To give each other industry or professional insight,
• To help strengthen each other’s manuscripts from first drafts to publication.

Settle on a format

Again, structure is the foundation on which success is built. Set guidelines on how the group will operate and establish clear expectations. This could include word or page counts for submissions, when and how submissions are distributed among the group, and how participation will work.

For instance, it’s worth considering how distribution will work in your writing group. Will you distribute printed copies on the day, read work aloud, send submissions out by email prior to the meet, or provide copies at one meeting to be critiqued at the next? Likewise, how will critique work? You could opt for spoken feedback, but written mark-ups are easier to refer to later. On that basis, would you prefer people write on their copies or type up a ‘report’?

Agree on a format with everyone and see how well it works. You can always try something different if it doesn’t.

Establish a critique model

Who really enjoys receiving criticism ? No-one? Thought so. We all know how important criticism is, even if we’d also rather it didn’t need to exist and we could all just blindly agree to love everything equally. Criticism can be equally hard to provide, especially if you’re having to deliver it to someone’s face on a regular basis.

Firstly, you need to decide on who gets critiqued, for how long, and when. Will all members critique all submissions at every meet-up for an equal amount of time? Will there be a minimum participation system for each submission? Will you intensively critique a different member’s submissions each time? Your writing group’s decision on this may also depend on the number of members in the group.

Then you need to decide on how the critiquing should be delivered. This can be tricky to balance, as common advice dictates that withholding feedback doesn’t best serve anyone, and yet needless criticism just for the sake of contributing can be harmful. Probably the most effective and universally-agreed-on structure for providing feedback is the critique ‘sandwich’. Here, the bread should be something complimentary and the filling should be something advisory. Positive, negative, positive. In other words, criticism is far easier to swallow when it’s presented inside encouragement.

Discuss the various options with the group and settle on a model before your first proper meet.

Be prepared

Bring notepads. Bring spare paper. Bring pens or pencils. Bring your wallet to keep coffees or beers topped up. But most importantly, bring critique notes with you if you’ve already seen the submission before the meeting. Have specific examples ready to serve up alongside the positives and negatives you highlight in someone’s work.

It’s not helpful to just shruggingly tell someone you liked or disliked their submission if you can’t tell them why. Have some questions ready to ask them, and in turn, note down any comments or questions directed at you.

Be open to change

This may sound like counter-intuitive advice considering how much I’ve banged on so far about setting ‘structure’ and ‘rules’, but flexibility is important too. Encourage feedback every now and again from the group to check that the established format and meeting schedule is still working for everyone. Is the group meeting too often? Not enough? Would a different day or time work better? Or a change of location? Is commitment to the group too much of a burden? Is there too much homework? Is everyone getting the same opportunities to contribute? Is one person contributing too much? Or too little?

You may also need to react to changes in membership numbers. If they increase, you might need to take another look at your format and submission guidelines to check they’ll still work if the group dynamic changes. If you experience a loss or stagnated membership numbers, maybe it’s time to review your recruitment policy, or push for a new recruitment drive.

Try out different ways to meet/communicate

Obviously, the main advantage of meeting in real life is the excuse to get out of the house and do some good, old-fashioned socializing (as well giving those traumatized pets I mentioned earlier a break from your one-person shows).

But, if you’re struggling to find warm, breathing, writerly human bodies within a reasonable distance, you could always use virtual space instead. Email, chat rooms, private Facebook groups, Skype, Google Hangouts, forums … the list of options just keeps increasing each year. Obviously, there are certain pitfalls associated with online, non-verbal communication, such as misinterpreted tone of voice and people’s propensity to be harsher when speaking to people they can’t see. For this reason, video or phone conversations for writing group critiquing may be best.

You could also use these methods as supplementary to physical group meet-ups. Conversations and support could continue online between each meeting, and those who are forced to miss one can still feel like they’re part of the group.

All work and no play…

You’ve got your shared objectives in mind and you’re all working hard to achieve it/them. But, taking a break from your routine can be beneficial too. Mix things up every now and again by doing something totally different to your usual meeting. Go to a book reading, or a talk from an author, or catch a movie together. Create some writing prompts or have a go at some fun writing exercises with the group. Or maybe arrange to meet up in a completely non-writing-related way, just to get to know everyone better. Often, it’s easier to be honest with people we have a rapport with.

Set the rules – and stick to them

The key to running a successful writing group can really be boiled down to three things:

• Creating a shared group objective,
• Establishing guidelines for participation,
• Following through.

There’s obviously no point in going through the trouble of adhering to the first two steps if you’re not going to stick to them. Everything should be agreed on democratically, but as the founder, you need to take responsibility for steering discussion and ensuring the group is on track to achieving its shared objective.

Starting a writing group may seem daunting, but if you take it one step at a time and make sure to consult on what works for the group, you’ll have an amazing resource that can enhance both your writing and career. Share your writing group tips in the comments, and, for more on getting great criticism, check out Your Complete Guide To Getting Useful Criticism and Everything You Need To Know About Working With Beta Readers , or if you need more convincing, try Why Joining A Writing Group May Be The Best Thing You Do All Year .

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Hannah Collins

8 thoughts on “how to run a successful writing group”.

Aah, those critique groups…. bane or bonus? My experience has been that perception is everything. When I perceive someone as not being a strong writer, I find it difficult to accept critique of my writing from that person. One more thing: The golden rule for all groups should be that the person whose work is being critiqued must sit silent, lest the whole exercise turns into a scene resembling a courtroom with the writer defending or explaining her/himself.

Thanks for the insight. That’s certainly an interesting rule that groups might find helpful to try out.

Thanks, Hannah. Your information is excellent.

Local writing groups are subject to the same peer pressure and relationship difficulties as any other group. Many people find it difficult to look someone in the eye and offer criticism.

However, online groups solve that problem. A writer can give and receive criticism, taking the requisite time to act and react. If a critique raises our hackles, we can stew until our adrenaline settles before deciding whether we want to accept the advice.

Thanks, I’m glad you found the advice to be sound.

You’re right – online groups give people a chance to meditate for longer on the feedback they get before possibly lashing out in the heat of the moment. I’ve definitely found this to be more useful than face-to-face meet ups at times, though the adrenilin rush of a hot debate in person can be quite fun!

