"But we had a New Year's Day LAST year!"

New Year's Day is a time for resolutions.  

Sure, you can promise yourself that you'll exercise more, eat less, and generally become a better person.

And on or about January 3rd, you stop fooling yourself and return to normal.

This year, however, make a promise to yourself to be the writer you always tell yourself that you are.

"If it is to be, it's up to me."

If you have ideas that you keep losing, carry a notebook so you can write them down.

Don't just talk about your writing, start writing even if it means taking a short lunch, getting up early in the morning or staying up a little later at night.

If you start writing something, finish it.

When you finish a piece, send it to someone to read, whether it's a friend, a relative, a spouse, or just someone whose opinion matters to you. 

If someone cares to give you feedback on your story, ponder it carefully to see if you need to take it with a grain of salt, a spoonful of sugar, or to heart.

Remember that part of the craft of writing is REwriting.  Like Football, you run the play until you get it right.

Study your market.  Keep your eye peeled for opportunities and if there aren't any, don't waste your time so you can give your attention to someone who is looking for you and your work.

Network and share your wisdom.  The person you help today could become a friend and a little gratitude goes a long way sometimes.

If you send out your work and it comes back, learn from the experience and send it out again.

If you are tired of having your writing come back, consider publishing it yourself.

Start thinking of yourself as a WRITER because you are WRITING and WORKING to put it before other people.

And never give up.

Sometimes, you include graphics just because they're cool.  Who am I to buck a trend?

Your comments here and via e-mail are welcome and encouraged.  I read everything, even if I have to move my lips.

Want to subscribe to this blog so it comes to you via your e-mail?  Sign up in the upper right hand corner of this blog and your wishes shall be made real.  Also, if reading this on your Kindle would give your life meaning, then you can subscribe here.

Visit the Freelance Words website for your writing needs.  To read my creative resume to show you I can do the work, I make it easy ... see?

In December, expect news about our first Kindle publication and tell your costuming friends to keep an eye out for it.  We'll also have announcements and other insane ramblings on our Facebook page (give us a LIKE while you're there, if you would, please) or on Twitter as @BrianKMorris.  You'll be glad you did.  Trust us.  Have I ever lied to you and gotten caught?

It's the start of yet another year.  I will admit that 2012 was not one of my favorite years, mostly because of forces beyond my control (like I'm the only one, right?).  But I'm delighted that I started this blog because I've made some great new friends, exchanged lots of sweet ideas, torqued off a couple of people who might have needed it, and I've learned a lot about myself and our craft in the process.

May 2013 be YOUR year. I plan to make it mine.

Until next time, be good to yourself, be good to each other, and stay creative!

"I'm Proud of My Humility"

"I'd Be Happy To Tell You Exactly Where To Screw In That Lightbulb ..."

Back in the day, I worked in a comic book shop.  Well, I ran the place while the boss was off being a landlord.  I gave up taking his tennant calls when one of them demanded my boss drop what he was doing and change a lightbulb.  "Is it in the hallway?  One of the security lights outside?"

"No," the caller answered in full indignation, "it's my personal lamp and I want him down here now."  My Idiot Meter needle went into the red zone, the receiver slammed down on the phone on my end, and the boss got an earful about taking his own calls from then on.  But I digress.

"Okay, I write a college-level manual for light bulb extraction and replacement, then I sell the movie rights ..." Photo courtesy Creative Commons.

 "What I Didn't Do Over My Summer Vacation"

In that same comic shop, we all talked about what we'd do if we'd wrote adventures for Superman, The X-Men, Spider-Man, Batman, THUNDER Agents, Miracleman (actually, we didn't talk about books like the last often because we knew we'd never be close to Alan Moore's writing skills), etc.  Some of us even went so far as to dream of breaking into that hallowed market.

Only a handful of us actually worked up samples and made an attempt to reach out to the editors.  Digression #2 (and a possible subject for a future blog).

One conversationalist during one of these bull (and that's just half the story) sessions announced that upon the end of the semester, he would go to New York City, walk into the offices of Marvel Comics, and get a writing gig.*

*No, it's not that easy or I'd have done it, along with several thousand fans at any given time.

