Suzanne Collins - Steven R. Southard (Poseidon's Scribe)

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Revive Your Open, Creative Mind

How often do you read a book, watch a TV show, or see a movie, and think, “How clever! I wish I could come up with ideas like that.” You can. I’ll tell you how.

Seeing the World a New Way

Creative people share a trait. Their brain neurons connect in a different manner than those of other people. When you sense the world around you, it is what it is. Creative people sense what the world could be.

Psychologists talk of ‘trait theory’ and the ‘Big Five’ personality traits. (For information, those are: openness to experience, conscientiousness, extraversion, agreeableness, and neuroticism.) Of those, creatives seem loaded with an excess of Openness to Experience.

In this post, Luke Smillie and Anna Antinori explain how we all form mental models of the world. The closer our mental model matches the real world, the better we can deal with things.

Creatives play with their mental models. They think about unusual connections between unlike things. They imagine different possible worlds. They see in a way most don’t.

Binocular Rivalry

As one example, psychologists showed a group of test subjects a different image to their right and left eyes. The subjects tried to make sense of what they saw as one image rivaled the other.

The test revealed the more creative test subjects ended up ‘seeing’ a combined picture, one sharing attributes of both images to a greater extent than less creative subjects did.

Inattentional Blindness

In another test, psychologists gave test subjects a task requiring focus. They showed the subjects a video of six young people passing two basketballs around. The task—count the number of times people wearing white pass the ball.

Half of the test subjects concentrated so much on the task that they missed a bizarre event occurring in plain sight during the video. Those with more ‘openness to experience’ saw the event. Creatives saw what others screened out.

The Openness of Writers

The best fiction writers see what the rest of us see, but combine unlike things. Micheal Crichton merged his children’s interest in dinosaurs, then-current genetic engineering research, and mathematical chaos theory when writing Jurassic Park.

Suzanne Collins had been flipping TV channels between a reality show and coverage of a war when she combined the ideas and wrote The Hunger Games.

The ideas lie out there waiting for all of us, but fiction writers join and twist things and ask ‘what if…?’

**Opening Your Mind**

Can you train yourself to think like that, to see the story ideas others miss? I think so. In fact, I believe we’re born with the ability, and most of us lose it over time.

Most five-year-old children teem with creative ideas. They see animals in clouds, monsters under the bed, imaginative uses for sticks and stones and acorns. For some, that ability never fades, but most grow out of it, abandoning their magic dragons.

By increasing your creativity, you’re not learning a new skill, you’re re-learning a forsaken one.

Travel, especially foreign travel, can expose you to different ways of thinking that might spark creative ideas.

I like another technique, one much cheaper than flying overseas. Psychologists call it the ‘divergent thinking task’ but I call it ‘brainstorming twenty ideas.’ Take a common object and write down twenty alternative uses for it. Your ideas need not make practical sense, but don’t stop until you reach twenty. You can do this for any problem you face, not just imagining uses for things. By churning through the absurd and crazy ideas, you might hit on a brilliant one you wouldn’t have considered otherwise.

But That’s Not All

Disclaimer—writing a book requires more than just creativity. If you’re able to bolster your imaginative ability, you’ll generate good story ideas. But you still have to buckle down and write the novel or TV/movie script. Many writers consider that the hard part. Still, if the techniques in this blogpost help you over the first hurdle, that’s a win for you and for—

Poseidon’s Scribe

October 5, 2024Poseidon's ScribePermalink Leave a comment

Are All the Good Story Ideas Taken Already?

You’d like to write a story, but every time you think of an idea, you realize someone else wrote that one already. You figure all the good story ideas are used up. That’s it. There are no more. The last original novel has been written.

I don’t think so. New books, movies, and TV shows are coming out all the time.

no-story-ideas No, you protest. Those aren’t new. They’re just rehashes or remakes of old ideas, with some new flair added. They’re just old stories brought into modern times, well-used story lines put in a new setting, or known plotlines with the main characters’ genders reversed.

If so, that’s great news for you. It means you don’t have to think of something completely original, either. If rehashes or slight twists work so well, then you can succeed with that method, too. That’s the message Melissa Donovan delivers very well in this post.

I think what you’re really telling me is, you’re stuck for an idea, and every time you think of one, you recognize you’d be copying what someone has already done.