I joined an online writing group in February this year. It was predominantly to support the novel I started writing. They ask that each submission is matched with at least two critiques of submissions from other members. Each week brings a different prompt to inspire the submission. The first critique can be difficult, but there are far more benefits. I have been able to explore a variety of genres, making me realise my strengths and weaknesses.

Thanks for the insight into how an online group can be run, and it’s great to hear you’ve benefitted from being a part of one.

I think the best case scenario is to be involved in both in-person and online groups. There are pros and cons to each and this way you get the best of both worlds.

Hi Kristen,

That certainly seems like an ideal solution for those having trouble choosing!

Thanks for the comment.

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Writing Group Starter Kit

You’ve decided to form a writing group. Congratulations! The Writing Center has established this kit to help writers like you get a group going and help it succeed, right from the start.

Starting a writing group, especially your first one, can be a little overwhelming. To help your group get off on the right foot, we’ve put together this collection of handouts for your group members to fill out before the first meeting. These will help you break the ice, learn about each other’s writing needs and group interactions, and start to plan a structure and schedule for your group that will work for everyone.

• Deciding How the Group Will Function
• Personal Goals Worksheet
• Writing Inventory Worksheet
• About My Writing Sample Worksheet
• Group Work Inventory
• Schedule Inventory

Before the first meeting, everyone should read the handouts above and prepare to discuss their answers. They should also share a short writing sample (an excerpt from a paper would be fine). Of course, your group can modify this starter kit by adding other questions you would like each person to answer beforehand or subtracting worksheets that you don’t think will help you.

In your first meeting, your group might start by talking about why each of you wanted to join a writing group (using the Personal Goals sheet), then move on to discussing yourselves as writers (using your Writing Inventory and sharing your writing samples and the “About this Writing Sample” sheets). Finally, you might discuss your preferences for working together (using the Group Work inventory) and figure out a good time and place to meet (using the Schedule Inventory). All of these conversations can help you set some ground rules for your group, which you may want to write down, and will help you get to know one another as writers and group members. You might develop your own writing group “creed” at your first meeting to set the tone for future sessions.

It may be a good idea to close your first meeting by scheduling the next meeting and setting an agenda for it. Groups usually get off to a good start when the first meeting sets most of the ground rules, at least tentatively, and then subsequent meetings get right down to talking about and working on writing. By setting an agenda for the next meeting (who will bring writing, what you will work on, etc.), you can be sure that your group will start helping one another with writing issues almost immediately, and you can all leave the first meeting knowing what you should do between then and the next session.

Writing Group Exercises

Writing groups often meet to practise their writing and use exercises and story prompts to get started. Here you’ll find writing exercises to try with your group.

Many groups set aside a section of their event to do some writing. It’s a really useful way to improve writing skills and get some feedback as well. For instance, some groups encourage members to read out what they’ve produced, or simply discuss what they learned from the exercise.

But how do you get started? Well, here you can download some exercises to try with your group. Our free downloads are divided into four categories.

Breaking the ice exercises

Writing prompts, story structure, character development.

These are just some ideas, so if you have a favourite writing exercise and would like to see it featured here, get in touch. We love hearing from writers with ideas we can share with our community.

Alphabet Story

Connecting stories, one word each, three things about me and my writing, writer bingo – experienced writers, writer bingo, writer questions - show of hands, writer questions, writing concepts discussion, random inspiration, a movie from a new angle, character inspiration, explore story theme, exploring emotions, exploring senses, first lines, objects and things, one word to inspire a story, quick story ideas, story conflict, story first lines, title inspiration, a simple story plan, a writing goal, begin with the ending story plan, consider conflict, demonstrating change, inspiration homework, no words just feelings, passive to active, pitch a story for another writer, pixar once upon a time story structure, psychic distance, show don_t tell, the same, but different, things are going from bad to worse, writing problems resolved, a character arc, a character introduced, a character plan, a character seen through someone else_s eyes, character prompts, characters favourites, characters in time and place, detailed character plan, dialogue and words unsaid, exploring characters in new ways, quick character excercises, the proust questionnaire.

5 Tips to Create a Writer’s Group that Lasts

by Emily Wenstrom | 20 comments

Participating in a writer’s group can help you improve your skills and give you support when you need it.

Photo by Veronica Miramontes

But it can be hard to get a group to stick it out for the long haul. People run out of work to submit, or something in the group dynamics doesn’t mesh, or one by one your members just start slipping away like you're in an Agatha Christie novel.

However, it doesn’t have to be that way. You can boost your group’s odds of sticking it out with some simple steps that will help you establish a constructive group dynamic from the start. Here’s my top five to get you started.

1.      Keep it small.

My group is only four people, and it’s just right for us. By keeping your group small, it’s easier to maintain a safe environment where everyone feels safe sharing work and discuss challenges.

2.      Choose writers at a similar skill level.

I met the other members of my group in a writer’s class for beginners—it was a great way to connect with other serious-minded writers at a similar level.

Though we’ve all only been writing for a few years, we each have different strengths, perspectives and even write in different genres. We help each other become more well rounded while supporting each other through common struggles for developing writers at this stage. We all gain from this group, but more experienced writers probably wouldn’t benefit as much as we do.

3.      Keep it flexible.

I think the smartest thing my group has done is stay flexible about how we operate. We try to meet about once a month, but change when and where depending on what works best for everyone. We try to rotate between members for critique time, but switch as necessary if someone has a crazy month.

And you don’t have to submit work to take advantage of your committed time slot, either—you can also choose to bring a writing-related topic for discussion.

4.      Don’t get too ambitious.

We choose to meet a once-a-month commitment to avoid making the group too much of a burden on anyone—the same goes for our two-critiques-per-session rule. Additionally, we limit each submission to fifteen double-spaced pages.

What your group chooses to do may be different, but let your decisions be guided by the same principle: protecting yourselves from becoming overburdened by the commitment.

Remember, you can always adjust later if it’s not right.

5.      Set clear guidelines for feedback.

Our group originally formed within a writing class, so we already had a set of critique guidelines to draw from. These guidelines have been an essential foundation for us.