He further announced, "And I'll become the writer on Uncanny X-Men ..."

Keep in mind that at the time, this was Marvel Comics' #1 selling book and the writer, Chris Claremont was the main creative force on the title, just like Jack Kirby on the early Fantastic Four or Steve Ditko on The Amazing Spider-Man.  He would continue to helm the title for a number of years as he had before.  Chris wasn't going anywhere soon.

Even we poor, frequently-deluded comic fans knew that.  Well, all but one, it seemed.

"-- and I won't take anything else," the person announced with the confidence of predicting the sunrise.  "I'll just take my services elsewhere."  By the way, this person never made it to New York, didn't even leave campustown, and Mr. Claremont kept his job for another decade.

But what's wrong with starting at the bottom?

I spent three years working in Public Broadcasting, but that came from volunteering for the five before at the television division.  I worked in comic retail for three decades, using my endless supply of media trivia gainfully.  However, that journey began with being a customer and building a relationship with the owner -- we'd call that "networking" today.

Not everyone can be a J.K. Rowling, hitting financial paydirt with their first major published work.

Many novelists started out writing short stories.  Mario Puzo wrote The Godfather at night while grinding out copy for men's adventure story magazines during the day.  I can remember John Travolta in a TV ad for Band-Aid Band Adhesive Strips long before Welcome Back, Kotter or Saturday Night Fever.  Jack Kirby, before he became the artistic standard of the comic book industry, worked as an "in-betweener" for Max Fleisher's animation studio, filling in movements between drawings other artists had made. 

But you've got to get your foot in the door, right?

Regardless of the venue, you have to give every work your best efforts because that's part of your resume that shows you are ready for bigger and more rewarding creative challenges.  When was the last time you heard of someone being called into an HR office to be told, "You drove your forklift into the boss' new BMW before crashing both of them through a brick wall ... that's the sort of initiative we're looking for in a Overseas Shipping Manager"

Timely Publications' Martin Goodman hired his cousin-in-law Stanley Lieber as an office boy to run errands for the staff.  One day in 1941, a comic book needed a quick text piece to be written for Captain America #3 (in those days, the Post Office would not allow a publisher to mail magazines at a special bulk rate unless the magazine contained at least two pages of text).

Seventeen-year old Stanley ran to a typewriter and pounded out a serviceable prose tale that kept the comic on schedule.  Goodman allowed Stanley to continue writing and eventually to become editor and art director of the comic book line while writing not just super-hero tales, but also westerns, war stories, romances, horror, and comedy.

By the time Goodman changed the company name to Marvel Comics, and Stanley decided to write the stories he wanted to read before leaving the industry to create The Great American Novel, the writer had long ago left his real name behind.  Now everyone knew the topkick at The House of Ideas as Stan Lee.

Stan went on to succeed Goodman as publisher at Marvel before becoming a media mogul, TV and film star, and perhaps one of the most influential writers in comics history.  And that all started with a two-page short story ... and Stan still hasn't written his novel.

As profiic as he was, Stan didn't scrimp on the effort.  It didn't matter if the story was about Steve Rogers, Simon Garth, Millie Collins, or Johnny Bart.  You shouldn't hold back on the talent either.

Every creative thing you do should be with your dial set to 11.  Every comic book cover should be drawn as if it's destined for the Louvre.  Wrap those SEOs with the most readable, repeatable prose you can conjure up.  Be the ensemble actor that the audience can't stop watching.

And if I had to replace that goof's light bulb, I'd treat the job like I was doing open heart surgery on my best friend.  Even if the pay stinks, the payment you get from a job excellently done can't be put into mere numbers.

Do your best because you never know where it may lead.

Is there ever a reason for not doing your best?  Write me or comment below and let's talk this out.

"We must be doing something ... WRITE!"

As for contacting us, we are in so many places, it's a wonder you don't read this blog on your fillings.

Your comments here and via e-mail are welcome and encouraged.

 Want to subscribe to this blog so it comes to you via your e-mail?  Sign up in the upper right hand corner of this blog and your wishes shall be made real.  Also, if reading this on your Kindle would give your life meaning, then you can subscribe here.