There’s a particular genre you enjoy reading, and you consider yourself knowledgeable about that genre, and you’d like to see if you can write a story yourself. But you see that field as being well-plowed already. For every story idea, you immediately think of the existing, published story that used that idea.

You’re just in a mental rut, that’s all. It’s possible to climb back out.

Here are some suggestions for coming up with story ideas. These might work for you, or they might spark thoughts about other ways to accomplish the same thing:

Do Internet or Twitter searches for trending key words. Combining seemingly unrelated key words might result in the nugget of a story idea. I’m convinced that’s how Kevin Eastman and Peter Laird came up with the idea for the Teenage Mutant Ninja Turtles.
Search websites in your genre for words or thoughts that are trending. Those might suggest story ideas.
Try the Suzanne Collins method. She came up with the idea for The Hunger Games while flipping TV channels. That turned out all right for her and might work for you.
Pick two books at random off your shelf at home and see if you could combine the two in some way. If not, pick two other books.
Try the generational/nostalgic method. Look for what was popular 25-30 years ago, and update it. First you have a new audience who wasn’t around when the original came out. Second, the older folks in your audience will appreciate the nostalgic trip down memory lane.
Take a song you like (either instrumental or voice), and think of the story that might go along with that song.
Take an interesting picture or image from anywhere (web, your own life, magazines, etc.) and think of the story behind that image.
Take a favorite character from a book or movie, and consider what you enjoy about that character. What if that character was completely different in appearance? For example, if that beloved character was a handsome, young, athletic man, what if you wrote about an older, plump woman with the same abilities and faced with similar conflicts?

Your next story idea is out there. Be open and receptive, and let it find you. Oh, and be sure to send a comment thanking—

Poseidon’s Scribe

September 12, 2016Poseidon's ScribePermalink

Been to Utopia and Dystopia, and I prefer…

Judging from recent literature, the future looks bleak. The Hunger Games, Divergent, The Maze Runner, Delirium, Matched, Legend, and others paint visions of worlds much worse than our own.

Without question, these books sell well. Some have become movies. We readers have a fascination with dismal futures, possibly because:

They make our own present seem better by comparison;
We like to imagine the end result of current downward trends;
The character’s stakes are high, the conflicts larger than life;
We identify with being a victim of society;
It’s inspiring to read about characters making the best of things in the worst of places; or
Millennials, raised in the shadow of 9-11, actually believe their future will be worse than their present.

From the writer’s point of view, dystopias have this advantage—at least one of the book’s conflicts is baked in from the start. There will be some sort of man vs. society conflict going on. Whatever other conflicts are present, you’ll find a struggle between the individual and the state. By contrast, in utopias, conflict is harder to come by.

For this post, I’ll define utopian literature to refer to fiction set in a future world that’s better and more technologically advanced than our own, but is not necessarily a perfect world. Dystopian literature is fiction set in a future world worse than our own (with either more advanced or less advanced technology), it’s but not necessarily a completely hellish world.

Utopian literature doesn’t seem to be selling as well as its dystopian opposite. Such books once rocketed off shelves. Almost all science fiction written in the 1940s, 50s, and 60s assumed society and technology would advance and life in general would improve.

Such utopian books didn’t portray perfect futures. The characters suffered from problems and challenges as dire as those in any novel. After all, if someone traveled to our present from almost any period in the past, they’d view our modern era as utopian, thanks to our long life spans, medical advancements, reasonably plentiful food, and readily available technology. We look around us and see no end of problems, but in the eyes of our ancestors, we all inhabit Utopia.

Does the prevailing literary mood reflect society’s predominant attitude toward technology? In the 1940-1970 period, could it be that the Space Race, combined with the baby boom (which produced a huge number of youthful readers), result in a yearning for optimistic literature?

Might it be that today’s readers no longer hold a positive view of technology? Has the rise of terrorism, increasing surveillance, climate change, cybercrime, and a fear of artificial intelligence biased the current book-buying public against science?

Possibly, but Baby Boomers had “bad” technology, too—namely, the Bomb. And Millennials have plenty to be optimistic about, such as driverless cars, household robots, 3D printing, hyperloops, missions to Mars, etc.

If each generation knew both good and bad technology, then why would they hold such different attitudes toward it? Or is it something besides a prevailing view of science?

Could it be all due to the Boomers alone? Maybe that “pig in a python” generation is, all by itself, influencing literature as its population ages. That is, when Boomers were young and optimistic, they preferred Utopia, but as they became older, sadder, and wiser, they pulled up stakes and moved to Dystopia.