From the beginning, we understood that, when giving feedback, we first give an overview statement of what we understand of the plot and characters in the scene, then move on to the items we liked, and then the areas we thought could be strengthened more.

Critique can be rough on even the toughest writers … respect the courage your group is showing by laying down clear expectations that keep critique friendly and supportive.

Writers, like other artists, get a bad rap for being flighty and inconsistent. But you can get a group of writers to commit to a group long-term if you tailor it to meet the group’s needs.

Are you part of a writer's group? What tips do you have to create a group that lasts?

Grab your pen! For fifteen minutes, write about what you would look for in a writer's group.

What rules would you set for yours? If you've been in one, what made it a success?

Emily Wenstrom

By day, Emily Wenstrom, is the editor of short story website wordhaus , author social media coach, and freelance content marketing specialist . By early-early morning, she is E. J. Wenstrom , a sci-fi and fantasy author whose first novel Mud will release in March 2016.

20 Comments

I’ve belonged to the same writer’s group for 7 years but its members change constantly. It represents all age groups and genres. Sometimes there are 10-11 members present, sometimes only 4-5. I like the small groups better. We send a memo ahead of time to see how many are coming and each brings a number of copies of what they plan to read. The reading should not take more than 10 minutes. We start with a very brief visit and share if anyone has been recently published. If so, that person brings chocolate for the whole group to celebrate! Critiqueing is very positive and helpful; anyone can offer a suggestion. We meet twice a month at the local library conference room. No pressure if you miss a meeting or two. One problem I have is that none of the other members write poetry and feel unqualified to critique it. I don’t write it often, but like to try different writing styles. Our group is very inspiring and supportive. We also meet occasionally at the home of one individual. I love the idea of reading an article relating to writing if one does not have a story to share. Love to hear about other writing groups!

Thanks for sharing Eva, sounds like a great group. I love when someone chooses to bring a topic instead of a writing sample to our group–it can be a great opportunity to trade ideas with other writers.

We have more and more members of both groups experimenting with poetry. It is great fun. I may not know enough to critique poetry, but I know when something makes me sit up and pay attention. Isn’t that enough. Share your poetry. Reading it aloud to the group will be helpful to them as well as you. You may have some closet poets just itching to share too.

The writers Guild has about 15 active members with about 10 attending. We meet monthly with readings and comments first and then prompts, writing and reading the last half. This is open to everyone at any time. No rules. It is lovely as we get some interesting characters periodically. They usually drop out on their own, but it gives us more personalities to draw on.

The writing class I belong to also has 6 members, plus our teacher/coach who we pay to write curriculum for us. (She is a published curriculum author for school publishers and teaches writing classes in different venues.) Four of our members attend Guild regularly and one of them is the Guild leader. I love both groups, but at the smaller class we really do spill our guts and make a supreme effort to up the risk. Funny thing, we are all in our early 60s and bonded like sisters after three years.

Glad I am a member of both groups and also NaNoWriMo, which usually consists of weekly write ins in November at our local library, The five people who stay to the end type quietly without talking. It is a competition after all.

That sounds like a great mix! I will have to look for NaNoWriMo groups in my own area…what a great way to stay motivated.

I was part of a wonderful writers’ group a few years ago. If I were looking for another group now, I’d choose the same one. All were seasoned writers who’d published widely in literary anthologies, journals, and magazines. Some were working on novels, some on poetry, some on articles and essays for publication, and it was just fun getting together and sharing with these women, who were all on the same level. It was small, only about five of us. We met every two weeks and shared. At the time I was working on a novel, and would read a new chapter every time we met. It really helped me sharpen my writing, just knowing I’d be reading my latest installment for an audience of pros.

Hey Debra. Sounds like an impressive crew.

They were Emily. They helped me finish the novel because I was accountable to them. That’s what made it work for me. Now I don’t have anyone holding my feet to the fire, and that being the case, I sometimes get slack. I do need a good group again. Thanks!

Always arrange for coffee, whether making it on site or someone bringing it. We used to meet at a Starbucks, then a coffee grinding shop. Now we have our very own room on campus, with its own coffee maker… priorities. That’s my veteran’s writing group, different ages, different wars, but we all have military in common. We try recruiting by suggesting our group supplies therapy for those suffering from PTSD… Once someone starts telling a story, the flood gates open for all of us.

That’s amazing. Story can be so powerful. Thanks for sharing. (And definitely with you on the coffee!)

Great advice, Emily. People will do it if it’s doable. Thanks!

Our writing group only rarely adjust meeting dates (i.e. if it falls on a holiday or something like that). Otherwise, we meet every other Wednesday rain or shine. It’s nice to know that is a standing date and it feels like a real commitment. There are also several of us, so trying to find a new date that would work for everyone would be a real nightmare.

I also suggest keeping things professional during the meeting time. Too often writing groups can dissolve into social chit-chat or therapy sessions. If people want to socialize, they should do that before or after the meeting, not during. This is a make-or-break deal for me.

That’s very different from my writing group experience, and it’s a really great idea, Rachael. Thanks!

I like the twice-monthly meetings. Most groups, including mine, meet only monthly. You must have built up a dedicated corps of writers.

We have an extremely dedicated bunch! And results, too–agents, published books (several YA and a memoir), MN Book Award nominations and finalists, etc. I think a lot of that has to do with the emphasis and importance we place on our writing.

I’m so in love with my writer’s group in Ramallah, Palestine, I made a short movie about them. We think it’s hysterically funny. If you’re curious, feel free to watch and get a sense of what a writer’s group can be: http://www.noralestermurad.com/2013/04/17/video-spoof-of-my-writing-circle-in-palestine/

I am not part of a formal group, but this last year I met someone who writes – similar in both genre and experience level – and it has been a great experience to talk about writing, critique each others’ work, and vent together about the stresses of pursuing publication.

After five years of attending them, I’m a champion of critique groups for the developing writer, but I would argue with nearly every point presented here. By keeping the group small you run the risk of having too few members show up for the writer to gauge the true reception of a piece. We encourage newbies to partner up with more experienced writers first to get over the fear of submitting to a larger group.

