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Where Do You Get Your Ideas?

© Marilyn Henderson - All Rights Reserved.

It always surprises me when someone asks, "Where do you get your ideas?" I wish I could say I order them by the dozen from a shop around the corner, but I've never found such a shop. People really want to know how writers work. Creativity is unique to each of us. Writers have no more or less than anyone else, but they learn to use it differently

and control it.

Ideas are everywhere They float or race through our heads constantly. We see them on the street, hear them in restaurants, read them in newspapers or feel them at emotional crises. We store them all but pursue only those that nag at us until we do something about them.

Many ideas that intrigue us aren't worth a novel or even a short story. To come up with one that is, you need to test it before you jump into chapter one. One easy test is to see if you can formulate the idea into a Question that doesn't have a clear answer, one that will provoke discussion, argument or even hot controversy. This isn't the story idea, but the underlying theme or basic premise of the story you want to tell. Writers sometimes get nervous about their novel needing a theme, but once you create that question that doesn't have a black and white answer, the theme is already there. The idea for one of my novels, By Reason of, came from a newspaper headline that asked a trovocative question that hooked me: Can mental health experts really determine sanity?

The story below the headline told of a man convicted of murdering eight people and then pleading not guilty by reason of insanity. He was sentenced to a mental institution instead of prison. After years of treatment, he was declared cured of the mental illness that had caused him to kill annd was released. In a matter of days, he committed another murder and continued killing until he was caught and sent back to the institution for the criminally insane.

The case raised a heated debate about the insanity plea that has no simple answer. It intrigued me. I asked myself how a panel of experts could be so wrong in judging his sanity? If the man seemed sane to people trained to determine such things, how could he so quickly revert to his insane murderous state?

I had my story premise, and my story idea began to take shape. I already had my villain, but who would he terrorize and how? When I knew those two things, I would have my story idea.

An important thing to consider at this point is who is the audience you want for your book? Don't make the mistake of believing "a mystery" is definition enough to plan a novel.

With so many subgenres under the wide umbrella of "mystery", I decided on readers of woman-in-jeopardy because it's one of the biggest selling subgenres in the mystery field. My villain would terrorize a woman. I decided to increase her vulnerability by having her be recently widowed and have a young child.

Where would the terror take place? That answer came automatically: her home, the place she felt safe and most secure,

Now the idea had evolved from an intriguing newspaper headline into an idea with the potential to become a novel that would grab an editors attention. It was ready to grow into a plot.

This isn't the only way to develop an intriguing spark into a story idea, but don't rush headlong into writing without making sure you develop that first glimmer into a strong story idea that will hold up for 300 to 375 manuscript pages.

Even more important, make sure your idea is different enough to make an editor or agent notice and want to read it. The time you spend developing your idea to its fullest potential is essential to the success of your novel. Editors reject more manuscripts because they don't offer anything new or different from the hundreds of other manuscripts they receive than for any other single reason. Especially challenge your creativity if you decide to write a private sleuth, amateur or paid. Do your homework. Research what's already been done, and don't try to imitate or thinly disguise an already successful sleuth. If you've read it, you can be sure that editor or agent has too.

So if you ever find that little shop around the corner that sells ideas, don't forget to read the label carefully to make sure the one you choose contains all the ingredients it needs to become a salable novel. And please send me the address!

Until next time, happy writing.

Marilyn

Marilyn Henderson, 42-year novelist, coach and mss critic

Ebook: http://www.WritingANovelThatSells.com

http://www.mysterymentor.com

marilyn@mysterymentor.com

Read the full article here

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Learn to write mysteries! Click here for information.

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How do I?

No questions this month!

If you have writing related question you would like answered, send it to:

mailto:cheryl@writer2writer.com?subject=How_Do_I

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Back Story

© Cynthia VanRooy - All Rights Reserved.

Ever have the experience of meeting someone at a party and within minutes you’ve heard about their three miscarriages, the ex-husband they left because of his drinking, the brother who’s in prison, but it’s not his fault, his friends got him into trouble, and the uncle who’s suspected of using drugs? What’s your reaction? Do you want to know this person better, pursue this new relationship further? Hardly! You can’t wait get away from this stranger you already know too much about.

This is the most common mistake new romance writers make—subjecting their reader to the same kind of too-much-too-soon information dump. It’s understandable. We want the reader to love our heroes and heroines as much as we do, to understand why they do what they do. Our mistake is in wanting the reader to understand before we’ve given them a reason to care.