Whatever the reason for the current literary preference, some evidence indicates the reaction against dystopia and back toward utopia has begun. In 2011, author Neal Stephenson helped found Project Hieroglyph which seeks fiction and nonfiction depicting a positive future. The published anthology, Hieroglyph, is on my list of books to read.

I prefer utopian fiction. Being a techno-optimist, I prefer to think the future will be better than the present, and reading such books keeps me in that mindset. However, I’m not Pollyannaish; I know society could well backslide, much as the thousand year Dark Ages followed the Roman Empire. Further, I know readers of dystopian books don’t necessarily believe the future of the real world will be dismal.

Let me know your position on this spectrum. Do you read solely utopian, or solely dystopian books? Or perhaps you don’t care, so long as the book is good. Your comment may influence the type of fiction to be written by—

Poseidon’s Scribe

March 27, 2016Poseidon's ScribePermalink

Connessione

Together, you and I have arrived at the end of this seven-part series of posts. We’ve been working our way through the principles in Michael J. Gelb’s wonderful book How to Think Like Leonardo da Vinci. For each principle, we’ve been exploring how it relates to fiction writing.

The last principle is Connessione: a recognition and appreciation for the interconnectedness of all things and phenomena—systems thinking.

Leonardo had a fascination with the connections between things. He’d study how a tossed stone caused expanding circular ripples in water. He wrote, “The earth is moved from its position by the weight of a tiny bird resting upon it.” His notebooks were a disorganized, chaotic stream of consciousness, as if his mind would flit from one thing to a seemingly unrelated thought. In a strange echoing of what we might consider Eastern philosophy, he wrote: Everything comes from everything, and everything is made out of everything, and everything returns into everything.”

In what ways should a writer of fiction embrace the principle of Connessione? Here are some that occur to me:

When you’re thinking of plot ideas for stories to write, look for separate ideas from the world around you and connect them. To pick just three examples of this, consider how Suzanne Collins’ Hunger Games series combines the ideas of TV reality shows and war; how Stranger in a Strange Land by Robert A. Heinlein combines Tarzan, Jesus, and Mars; how Herman Melville’s Moby Dick combines whaling and obsession.

Think of the interconnections between characters within your stories. For characters A and B there are (at least) four connections: how A feels about B internally, how A behaves toward B externally, and the same internal feelings and external behavior of B toward A. Now imagine three, four, five, or more major characters and convey, in your story, the rich web of interconnectedness between them all. This alone will be the subject of a future blog post.

Your stories have an internal, systemic structure. They are a connection of related parts. The chapters (or sections) are themselves composed of scenes, and build on each other to form the integrated whole of the story.

The story element of theme is a connection between concrete things in a story to abstract ideas in real life. Similarly, the techniques of metaphor and simile are connections in the form of comparisons—relating something you’re describing in your story to something familiar or understandable to the reader.

See? If you write fiction, you must embrace the notion of Connessione to some extent. In fact, it helps to practice all seven principles— Curiosità, Dimonstrazione, Sensazione, Sfumato, Arte/Scienza, Corporalita, and Connessione. Perhaps you’ll not become as well remembered or universally admired as da Vinci, but you can think like him, and write fiction as he would have. That’s the aim of—

Poseidon’s Scribe

October 11, 2015Poseidon's ScribePermalink

Recalling the Moment

When people ask, “how did you get the idea for that story?” it’s useful to be able to remember that exact instant when the lightning struck, when the light bulb glowed, when the muse whispered. For some of my stories, I can. For others, I have no idea.

People expect you to remember. They want to hear about the light bulb moment. After all, that’s a bit of a story in itself.

Suzanne Collins, author of the Hunger Games series, has a great story for how she came up with the idea for the first book in the series. As reported here, she was channel-surfing between a reality show involving a competition among young people, and some news coverage of a war. The two TV shows blurred in her mind, and she came up with her book idea. She also claims that the Greek myth of Theseus and the Minotaur, which she read at age eight, became the inspiration for the plot.

This is often how it happens. Two or more ideas get merged in your mind, and they can be widely separated in time. Some of these ideas could be something half-remembered from childhood.

On occasion, an entire story coming to a writer in a flash, so that it becomes a race to get it written down before the memory degrades. Other authors refine and mature a basic idea over time before they are ready to write. Whichever method you use, it’s still a good thing to write down the initial idea right after the bulb illuminates, perhaps in a daily journal. That way you’ll be ready when people ask.