Choosing writers of similar experience levels tamps down progress. Our group is blessed to have writers of all levels, some published, to share. To see good writing, learn how it works, is the ticket to rocketing your work ahead. Experienced writers get the chance to develop deeper rationales of how and why they do what they do by working with the less so.

“Keeping it flexible” may be good at the start but we’ve found a format that works for us and haven’t been too keen on changing it. Poetry has its own group. We offer classes and workshops outside the critique group. The critique group is where you go to have your work reviewed. We don’t pretend to be everything to everybody, writing or not. The expectations are clear. New members know what they’re in for.

Finally, as to ambitions and guidelines, we have just the right mix of “encouragers” and “critics”, both necessary for the development of a writer. Those strictly from one end of the spectrum or the other can be detrimental. A good facilitator can help coral and move things around. No matter what, the truth needs to be said.

I don’t buy the “critique group is a safe haven” concept. If anything is safe, no one is really stretching or growing. If a group wants to get together for a glass of wine or a bowling night, so be it. But don’t call it a critique group.

Would the word, “respectful” instead of the word, “safe” be a better fit in this context? To grow, we do need to see other perspectives of fellow writers. For instance, if there is a problem spotted within someone’s piece, cite it and ask if XYZ might be tried as a solution.

I’m in two groups. One of them (writersrumpus.com/about) is the exact opposite of what you describe: Big, open, with writers and illustrators, newbies through published authors, and membership constantly changing–and it works, except when the group size reduces the frequency of submission. But most people in the big group also belong to other, smaller ones, which makes for some good networking.

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How to Launch a Writers’ Group: 6 Pieces of Advice

A well-known African proverb says, “It takes a village to raise a child.” The same is true for writing.

Six months ago, I had an idea to start a writers' group, a cohort of people banded together by their passion for writing. Three months later, I launched the web presence of the group, The Write Practice.

Since then, I've learned a little more every day about what it takes to start a successful writers' group . It's not easy, but it's worth the effort.

The only good reason you should start a writing group is if you don't already have access to a one. It's far easier to join a group than it is to start one.

However, for the brave and stubborn, here are six pieces of advice about how to launch your very own writers' group.

1. Help people

People join writing groups to get help, so if don't want to help other writers, don't start a group.

How can you help your fellow writers?

My group helps people develop their writing voice , but others might help you build your online platform, network with other writers, or help you deal with rejection.

The possibilities are endless, but the non-negotiable is that you must help people.

2. Have a physical and online presence

From the beginning, I wanted my writing group to be both online and off-line.

The Internet is an amazing way to connect people to each other.  Blogging especially is a great way to meet people. However, it's difficult to build deep and meaningful relationships in a writing group if you only meet online.

As the leader, it's your job to find ways to connect those people in real life. You may find yourself throwing parties, starting book clubs, or even going to writing workshops and conferences.

3. Throw parties

Chuck Palahniuk said, “Use writing as your excuse to throw a party each week — even if you call that party a ‘workshop.'”

I love the idea of a group of people coming together to celebrate their passion.

Once a month, my wife and I host a “writing feast.” We make a bunch of food, invite a bunch of our writer friends over to the house, and have a big party.

We might talk a little about our writing or the books that inspire us, but mostly, we celebrate the gift of writing.

4. Be consistent

Writers, like all creatives, can be terribly inconsistent.

We like to write when we want to write, to get together when we want to. However, to build a group you have to show up consistently.

If you're going to meet in person, meet at the same time every week. If you're going to create an online community, contribute every day or at regular intervals.

Writing groups take a long time to build, and if you don't show up consistently, no one else will.

5. When critiquing, focus on the bright spots

One of the main reasons people join writing groups is to get feedback about their work. However, there is a helpful way and an unhelpful way to do this.

The human mind naturally focuses on flaws. It's in our wiring.

When you critique someone's writing, try to intentionally look for way to praise the person's work (even if you didn't really like all of it). For example, say, “I loved what you did here . You should do that more often.”

It's more helpful when someone tells you to do something more than when they tell you what you're doing is wrong .

6. Beware “Entrepreneur's Depression”

As you are preparing to start your writers' group, you might dream of dozens of writers showing up to your first meeting. You may fantasize droves of hungry writers saying, “We've been waiting for someone to start this for years. Thank you so much! Lead us, oh fearless sage.”

But it doesn't happen like that.

The first time I threw a writing feast, two people showed up. After three months of preparation, my website had received less than 100 visits in the first week.

When you don't get the response you expect, the you may feel betrayed. This is normal . But whatever you do, don't give up. Fight through the disappointment.

If your dream for a writing group is going to become a reality, you will have to keep showing up. You'll have to persevere.

No one is going to start it if you don't.

Would you want to be a part of a writers' group? What would you look for as part of your perfect cohort? Share in the comments .

*Photo credit: Horia Varlan (Creative Commons)

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Posted on Nov 19, 2018

15 of the Best Online Writing Communities for Aspiring Authors

As enjoyable and fulfilling as writing can be, the truth is that it’s often a solitary endeavor. While we might romanticize the focused artist typing away while imaginary worlds and narratives swirl inside their minds — authors know the truth: writing can get lonely. And moreover, when you’re working on a one-person project, it can be hard to remain motivated and accountable. That’s where writing communities come in.

Writing communities are the perfect place to find answers to your writing questions and to discuss the ins and outs of the writing life with people who actually understand what you’re talking about.

So, if you are tired of listening only to the voices in your head, take a look at our list of top online writing communities. (And if you're hungry for more, check out our more exhaustive list of the very best writing websites !)

Top online writing communities

1. absolute write water cooler.

With over 68,000 members, this is a large and highly active community. Here you can find threads on every genre imaginable, as well as discussions about freelance writing , the publishing industry, pop culture, writing prompts and exercises, and much more.

Perfect for: writers who are looking for a large and active community.

2. AgentQuery Connect

While this forum will come in handy for any writer, it’s especially helpful for authors who have already completed their manuscript and are wondering what to do next. The site boasts a wealth of information on publishing topics such as querying agents, self-publishing tips, and book promotion advice.

Perfect for: writers who are looking to connect with agents and learn more about the publishing industry.