If the stranger were your best friend instead, that would change your reaction considerably to the details they relayed. This holds true for your fictional characters, too. The reader needs to become emotionally involved with them, become caught up in the present moment of the characters’ lives before they can be interested in anything that happened before the story started.

That’s what backstory is—the events that happened prior to page one that led up to the story. The most dangerous thing about backstory is that it’s boring. Nothing is happening to engage the reader. The characters aren’t acting. You’re just relaying information about them in the most uninteresting way possible—telling.

Rather than start your novel with backstory, start with the culminating action that is the result of that backstory. Give the reader only as much information as they need to follow that action without becoming confused. Trust the reader. They’re bright, they’ll get it. Honest. Need an example? Story opens . . .

Read the full article here

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Fact: 55% of all fiction sold world-wide is romance!

Learn to write romance! Click here for information.

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Ad Swaps:

Carolyn Howard-Johnson's e-zine "Sharing with Writers" includes promotion and writing tips and lots of opportunities for subscribers to promote their own writing-related news.  Sign by sending an e-mail with "Subscribe" in the subject line to mailto:HoJoNews@aol.com

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FR*EE ebook with subscription. Newsletter includes Paying Markets, Freelance Jobs, Classes, Workshops, Contests, Articles and more! Subscribe at http://writerssuccess.com/ to receive the Writer’s Success weekly newsletter and get your fr*ee ebook.

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FUNDSFORWRITERS - the grant specialist for writers.

Four amazing newsletters for writers with all sorts of income potential. http://www.fundsforwriters.com

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Writer's coach Lisa Collazo believes it is through self-discovery that one taps the resources to write freely and express their true voice. She assists writers with the internal barriers that keep them from writing successfully and helps create and implement strategies to move them forward with their writing goals. Her clients include screenwriters, non-fiction writers, fiction writers and dissertation students. Her services include telephone coaching, an individualized e-course and teleclasses.

Email Lisa to set up a complimentary coaching call today: Lisa@writewhatyouknow.com. Visit her website and sign up for her free monthly newsletter: http://www.writewhatyouknow.com

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WRITE, PUBLISH, AND PROMOTE YOUR PRINT OR EBOOK

To receive the monthly  no charge "The Book Coach Says..."or "Business Tip of the Month" by Judy Cullins, 20-year book and internet marketing coach, go to http://www.bookcoaching.com/opt-in.shtml
Dan Poynter says, "It's totally worth your time."

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Looking for the latest writing markets, publishing news and author interviews?  Plus much more? Then sign up today for THE CRAFTY WRITER NEWSLETTER.  It's monthly, it's free and best of all it's packed full of the latest information.

http://uk.groups.yahoo.com/group/Thecraftywriter/

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Writing Realistic Dialogue and Flash Fiction: A Thorough Primer for Writers of Fiction and Essays

(Harvey Stanbrough- Central Avenue Press, 2004)

Reviewed by Beth Morrow

Copyright 2005 - All Rights Reserved

Somewhere near the middle of the introduction of Writing Realistic Dialogue and Flash Fiction, Harvey Stanbrough comments that "…flash fiction is such…an enjoyable exercise that I wanted to take this opportunity to introduce it to as many writers as possible. In purchasing this book on dialogue, you're getting a two-for-one deal--well, at least one-and-a-half for one" (p. 13).

I completely disagree. Stanbrough's engaging and insightful offering for writers of all fiction subgenres--and any writer who uses dialogue-- is more like eight books in one.

In a low-key and conversational manner, Stanbrough begins by presenting a short introduction to the elements of dialogue and dialogue vs. narrative passages. Unlike your high school English class, there are no dry dialogue lessons here--through short examples and straightforward explanations, you'll discover not only how to make your dialogue more effective, but how to use the spoken word to create and enhance character, setting, mood, theme, and plot. You'll learn valuable keys to combining dialogue, punctuation and sentence structure to pace and intensify crucial story elements to engage the reader's interest--and ultimately their emotional involvement in your prose.

Read the full article here

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The Revised and Expanded Punctuation for Writers: A Thorough Primer for Writers of Fiction and Essays

(Harvey Stanbrough- Central Avenue Press, 2003)

Reviewed by Beth Morrow

Copyright 2005 - All Rights Reserved

Since I've been teaching high school English for ten years and writing for much longer, I initially scoffed at the notion of reviewing a punctuation book for writers. Punctuation? Wouldn't that be like Einstein reading a text covering the Periodic Table? Or Bill Gates spending time with a Microsoft manual?