Visit the Freelance Words website for your writing needs.  To read my creative resume to show you I can do the work, I make it easy ... see?

In December, expect news about our first Kindle publication and tell your costuming friends to keep an eye out for it.  We'll also have announcements and other insane ramblings on our Facebook page (give us a LIKE while you're there, if you would, please) or on Twitter as @BrianKMorris.  You'll be glad you did.  Trust us.

As we hurtle towards the end of the year -- slipping, slipping, slipping into the future -- you'll hear more about those diabolical Mayans ending the Earth just because they didn't have room on a rock for more years.  You don't hear anyone predicting the end of all existence when we reach the last page of our Hello Kitty Calender, do you?  It pays to research  before jumping to conclusions.

Until next time, be good to yourself, be good to each other, and stay creative!

"Think visually? I can see that happening."

Once In a Lifetime

Talking heads do more than pop on the radio to burn down the house and be taken to the river once in a lifetime.  They sneak into our work and dull down a story into submission.

Why are they so attention-draining?  That's because talking heads do nothing ... nothing but talk.  Duh!

But they're so easy to write.  Imagine getting into a typing rhythm as you "hear" the dialog in your head as it happens between your characters.  I wish I could say my knowledge of this was strictly academic.

These are not the Talking Heads you're looking for.  Move along.

Movements (and I'm not talking classical music)

So much of what makes comic books and movies and stage plays work is movement.  Dialogue tickles the intellect, but movement captures the eye.  This is especially useful when the writer gets to "speechifying."

A recent webinar I recently attended on social networking discussed selling to a listener and how we all can get into a habit of sorts where that person is asked again and again to agree to something -- an offer, a concept, a set of jokes.

Take a look at people around you when you are in a restaurant or coffee shop or supermarket or book store.  No one simply stands in place and speaks.  We gesture.  When our feet are tired, we might lean or swap from side-to-side.  We scratch, we grimace, we never remain still.

When reading prose, the eye tends to speed up during dialogue.  Perhaps it's because we don't have to interpret the descriptions into movement inside our mind's eye.  We "hear" the words and don't give a lot of conscious thought about the characters' environment.

It's like reading MAD Magazine where there's something in the foreground that commands our attention, but behind the speakers, there's this world of activity and practically another story altogether taking place. 

You'll find that inserting movement breaks up the rhythm and adds life to the scene.  No matter if it's on stage, on the screen, or held together with two staples, movement helps add color to a scene.

In comic books, taking heads can bring a story to a screaming halt. Thanks to great artist/storytellers like Jack Kirby, Mike Sekowsky, Dick Dillin, and the like, the reader comes to expect activity on the printed page.  In the still-educational How To Draw Comic Books the Marvel Way by Stan Lee and John Buscema, the team spends a couple of pages where even the talking heads can be made more interesting by changing the angle of the reader's point of view or by allowing them to pose more dramatically than standing with their hands in their pockets.

For myself, if more than three lines of dialog occur without my adding some sort of movement, then it's because I"m not paying attention.  For a play for the stage or screen, I'll let a page and a half -- which amounts to about  90 seconds -- slide by before I add some movement whether the scene needs it or not ... which it will.

When you write, play what you write in your mind like a movie.  When your own tolerance for non-movement is reached, make the talking heads do something.  Why should YOU be doing all the work?

Sorry for no blog post last week.  We had some consultation to do, one involving an upcoming book from Freelance Words, the other with a new business that will make you feel like a super-hero.  More on that as details firm up.

If you have an insight into the creative process, you are cordially invited to pitch a guest blog.  Drop me some e-mail with some details.

As for contacting us, we are almost omnipresent!

E-Mail: bkmorris56@gmail.com
Website: www.freelancewords.com
Facebook Page: https://www.facebook.com/FreelanceWords (be sure to give us a LIKE)
Twitter: @BrianKMorris, 
LinkedIn:http://linkedin.com/in/morriskbrian 

We are entering a time when we would do well to remember that all isn't lost.  We still have things to be thankful for, people to appreciate, and folks who appreciate us.  Remind someone how important they are, okay?