3. Camp NaNoWriMo

If you’ve ever wanted to go to a writer’s retreat but can’t afford it just yet, then this site might help scratch your itch. Holding online “camp sessions” in April and July, Camp NaNoWriMo offers a digital space to encourage and empower writers at any point of their career. Here you can work on drafts, revisions, short stories, or any other writing project that involves word-count goals.

Perfect for: writers who can’t wait until November to crack their writing goals .

4. Critique Circle

Feedback should be a vital part of any writer’s process, and this is exactly what Critique Circle offers. This members-only site allows authors to post stories in exchange for feedback on other people’s writing. You can also find storyboarding tools , writing prompts , workshops, name generators , games like hangman, and much more.

Perfect for: writers who want honest feedback on their writing.

5. Chronicles

As the world’s largest Science Fiction and Fantasy online community, Chronicles offers writers the opportunity to get together and discuss the latest books, news, and pop culture in the Sci-Fi and Fantasy world. This is an active community with thousands of threads that include genre-specific challenges, workshops, critiques, and even publishing and industry information.

Perfect for: writers interested in Science Fiction and Fantasy writing.

6. Facebook Groups

If social media is more your style, don't miss the chance to interact with your fellow writers by joining Facebook groups in your own niche. Look for groups with a strict "no self-promotion" rules so that it remains supportive and useful to your writing goals.

There are a lot of groups out there in a variety of topics that range from genre-specific writing tips to traditional and self-publishing industry news. Here are just a few of them:

The Street Team — Reedsy's own book marketing group for self-publishing authors. 10 Minute Novelists — a group for the time-crunched writer. Calls for Submissions  — for writers looking for publication opportunities. Fiction Writers Global — a great resource for information about traditional and self-publishing. Writers Unite! — an active group with plenty of support and motivation for novice and experienced writers alike.

Perfect for: writers who prefer using social media.

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7. Insecure Writer’s Support Group

Whether you are a debut or seasoned author, there’s no doubt that writing a book can be intimidating and rife with bouts of self-doubt. The Insecure Writer’s Support Group aims to help you overcome those insecurities by hosting a community of like-minded authors.

Perfect for: writers who have doubts about their writing and are in need of encouragement.

8. The Next Big Writer

This is an international forum where writers can receive feedback on their writing and support on every other part of the creative process from drafting to publishing and marketing. The critiques are often thorough and many come from published authors. Keep in mind that there is a monthly cost associated with the membership, but it might be worth it to be able to bend the ear of published authors.

Perfect for: writers seeking in-depth critiques from an international audience.

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More than just a single writing community, Reddit has countless ‘subreddits’ where writers of all genres, interests, and levels of experience flock. While it may not offer workshops or tools, members can find niche threads that relate to their interests, critique other people’s work, and discover helpful sources of information.

There are so many different subreddits that you can get lost browsing them, but here are a few of the most popular ones:

r/writing — for general writing purposes. r/writingprompts — for user-submitted writing prompts. r/destructivereaders — beware, if you don’t like harsh criticism this may not be the best fit. But if you are willing to endure it, you will come out a better writer at the end. r/worldbuilding — user submitted fiction worlds. r/fantasywriters — for anybody interested in the fantasy genre. r/characterforge — the place to be for character building. r/writerchat — for those interested in talking with fellow writers. r/selfpublish — for anybody interested in self-publishing. r/logophilia — “the love of words and word games,” and that’s exactly what you’ll find here. r/freelanceWriters — for anybody interested in a career in freelance writing . r/books — because reading is just as important as writing if you want to be a successful author.

Perfect for: writers who want niche threads based on a particular interest or need.

10. Scribophile

One of the largest communities in the world, Scribophile offers workshops, tutorials, and critiques for authors in just about any genre imaginable. While it is free to join, only users who pay for a membership get access to all their features.

Perfect for: authors whowant to take part in writing workshops alongside writers of all experience levels.

11. She Writes

With over 30,000 members, this is the largest writing community exclusively for women. Here you can find articles on writing, editing, and marketing for every genre. There are forums tailored to specific needs, like travel writers, writing about trauma, NaNoWriMo, and many other topics.

Perfect for: women writers who want a place to connect and learn from fellow writers.

12. Talentville

If your passion lies in screenwriting, then you’ll want to book a one-way ticket to Talentville. Here you can get feedback on your writing and learn the skills necessary to perfect your screencraft. Plus, you can work on and build your network of contacts: the site is also a frequent stop for industry professionals (like agents, managers, and producers) on the lookout for new talent.

Perfect for: writers whoare interested in screenwriting and networking.

13. Underlined

A writing community by Penguin Random House. While any author can find helpful information on this website, it’s geared more towards younger writers. It has a well-designed platform, quizzes, genre-specific information, the latest news on book releases, Q&As with authors, and even some giveaways and excerpts as perks.

Perfect for: younger writers who are looking for genre-specific information and bookish perks.

14. Writers Helping Writers

This is a free-to-register community where you can find resources for writers, teachers, and editors alike. They offer a vast array of tools to perfect your craft, no matter your level. Their extensive creative library includes webinars, free writing and marketing tools, a thesaurus collection, story maps, idea generators, and more.

Perfect for: writers, editors, and teachers who are looking to build up their writing toolbox.

15. #WritingCommunity

Sometimes, all you need is a hashtag. And indeed, Twitter's own #WritingCommunity is one of the most robust writing collectives on the web. Ask a question, and it'll almost certainly get answered (without a lot of Twitter's trademark snark). The key here is to keep your questions concise, reply often to others, and don't go crazy with other hashtags. The community can tell if you're just thirsty for RTs. Perfect for: writers who are finally ready to use Twitter for good — and not just for procrastinating.

Do you belong to a writing community? Which one is your favorite one? Add yours in the comments below!

13 responses

27/11/2018 – 22:42

Very useful post. Thanks for this. I will be linking to it on my blog.

