The Martha's Vineyard Institute of Creative Writing

a 501 (c) 3 Nonprofit Organization

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MVICW Faculty Writing Exercises

Postcards & Other Experiments in Formalism

Contributed by Alexander Weinstein

The postcard exercise is part of a larger genre within creative writing known as Formalism.  In formalism you steal pre-existing forms (often ones not considered “literary”) and pirate them to produce poems, essays, and fictional stories.  Many writers have used forms such as dictionary entries, recipes, fictional interviews, water bills, and mock scientific reports to create their stories. The benefit of using a form such as a recipe or a dictionary entry is that it comes with a very tight structure and often a pre-determined voice.  We are all familiar with the dry and academic voice of scientific reports, for example, or the icy tone of a form-letter sent by a corporation—and we can use these tones to have a lot of fun. Remember that part of the joy of working in formalism is when you allow the strictness of the form to break its container just slightly.  For example, what does a dictionary entry written by someone having marital problems sound like? Are there moments when that author might let something slip into the definition that they didn’t intend? What about a formal scientific report written by someone who still longs to see unicorns? Again, the variations of formalism are as infinite as are the genres it can span!

 

1. Begin by creating a list of 20 forms that use language which already exist in the     

world.  Here’s a couple examples to get started:

     -Book Reviews

     -Self-Help Article

     -Menus

     -Report Card

     -Dictionary Entries

     -Anthropological Study

 

2. Choose one of the forms from your list and now spend 15-30 minutes writing a story/prose poem within the constraints of the form you’ve chosen.  Often the form comes with really fun additional elements you can play with (for example, dictionary entries often have synonyms listed afterward, scientific reports get to use graphs and formulas, etc.)

 

3. Now use the same form to create a second piece.  One of the exciting elements of formalist constraint is that, within the parameters of the form you’ve chosen, you still have a lot of room for variation. Exploring the same form multiple times will allow you to play with the very malleable and expandable terrain of the form you’ve chosen.

 

4. Note that in some cases you may find that you’ve got a series emerging.  Particularly if you choose a form which is shorter (dictionary entry for example) you may find that the story or poem you’re producing is actually a series of dictionary entries.