Despite my misgivings (and obviously overblown ego) Stanbrough's dialogue book (see above) successfully convinced me there was more than met the eye when it came to dialogue. I didn't think there was much to learn but I'd been wrong. Could I be as mistaken about punctuation?

Punctuation for Writers begins with a simple, ten-question quiz in order to help discover your greatest area of need when it comes to adding emphasis to your written work through the use of periods, dashes and parenthesis. It's possible that after the quiz (answers included), you might choose to focus in on the area you most need help with. At just 71 pages, though, you'll find the book an easy and interesting read.

Read the full article here

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Invite the reader in: a few tricks of making fiction gripping

© Dr Bob Rich- All Rights Reserved

All fiction is fantasy. As a writer, you create a reality, and invite me to move into it while reading your story. That reality may be very close to what I find in my everyday life, but even then, you are introducing me to people I've never met, take me to places I've never seen, describe events that never happened.

Your aim is to make this created reality so strong that it becomes more real to me than my own life--at least for the moment. Every device that helps you to achieve this is good, everything that has a chance of weakening or destroying the illusion is bad.

Now we come to a central concept: 'point of view' (POV). Everything anyone writes is always from a POV. 'The boy crossed the road.' Someone perceived him doing so, and the writing reports this perception. Although the wording is in the third person, the POV could well be the boy's, as in the following:

The boy crossed the road. Ow! Ow! he thought at each step as the hot dark surface burned the soles of his bare feet, but he refused to make any sound. After all, Rachel was watching.

Or, the witness of the scene could be some other person:

The road must feel red hot, Rachel thought with an inner smile as she watched Roddie pick his way across, almost dancing from foot to foot.

If the witness is not any person in the story, then it is the writer:

The boy crossed the road. His name was Roddie, a five-year-old very impressed by her big cousin Rachel, all of twelve. So, he wasn't going to let on that anything could upset him. Therefore, when he crossed the hot road barefoot to her, he did his best to hide his discomfort. However, he didn't really fool her. She could see it from the way he picked up each foot fast, almost like dancing.

This little paragraph has several things wrong with it.

Read the full article here

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Subscriber News:

Lots of news from subscriber and friend, Betty Dobson:

Hi Cheryl,

I have a few items to share this month.

Created a website for the newspaper Best of Times at http://www.oregonisonline.com/~margaret/ and will write their monthly genealogy column beginning in October.

Finished editing the photojournal True Nature Stories for photographer/author Vicki Cameron. Her book will be available in time for Christmas.

The first two issues of my print newsletter Heritage Writer are complete and the third is in the works. This is a paying market and available by paid subscription.

Cheers,

Betty Dobson

InkSpotter Publishing

Congratulations Betty!

**If you have any news, please send it along. (Don’t be shy – we won’t bite!)

mailto:cheryl@writer2writer.com

# Subscriber news can be very inspiring for your writing colleagues.

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Contests:

Writer2Writer No Fee Contest:

The new Writer2Writer contest has begun!

Take a look at the photograph shown here. Your assignment is to write the opening line and one paragraph (maximum 285 words) plus a snazzy title. (Title will not be included in the word count)  For this contest, the entry must be a complete short story.

Entries will be judged solely on creativity. There are absolutely no limitations on genre; write whatever the photograph portrays to you.

Closing date for entries:  12 midnight, 15th October 2005 (wherever in the world you live)

We also supply a written description of the photograph for the vision impaired.

Full details and rules can be found on the contest page.   Please check these carefully, as they will change for each contest. If you have any questions after checking the guidelines, feel free to contact Cheryl Wright (cheryl@writer2writer.com)

Under no circumstances will attachments be opened.

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FUNDSFORWRITERS ANNUAL ESSAY CONTEST

“They Actually Paid Me to Write”

Email: hope@fundsforwriters.com

www.fundsforwriters.com/annualcontest.htm

NO ENTRY FEE / $5 ENTRY FEE - your choice.

Theme: “They Actually Paid Me to Write.”  Up to 700 words in essay form. Deadline October 31, 2005. Two categories open to applicants.  $5 entry fee makes entrant eligible for the $150 first prize. No entry fee makes entrant eligible for the $50 first prize. In both categories second prize is $30 and third prize is a copy of the book The Shy Writer: An Introvert’s Guide to Writing Success. No limit to the number of submissions. Essays must be unpublished, original, and in English. Winners announced December 1, 2005. See website for guidelines and details.