Dr Jack Edward Effron says:

18/02/2019 – 16:40

You left out taylz.com. It’s truly free. They are not going to give you a rubbish service to make you join their pay site because they have no pay site. Your story can be 8,000 words. They are not going to force you into flash fiction of 3,000 words. One critique out, one critique in: no mucking about with “karma” or critiquing 5+ stories to get one critique. The great new idea whose time has come! And it’s British, not American.

marieseltenrych says:

08/05/2019 – 12:28

Reedsy, thank God you are here! I want to ask a question to other authors or self publishers here: I have been approached by OmniScriptum to publish my books (research) with them. I cannot find much about this company online, so wondered if anyone has published with them recently? Thanks Reedsy in anticipation. Marie

↪️ Reedsy replied:

08/05/2019 – 12:29

Hi Marie! Sounds potentially very shady to me. If you haven't already, check out our post on predatory companies in publishing. One of the rules of thumb is that if a publisher contacts you first, be very wary. I just did 20 seconds worth of Googling and found some people who had a bad experience.

Eunice Brownlee says:

I am a member of illuminate, which is a group designed around supporting women who want to share their stories but don't know how. The majority of us write non-fiction essays and memoirs, but we have a few poets and fiction writers in the mix as well. The overall goal is to support each other, especially through those harder moments of not wanting to write, or not knowing where to start. There are monthly themes and prompts, a weekly exercise inside the Facebook group, and cross-sharing of what we're working on. My favorite feature is the expert review, where you can submit any piece you're working on each month and you'll get quality feedback from one of the editors that manage the group. This group is perfect for anyone who is just getting started writing.

↪️ Brittani B replied:

11/02/2020 – 19:27

I tried the link multiple times both from this page and separately searched and was unable to access the site.

Harry says:

05/06/2019 – 07:51

Personally I think you missed out the best writing community: https://community.jerichowriters.com/ Jericho Writers is a free writing community that writers can safely share thought, make friends, swap work and get advice

Christian says:

08/08/2019 – 12:21

I only recommend Scribophile if you enjoy being coerced into groupthink. If you hope to get meaningful critique that will help you, look elsewhere. The critiques here are mostly SPAG, and it's forbidden to discuss your work on the main forums, except in the broadest, vaguest way.

Randy says:

18/08/2019 – 06:11

I have all my dads writing research and copyrights to 18 different books....all this was before the digital world .... many negatives photos ....every major story from all over the world with his .copyright . These are huge stores and his books are really well written ....what should I do with them .....incredible spy work as well

Ratih says:

27/08/2019 – 03:50

As a new writer this article is really useful for me. Thank you reedsy

Jennifer says:

02/09/2019 – 14:15

Hi guys! Great blog! Just wanted to let you know that we linked to you in a blog on the Peaceful Living Wellness Online Magazine :) It will be published on Friday, September 6th, 2019

↪️ Martin Cavannagh replied:

17/09/2019 – 09:04

Thanks! We appreciate that!

Kaylee Downey says:

14/02/2020 – 19:09

Um...what about Wattpad?

Comments are currently closed.

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AI on Trial: Legal Models Hallucinate in 1 out of 6 (or More) Benchmarking Queries

A new study reveals the need for benchmarking and public evaluations of AI tools in law.

Artificial intelligence (AI) tools are rapidly transforming the practice of law. Nearly  three quarters of lawyers plan on using generative AI for their work, from sifting through mountains of case law to drafting contracts to reviewing documents to writing legal memoranda. But are these tools reliable enough for real-world use?

Large language models have a documented tendency to “hallucinate,” or make up false information. In one highly-publicized case, a New York lawyer  faced sanctions for citing ChatGPT-invented fictional cases in a legal brief;  many similar cases have since been reported. And our  previous study of general-purpose chatbots found that they hallucinated between 58% and 82% of the time on legal queries, highlighting the risks of incorporating AI into legal practice. In his  2023 annual report on the judiciary , Chief Justice Roberts took note and warned lawyers of hallucinations. 

Across all areas of industry, retrieval-augmented generation (RAG) is seen and promoted as the solution for reducing hallucinations in domain-specific contexts. Relying on RAG, leading legal research services have released AI-powered legal research products that they claim  “avoid” hallucinations and guarantee  “hallucination-free” legal citations. RAG systems promise to deliver more accurate and trustworthy legal information by integrating a language model with a database of legal documents. Yet providers have not provided hard evidence for such claims or even precisely defined “hallucination,” making it difficult to assess their real-world reliability.

AI-Driven Legal Research Tools Still Hallucinate

In a new  preprint study by  Stanford RegLab and  HAI researchers, we put the claims of two providers, LexisNexis (creator of Lexis+ AI) and Thomson Reuters (creator of Westlaw AI-Assisted Research and Ask Practical Law AI)), to the test. We show that their tools do reduce errors compared to general-purpose AI models like GPT-4. That is a substantial improvement and we document instances where these tools provide sound and detailed legal research. But even these bespoke legal AI tools still hallucinate an alarming amount of the time: the Lexis+ AI and Ask Practical Law AI systems produced incorrect information more than 17% of the time, while Westlaw’s AI-Assisted Research hallucinated more than 34% of the time.

Read the full study, Hallucination-Free? Assessing the Reliability of Leading AI Legal Research Tools

To conduct our study, we manually constructed a pre-registered dataset of over 200 open-ended legal queries, which we designed to probe various aspects of these systems’ performance.

Broadly, we investigated (1) general research questions (questions about doctrine, case holdings, or the bar exam); (2) jurisdiction or time-specific questions (questions about circuit splits and recent changes in the law); (3) false premise questions (questions that mimic a user having a mistaken understanding of the law); and (4) factual recall questions (questions about simple, objective facts that require no legal interpretation). These questions are designed to reflect a wide range of query types and to constitute a challenging real-world dataset of exactly the kinds of queries where legal research may be needed the most.

Figure 1: Comparison of hallucinated (red) and incomplete (yellow) answers across generative legal research tools.

These systems can hallucinate in one of two ways. First, a response from an AI tool might just be  incorrect —it describes the law incorrectly or makes a factual error. Second, a response might be  misgrounded —the AI tool describes the law correctly, but cites a source which does not in fact support its claims.

Given the critical importance of authoritative sources in legal research and writing, the second type of hallucination may be even more pernicious than the outright invention of legal cases. A citation might be “hallucination-free” in the narrowest sense that the citation  exists , but that is not the only thing that matters. The core promise of legal AI is that it can streamline the time-consuming process of identifying relevant legal sources. If a tool provides sources that  seem authoritative but are in reality irrelevant or contradictory, users could be misled. They may place undue trust in the tool's output, potentially leading to erroneous legal judgments and conclusions.