What’s that you’re thinking? You’re wondering how I got the ideas for some of my recent stories? How nice of you to ask.

“A Clouded Affair” came from a clash of two ideas. I was in a dieselpunk mood, having never written in that subgenre. Then I saw the call for stories for an anthology titled Avast, Ye Airships! Clearly, they wanted steampunk. What to do? How about a battle between a steampunk pirate and a dieselpunk pirate?

For “Time’s Deformèd Hand,” I was responding to a planned anthology of Steampunk Shakespeare stories. I wanted a lighter tale, so I reviewed the Bard’s comedies, and selected “A Comedy of Errors.” Clockpunk seemed a better fit than steampunk, so I went with that. While my story didn’t get picked for the anthology, it found a happier home as part of my What Man Hath Wrought series.

“The Cometeers” is one story whose genesis I don’t recall. For some reason, I must have been thinking about save-the-Earth-from-destruction plot lines, and thought about how I could set such a story in the steampunk era.

Here’s a sneaky notion, to wrap things up. Since you won’t always recall the “ah-ha moment” when a story idea occurred to you, and since your zillions of fans will demand to know how it actually happened, it’s probably okay in this instance to make up a story. After all, you’re a fiction writer—making up stories is what you do. Moreover, who would say your explanation is wrong? Certainly not—

Poseidon’s Scribe

March 15, 2015Poseidon's ScribePermalink

A File Full of Ideas

If you’re a writer, do you keep an “Ideas File?” You might have a different name for it, but I’m speaking of a single place where you store ideas for future stories.

The philosopher Socrates opposed writing anything down, whether it was a good story idea or not. He had his reasons, but it occurs to me the world would never have heard of Socrates if his student Plato hadn’t written down much of what the great philosopher said. Similarly, you could trust your memory to retain all the story ideas that occur to you. Or you could type them or write them by hand and store them for later retrieval. It seems obvious that, as writers, we’re not adherents to Socrates’ school of thought in this regard.

It doesn’t matter what form your Ideas File takes, whether it’s an electronic file, a paper one, or a list on a white board. The important attributes are that it’s available to you for storage of new ideas and for later retrieval.

The ideas you store there will likely be based on flashes of insight you get when your mind is otherwise idle; when you’re commuting, or cleaning the house, or taking a shower. These idea sparks can also occur based on reading books, magazines, or newspapers; or from listening to radio or audiobooks; or from watching a movie or TV show. Suzanne Collins, author of The Hunger Games trilogy, said she got the idea for the series’ first novel from the juxtaposition of two TV shows while flipping channels.

The entries in your file can be basic story ideas, plot layouts, character descriptions, images of settings, even just metaphors or clever turns of phrase. The file can contain a combination of all of these. The file can be organized or not; order doesn’t matter until the file gets quite large.

Your attitude toward your Ideas File is important too. Don’t worry if the number of entries grows and grows and you never seem to be using any of the file’s ideas in your stories. Don’t berate yourself if you look back over early ideas and they appear stupid or juvenile. It should give you a good feeling to peruse the file from time to time, especially when you’re stuck for an idea. That’s what it’s for.

Let’s look at things from the point of view of these ideas, the thoughts you’re putting into the file. They each start life in your mind. At that moment you’re enthused about them; they take on a sure-fire, best-seller glow in your mind. You write or type the idea and put it in your folder, only because you are in the middle of another project and can’t flesh this idea into a story right now.

The idea then sits there in your file for a while, maybe years, along with other ideas. It waits there for you to come across it again. When you do, the idea might look worse than it did before, or the same or even better. Sometimes the idea appears to lack something, but combining it with another idea lifts it to greatness. Sometimes a poor idea sparks an unrelated good one, for reasons you may never understand.

As for my own Ideas File…well, there’s little point in telling you anything specific about it. I’ve kept it for decades now and its entries span the spectrum from idiotic to pretty good. If I described my file or its entries, I’m afraid it might cause you to construct your file in some way that doesn’t fit you.

If you’d leave a comment, I’d love to hear about whether you think such an Ideas File would be useful to you. If you already have one, has it helped you? While I await the deluge of comments, I’ll thumb through the files of—

Poseidon’s Scribe

April 7, 2013Poseidon's ScribePermalink