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Tony Hillerman Mystery Short Story Contest - 2,500 words or less. Open to all ages, abilities, and countries, although all submissions must be in English. Mystery short story set in the west or southwest USA and featuring at least one cowboy, cowgirl or Native American character. First place prize is publication in Cowboys & Indians magazine, signed Tony Hillerman book, and tickets to the Tony Hillerman Conference: Focus on Mystery keynote banquet. Entry fee: $10. Deadline: Oct. 15, 2005.

Info: www.sfworkshops.com/hillerman.htm#CONTEST

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Vallum Award for Poetry annual competition. Awards: $1,000, $300 plus publication in a future issue of Vallum. Entry fee: $25 (CDN), or $20 (US/Intl. in US funds). All entrants will receive a one-year (two-issue) subscription to Vallum. Please makes cheques payable to "Vallum". Deadline: October 31, 2005. Info: Vallum Award for Poetry, PO Box 48003, Montreal, Quebec, Canada H2V 4S8; www.vallummag.com.

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e-clips Quarterly Fiction and Flash Contests - Awards $100, $50 and publication. Entry fee: $5; $8 for two. Deadlines: November 1, February 1. Entries received after the deadline will be entered in the next contest. Info and official rules: See details under our Contests heading at: http://eclips.us/home1.html

Pitch-Black LLC "Icons" heroic fantasy fiction contest. Reading fee $5, waived if purchaser of PB product. First prize $300 USD and publication in Pitch-Black's print anthology, Lords of Swords 2. Deadline: November 15, 2005. Info: www.pitchblackbooks.com/icons-contest.asp

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Annual Soul-Making Literary Competition, sponsored by the National League of American Pen Women, Nob HIll, San Francisco Branch. Categories in poetry, prose poetry, short story, flash fiction, novel excerpt, memoir, creative nonfiction, song/lyric, young adult fiction and young adult poetry. Awards: $100, $50, $25. Entry fee: $5. Deadline: November 30, 2005. Info: The Webhallow House. 1544 Sweetwood Drive, Colma CA 94015-2029; PenNobHill@aol.com; www.soulmakingcontest.us

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Dream Quest One.com writing contest is open to everyone! Write a five page short story, fiction or non-fiction on any subject or theme for an opportunity to win $2,000 in cash prizes. Must be original, creative and show the ability dream. Entry fees: $10 (poem) and $20 (short story). Deadline: November 30, 2005. Info: Dreamquestone.com, PO Box 3141, Chicago IL 60654; www.dreamquestone.com.

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If you're into writing romance, here's a website with a listing of upcoming romance contests: http://www.geocities.com/divaswithtiaras/ContestDiva.index.htm. There are also some Yahoo lists you can join to be kept up to date:

Contest Alert-All the news on upcoming contests, plus Finalist & Winner listings, questions, etc. Sign up now! ContestAlert-subscribe@yahoogroups.com
.
Announcement only list: ContestDeadlines-subscribe@yahoogroups.com
.
For Published Authors ContestAlertPublished-subscribe@yahoogroups.com
.
If you're a Contest Judge, join ContestsJudges-subscribe@yahoogroups.com

Donna Caubarreaux is a member of Coeur de Louisiane, Scriptscene Chapter, NOLA Stars, Heart of Louisiana, Kiss of Death, and ChickLitWriters of RWA. She received an RWA Service Award in 1997.

**If you would like a pdf copy of a number of upcoming romance contests, (taken from Donna's list) click here.

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Attention Ezine and Website Owners:

I have available a cache of articles that you may freely use. Go to:

http://www.writer2writer.com/autoresponder.htm

There is a form on the above page where you can be added to an autoresponder to be notified on the latest additions.

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FEEDBACK:

If you have any feedback about this newsletter; comments, criticisms, (praise!) sections you'd like to see added, tell me - mailto:cheryl@writer2writer.com?subject=Feedback

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Submissions:

If you wish to submit an article, you need to be aware that I do not pay for (most) reprints. I pay a fee for unpublished articles, but they must be related to the craft of writing. Check out our guidelines. In all cases your bio and links will be included.

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Inclusion of a market, contest, anthology or similar is not necessarily an endorsement. It is strongly suggested that you do your own legwork in checking out any markets etc you decide to approach. If you feel wary or uncomfortable, there's probably a reason!

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