5 Universal Writing Exercises for Prose and Poetry

Over the years, I have collected writing exercises that get my mind going and sharpen my instincts each time I sit down to write. The best part about these exercises is that you can use them for any genre, medium, or literary form. Though prose and poetry are often treated as separate crafts, they share foundations: vivid imagery, precise language, and a distinct voice. The most reliable exercises strengthen these skills regardless of which form you dabble in.

1. To Be? Not to be. (aka English Prime)

This exercise begins with a simple restriction based on the writing form known as English Prime: write a scene without using any form of the verb “to be.” Removing that small but ubiquitous verb pushes you toward more active choices. Instead of a character “being angry,” you might notice the way their breath quickens or their hands clench. The result is often livelier prose and more concentrated poetry.

2. Sensory Cross‑Pollination

Another exercise encourages you to cross your senses. Describe one sensory experience using adjectives associated with another. For example, you might describe a cello note as “metallic” or “gritty.” This technique breaks familiar patterns and often leads to metaphors you wouldn’t think of otherwise. It also deepens the reader’s immersion, calling on senses that aren’t traditionally used but seem true nonetheless.

3. The Artifact Biography

Choose an ordinary object and write about it as a representation of an unspoken emotion. The goal is not to name the feeling but to let the object reveal it. A chipped mug, for example, might possess the pain of something once whole. This approach grounds abstract ideas in something tangible. In fiction, it can reveal information about a character based on how they view the object. In poetry, it can jumpstart figurative language.

4. Inspiring Art

Find a painting or other work of visual art that unsettles or draws you in. Next, imagine the moment just before it was captured. Since the world in the artwork is already built, you’re free to focus on movement, voice, and emotional undercurrents. The exercise has helped me find places to start when I’ve been completely stuck.

5. The Eavesdropper

Finally, a classic. Find a place where people are talking and jot down a fragment of overheard dialogue. Real overheard conversations usually lack context, which creates instant tension when used as an opening line. Starting with dialogue from a café or bus stop can spurn a story into motion, forcing you to build outward from it. It also trains your ear to the rhythms of actual speech (messy, repetitive, abrupt).\

Let us know in the comments if you have any tips that work equally well for all types of writers!