I am thankful to those of you who let me know you enjoy this blog and that you're getting some useful information from it.  I'm also thankful to those of you who subscribe via Amazon.com and by filling in the box in the upper right hand corner of this page.

Please have a safe and enjoyable Thanksgiving as well as a safe and thrifty Black Friday weekend.

Until next time, be good to yourself, be good to each other, and keep on creating!

"How Can You Miss Me If I Don't Go Away?"

I know, I know ... you've been asking, "Where the heck has Brian been?"

Busier than a Van Helsing at a Twilight convention, that's how busy your not-so-humble typist has been!

First of all, I attended the amazing Popeye Picnic in Chester, Illinois in early September.  The people of Chester definitely know how to put on a party!  The town where Thimble Theatre creator Elsie Segar was raised, and where some of the locals inspired many of the characters in the famous newspaper strip.

On State Route 3, welcome home, spinach fan.  (photo copyright 2012 Cookie Morris)

I also got to see Nicola Cuti, filmmaker and former Assistant Editor at Charlton Comics and co-creator of E-Man.  This man couldn't know it at the time, but way back when, he sent me a small pamphlet on comic book production that set me down the path of writing. He was a kind man, just as he was when I saw him at an Indianapolis comic book convention back in the mid-'70s.

The freelancer and Nicola Cuti (R) at the 2012 Popeye Picnic (photo copyright 2012 Brian K. Morris)

I"ll scribble down my adventures on the banks of the Mississippi River later on, promise!  Needless to say, it was a good time, especially thanks to the kind people of Chester and friends like Debbie & Mike Brooks (presidents of The International Popeye Fan Club at www.popeyethesailor.com), artist Ken Wheaton (and his mom), new buddy Donnie Pitchford, and indefatigable hostess Cathy Rinne, to say nothing of the staff of  the Chester Public Library who all made for a great and memorable weekend. 

Also, I've been spending time setting up my business website: www.freelancewords.com.  If anyone tells you that setting up a website is easy, slap them for me, would you?  Granted, I had a template to work with, but it certainly wasn't easy ... although I admit I tend to overthink some things, my website among them, apparently.

Anyway, I am now in business.  My specialties are copy writing, multi-media scripting, and e-publishing.  I've spent a lifetime learning this stuff, now I can put my talents to use for you, your company, or your friend's business.  Please feel free to pass on the news of my website, which not-coincidentally is named after this blog ... or is it the other way around?  Who knows?

During this time, I collected ideas for future blogs which will be appearing over the next few months.  In addition, I'll be retooling this blog just a bit.  I'll try to add more graphics, keep you posted on Freelance Words (the business), and I'll be serializing my first two e-books.

The first tome will be a non-fiction book on networking and the other is a childrens book that I think you'll all appreciate.  Keep visiting this blog and my website for updates, okay?

Also, I'll be offering exercises for you that I hope will inspire you to kick down the barriers that limit your own creativity.  Plus, they'll be fun!

So what is the tie-in to this blog's theme?  While it was a pain to do -- and at times, I thought I'd never finish and almost gave up -- the final result was worth it to me.  I now have a website that's in MY voice that's delivering MY message to the world.  And as a "living document," the site will grow and change to reflect any changes in my business as well as my own personal evolution.  It's "good enough" right now ... but I know what will make it better, having written and designed the site.

I'd never written copy for an entire sales website before ... just as I'd never blogged before last spring ... but if I didn't try, I wouldn't know if I was any good at it.  Also, by doing this, I learned a lot about my new business -- what to offer, how to describe it and what to not mention -- as well as honing my design skills.

Just because you've never done it before, NEVER use that as an excuse for not attempting something new.  If you are an actor, try directing.  If you script nothing but comedy plays, write a dramatic monologue.  If you paint pastoral scenes, do a pencil study of a futuristic, Mega City One (for your Judge Dredd fans) on a winter's day.

Don't just step outside your box.  Kick the walls down!

Then take the lessons you learn back to your specialty.

Always challenge yourself.  Never stop growing.

So what can you do that will kick down your limitations?  Write me at bkmorris56@gmail.com and tell me.  Or check out the Freelance Words website (and don't forget to visit my friends' links ... tell them I sent you!), hire me for an estimate on a creative consultation, and I'll see you soon with a new blog entry.