Figure 2:  Top left: Example of a hallucinated response by Westlaw's AI-Assisted Research product. The system makes up a statement in the Federal Rules of Bankruptcy Procedure that does not exist (and Kontrick v. Ryan, 540 U.S. 443 (2004) held that a closely related bankruptcy deadline provision was not jurisdictional). Top right: Example of a hallucinated response by LexisNexis's Lexis+ AI. Casey and its undue burden standard were overruled by the Supreme Court in Dobbs v. Jackson Women's Health Organization, 597 U.S. 215 (2022); the correct answer is rational basis review. Bottom left: Example of a hallucinated response by Thomson Reuters's Ask Practical Law AI. The system fails to correct the user’s mistaken premise—in reality, Justice Ginsburg joined the Court's landmark decision legalizing same-sex marriage—and instead provides additional false information about the case. Bottom right: Example of a hallucinated response from GPT-4, which generates a statutory provision that has not been codified.

RAG Is Not a Panacea

Figure 3: An overview of the retrieval-augmentation generation (RAG) process. Given a user query (left), the typical process consists of two steps: (1) retrieval (middle), where the query is embedded with natural language processing and a retrieval system takes embeddings and retrieves the relevant documents (e.g., Supreme Court cases); and (2) generation (right), where the retrieved texts are fed to the language model to generate the response to the user query. Any of the subsidiary steps may introduce error and hallucinations into the generated response. (Icons are courtesy of FlatIcon.)

Under the hood, these new legal AI tools use retrieval-augmented generation (RAG) to produce their results, a method that many tout as a potential solution to the hallucination problem. In theory, RAG allows a system to first  retrieve the relevant source material and then use it to  generate the correct response. In practice, however, we show that even RAG systems are not hallucination-free. 

We identify several challenges that are particularly unique to RAG-based legal AI systems, causing hallucinations. 

First, legal retrieval is hard. As any lawyer knows, finding the appropriate (or best) authority can be no easy task. Unlike other domains, the law is not entirely composed of verifiable  facts —instead, law is built up over time by judges writing  opinions . This makes identifying the set of documents that definitively answer a query difficult, and sometimes hallucinations occur for the simple reason that the system’s retrieval mechanism fails.

Second, even when retrieval occurs, the document that is retrieved can be an inapplicable authority. In the American legal system, rules and precedents differ across jurisdictions and time periods; documents that might be relevant on their face due to semantic similarity to a query may actually be inapposite for idiosyncratic reasons that are unique to the law. Thus, we also observe hallucinations occurring when these RAG systems fail to identify the truly binding authority. This is particularly problematic as areas where the law is in flux is precisely where legal research matters the most. One system, for instance, incorrectly recited the “undue burden” standard for abortion restrictions as good law, which was overturned in  Dobbs (see Figure 2). 

Third, sycophancy—the tendency of AI to agree with the user's incorrect assumptions—also poses unique risks in legal settings. One system, for instance, naively agreed with the question’s premise that Justice Ginsburg dissented in  Obergefell , the case establishing a right to same-sex marriage, and answered that she did so based on her views on international copyright. (Justice Ginsburg did not dissent in  Obergefell and, no, the case had nothing to do with copyright.) Notwithstanding that answer, here there are optimistic results. Our tests showed that both systems generally navigated queries based on false premises effectively. But when these systems do agree with erroneous user assertions, the implications can be severe—particularly for those hoping to use these tools to increase access to justice among  pro se and under-resourced litigants.

Responsible Integration of AI Into Law Requires Transparency

Ultimately, our results highlight the need for rigorous and transparent benchmarking of legal AI tools. Unlike other domains, the use of AI in law remains alarmingly opaque: the tools we study provide no systematic access, publish few details about their models, and report no evaluation results at all.

This opacity makes it exceedingly challenging for lawyers to procure and acquire AI products. The large law firm  Paul Weiss spent nearly a year and a half testing a product, and did not develop “hard metrics” because checking the AI system was so involved that it “makes any efficiency gains difficult to measure.” The absence of rigorous evaluation metrics makes responsible adoption difficult, especially for practitioners that are less resourced than Paul Weiss. 

The lack of transparency also threatens lawyers’ ability to comply with ethical and professional responsibility requirements. The bar associations of  California ,  New York , and  Florida have all recently released guidance on lawyers’ duty of supervision over work products created with AI tools. And as of May 2024,  more than 25 federal judges have issued standing orders instructing attorneys to disclose or monitor the use of AI in their courtrooms.

Without access to evaluations of the specific tools and transparency around their design, lawyers may find it impossible to comply with these responsibilities. Alternatively, given the high rate of hallucinations, lawyers may find themselves having to verify each and every proposition and citation provided by these tools, undercutting the stated efficiency gains that legal AI tools are supposed to provide.

Our study is meant in no way to single out LexisNexis and Thomson Reuters. Their products are far from the only legal AI tools that stand in need of transparency—a slew of startups offer similar products and have  made   similar   claims , but they are available on even more restricted bases, making it even more difficult to assess how they function. 

Based on what we know, legal hallucinations have not been solved.The legal profession should turn to public benchmarking and rigorous evaluations of AI tools. 

This story was updated on Thursday, May 30, 2024, to include analysis of a third AI tool, Westlaw’s AI-Assisted Research.

Paper authors: Varun Magesh is a research fellow at Stanford RegLab. Faiz Surani is a research fellow at Stanford RegLab. Matthew Dahl is a joint JD/PhD student in political science at Yale University and graduate student affiliate of Stanford RegLab. Mirac Suzgun is a joint JD/PhD student in computer science at Stanford University and a graduate student fellow at Stanford RegLab. Christopher D. Manning is Thomas M. Siebel Professor of Machine Learning, Professor of Linguistics and Computer Science, and Senior Fellow at HAI. Daniel E. Ho is the William Benjamin Scott and Luna M. Scott Professor of Law, Professor of Political Science, Professor of Computer Science (by courtesy), Senior Fellow at HAI, Senior Fellow at SIEPR, and Director of the RegLab at Stanford University. 

