Honestly, I find the whole obsession with 'prompts' a bit overblown sometimes. People act like they're magic creativity pills, but the best ones for me aren't the wacky 'what if' scenarios. They're the ones that force you into a specific, mundane emotional corner. Something like 'Write about a character who is convinced they are right, but the reader knows they are terribly, tragically wrong.' Or 'A reunion where the most important thing is left unsaid.'
Those constraints do something interesting—they build tension from the inside out. You're not starting with a plot; you're starting with a character state or a relational dynamic that has inherent conflict. The story has to grow around that bruised heart or that silent lie. I've gotten more mileage out of that second one alone than a dozen 'cyborg detective in fairyland' ideas.
It pushes you to think about subtext and motivation, not just cool world-building. The creativity comes from solving the human puzzle, not decorating a fantastical premise. For a novel, that core can sustain you; for a short story, it gives you a laser focus. My last finished piece started from 'A character makes a small, deliberate choice to be cruel, just to feel something.' Everything else built from that one rotten seed.