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| Wedding pictures | |
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| Through the senses | |
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| My pet | |
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| Two people come out of a building and into a story | |
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| The seed | |
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| Truthful dare | |
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| The photograph | |
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| The prefab story exercise | |
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| The upside-down bird : hybridizing memory, place, and invention | |
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| A map to anywhere | |
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| Starting with the news | |
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| Wedding cake assignment | |
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| A tabula rasa experiment | |
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| Collage | |
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| The five senses | |
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| Birth of a story in an hour or less | |
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| Surrealism exercise, or thinking outside the box | |
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| Overcoming dry spells | |
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| Field trip | |
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| Smushing seed ideas together | |
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| The writing exercise : a recipe | |
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| A story to tell | |
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| First-person point of view : imagining and inhabiting character | |
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| You-me-I-you in the cafeteria | |
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| Getting characters' ages right | |
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| What are they thinking? : a point-of-view exercise | |
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| Third-person narration and "psychic distance" | |
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| Look backward, angel | |
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| Let the dead speak : an exercise in first-person narration | |
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| Empathy and the creation of character | |
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| What's under the surface? | |
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| The interview | |
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| "Once upon a time" : playing with time in fiction | |
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| Why I stole it | |
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| Language portrait | |
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| Paw through their pockets, rifle through their drawers : a character exercise | |
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| Mr. Samsa, meet Bartleby | |
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| Rattlesnake in the drawer | |
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| A family theme, a family secret | |
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| Characters in conflict | |
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| The voyager : write what you don't know : an exercise in (surprising yourself with) character | |
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| Getting dramatic | |
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| Developing your characters | |
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| The way they do the things they do | |
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| Braiding time | |
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| Snoop 'da dialogue | |
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| Dialogue without words | |
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| Hearing voices | |
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| Dialogue exercise : the non-apology | |
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| Levels of dialogue | |
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| Fictional building blocks | |
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| Keep the engine running | |
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| The riff | |
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| Storyboard your story | |
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| Sticking to the structure | |
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| What am I writing about? : clarifying story ideas through summary | |
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| The richness of resonance | |
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| Setting in fiction | |
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| The character of setting | |
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| Animating the inanimate | |
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| Learning to layer | |
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| A sense of place | |
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| Be the tree | |
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| A very, very long sentence | |
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| Most memorable food : using sensory detail | |
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| Like water for words : a simile exercise | |
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| Finding a larger truth by turning autobiography into fiction | |
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| Secrets of the great scene | |
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| Hemingway's caroms : descriptive showing and telling | |
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| How to own a story | |
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| Object lessons | |
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| The Goldilocks method | |
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| Big scenes | |
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| Moving through time : a four-paragraph short short | |
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| Using the retrospective lens | |
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| Water buddies | |
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| Listening to sound to find sense | |
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| Entrances : building bigger scenes | |
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| The five second shortcut to writing in the lyric register | |
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| Meaning making via metaphor | |
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| Soundtracking your story | |
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| Negative capability | |
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| Seven drafts in seven days | |
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| More is more : an exercise in revising your story | |
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| Potholes | |
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| The dark matter : twenty issues in novel revision | |
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