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Browns GM Andrew Berry at owners meetings on Nick Chubb, draft, Jerry Jeudy and others

ORLANDO, FLA. — Andrew Berry is in the midst of what could easily be considered his time of the year.

The Browns general manager is two-plus weeks into free agency, where he can reshape the roster in a major — or minor — way as he sees fit. He's also about a month away from the NFL draft, where he'll have the chance to add more to young talent.

On Tuesday, though, Berry sat down with a small group of beat writers, including the Beacon Journal, at the NFL owners meetings at the JW Marriott Grande Lakes in Orlando, Fla. The 37-minute conversation broached a variety of topics, from the free-agent signings already done to the health of quarterback Deshaun Watson and running back Nick Chubb and everything in between.

Here's some bullet-point highlights from Berry's conversation Tuesday.

Nick Chubb proceeding, but 'next three months' big

Chubb continues to rehab from the major knee injury he suffered in Week 2 at the Pittsburgh Steelers, The injury required two separate surgeries during the fall, although he wasn't on crutches by the end of the regular season.

Berry tried to give an idea of when the Browns could reasonably start to set a true timetable for his return to the field.

"I think that as we think about it, until we see him in the next couple months, I think the next, call it three months, will be pretty telling in terms of his potential readiness for early in the season," Berry said. "We are going to be conservative in terms of our approach in our assessment with building the roster because he is coming off of a major knee injury. But I do have to give him a lot of credit. He's done a really, really nice job. But I think we'll have a better sense. Don't hold me to it, but I think probably if you ask me that question around the draft, I may have maybe a little bit more of a specific answer."

Jerry Jeudy's extension part of 'proactive' approach

The Browns acquired wide receiver Jerry Jeudy from the Denver Broncos in a trade more than two weeks ago. A week ago, even before playing a game for the team, he agreed to a three-year, $52.5-million extension that will run through the 2027 season.

"Yeah, so one of the things that we feel like is a competitive advantage for us has been our contract management philosophy," Berry said. "And we're firm believers that in that space the best front offices or the best teams are proactive as opposed to reactionary and market dynamics. … In Jerry's case, you already saw two new receiver contracts enter the market that really are harbinger of things to come in that market. I mean, probably by Week 1 of the NFL season, the top of that market's going to be north of $30 million.

"So as we think of the contract management space, rather than be reactive to new market, we try and be proactive. And probably more importantly is when we think about an extension or a signing, we think about, OK, well where is the market actually going to be on September 1 as opposed to maybe an irrelevant market on March 1, so to speak."

Andrew Berry addresses potential for draft movement

The Browns have two day-two draft picks: No. 54 overall (second round) and No. 85 (third). They have three day-three picks: No. 156 (fifth), No. 206 (sixth) and No, 243 (seventh).

There's some sizeable gaps between picks for the Browns. Berry was asked about the chances of trying to move around to fill those gaps.

"You guys probably know me well enough that we can always be moving around," Berry said. "I'd say it's probably less so because of the gap in picks because we think about it less in terms of let's say the aggregate number of picks between our selections and more about, let's say, the ranges of the draft where you're getting similar talent, or historically, where you get similar talent. I think I've mentioned this before, once you get to that point in the draft, the likelihood that you're getting a starter or a role player, it flattens pretty significantly and probably a lot earlier than people maybe externally realize."

Quick hits: Dawand Jones, Mike Vrabel, Greg Newsome II, others

• On Dawand Jones playing left tackle: "I think I said this in 2020, where tackles or tackles. I think the distinction between left tackle and right tackle is obsolete. We're in a division where (Steelers star( T.J. Watt plays on the offensive right the entire game. It's not really a lot that we've talked about. We're pleased with Dawand in terms of where he is. But like I said, I think the distinction of left and right tackle is obsolete."
• On Mike Vrabel's role in personnel: "I won't go into the specifics, but I think any person who sat in a head coach's seat, they just have a broader perspective. No different than if you go from being a scout to a general manager, you just have a broader perspective in terms of team building and some of the challenges that come into place. There are a lot of good relationships with Mike in our building between (head coach) Kevin (Stefanski), myself, (defensive coordinator) Jim (Schwartz). We love having him around and we're using him in a variety of areas that we think that he can help with, but we're happy to have him aboard."
• On cornerback Greg Newsome II trade rumors: "Yeah, I can't help what players come up and trade rumors. We have that every year, but we're pleased with Greg, anticipate him continue to playing a big role for us."
• On conversations with Kevin Stefanski about staff changes: "We talk about staff just like we talk about players all the time. We really do view it as like a partnership. It really is almost like a marriage. So, I don't think maybe negotiation is the right way to characterize it. At the end of the day, we're trying to problem solve and find out and make the decisions that put the team in the best place to be competitive in the short and long term. So, I think every conversation starts from there and starts from a place where we don't have to question whether or not the other person has either individually like the other person's best interest in mind, or the team's best interest in mind. And that makes those more challenging conversations easier.
• On involvement in deciding who calls plays: " I think I view myself as more of a sounding board in that I trust his judgment in that regard. And I think that with the play calling process, Kevin has his self-deprecating sense of humor, but he always says, okay, if you know how to read, you can be a play caller. I think the larger point there, or maybe he wouldn't say this, but I would say being a play caller, the play calling process, it's not Sunday or the least amount of work is on Sunday. A lot of it is the planning that you do throughout the week and the plan that you put together going into the game. There's certainly a feel element. I don't think anyone would dismiss that, but that's really the tip of the iceberg where it's really the process by which you get to your play sheet and how you organize it that really leads to success."

Chris Easterling can be reached at [email protected]. Read more about the Browns at www.beaconjournal.com/sports/browns. Follow him on X at @ceasterlingABJ

Carmelo Anthony will join ownership group of future Australian NBL team

Source: Andscape

What's the buzz on Twitter?

Carmelo Anthony's team ownership aspirations start with Australia's NBL. Future Hall of Famer discusses becoming an #NBA owner, his son's career, state of U.S. grassroots basketball and more. bit.ly/3Xd5Z97 @andscape - 3:14 PM

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