"No, you can't have everything done first!"

Did you ever have a week when too many things are happening at once?  Welcome to the world of the creative person who still has to deal with the pressures of mundane life.

(please note that until this paragraph, I'd kept my inner geek wrestled down and didn't refer to real life as for the "mundies")

This week, I'm working on reading a dear friend's screenplay, editing another friend's manuscript (I'm glad she's either patient or too polite to tell me she's given up on me taking so long), writing a script for a presentation on Saturday, writing a mystery novel, starting a childrens book, researching a financial grant, and taking in webinars to expand my store of knowledge.  And I'm planning an out-of-town trip in the near future.

So I won't be too long here.

It's all too easy to become overwhelmed when you see the enormity of the tasks before you.  While Nature abhors a vaccuum, you and I frequently like the idea of keeping ones duties in manageable amounts.

(Granted, we don't want our lists too short because that means we are running out of paying gigs, right?)

Sometimes, to keep the pressures at bay, you have to make a schedule for yourself and your creative endeavors.  The key to this is prioritization.

First, make a physical list of everything you think needs to be done today before you go to bed/have dinner/make time for yourself/whatever.  This can also include household tasks, cuddling the S.O., watching your fave TV show, whatever is really important to you and must be executed before the end of the work day.  This list must be written out.  This gives it power by making it real.  Besides, mental lists are like verbal promises ... they aren't worth the paper they're written on.  Don't let this list get any longer than nine items.  There's a lot of stuff that can be done.  The list exists to demonstrate what must be accomplished today.

Second, examine the list thoughtfully.  What has a firm deadline and what doesn't?  Which deadline comes sooner?  Is it a paying job or one done for fun or as a favor?  This is where you decide which is more important, love or money.

Third, alphabetize by priority.  Any deadline job might get an A while something for free might get a B.  Reserve C for stuff you've wanted to work on, but it can wait. Obviously, if your list is longer than three items, some letters will be used more than once.  I'm ahead of you here.

Fourth, number each task within each letter grouping.  Look at your A tasks and decide which one needs to be worked on first and which one(s) can wait.  Then do the same with your B groupings and then C.  You will wind up with a 9-item list with a A1 job ... that one should be worked on uber alles if possible.  Then your A2 and A3 jobs, followed by B1, B2, B3, C1, C2, and C3. 

This gives you a roadmap of what requires your attention first.  And if more than one task requires some labor, even if it's not to complete the job but to make some headway, then set a timer for an hour.  That will represent the maximum amount of time you should allow for any given effort, although you may find you wrap up your task in less than sixty minutes.  On the other hand, you may find yourself on a creative roll, in which case you'll reset the timer for another 30-60 minutes.

Feel free to remake this list every working day.  As you remove jobs as they're completed or cancelled -- it happens -- or reprioritized (because deadlines are changed or you realize you didn't give the proper importance to some task), re-do your list.  A priority list shouldn't be used for more than a couple days in a row, really.  If nothing else, re-do the list to ensure that your focus is on the proper jobs in the right order.

As I said, priorities can change for any number of reasons.  Thus, yesterday's C3 task could be your  A1 tomorrow.  Don't panic ... this is perfectly normal and usually means you're getting stuff done and out the door.

Making a priority list is how you forbid the jobs at hand to overwhelm you.  Remember the old saying, "By the yard, it's hard.  But by the inch, it's a cinch." 

"Everyone's entitled to my opinion ..."

"CrimsonAgent93" cracked his mental knuckles, prepared to go to war.  He slid the headphones over his pierced ears, cranked up the tunes, and typed out his comic book review.

"This crapfest offends me!  Joe Low can't type his way out of an open phone booth and Sy High should pull the pencil from his orifice so he can see what he's drawing for once.  It's nothing like THE version of the book that I grew up with, which of course was the DEFINITIVE version of the character.  So if you like toilet paper that sucks sewage through a dirty straw, this is the one for you."

So how seriously should be take Internet critics?  Frankly, my contempt for these intellectually dishonest parasites grows every passing day.  Hiding behind a pseudonym grants false courage to the "reviewer" which gives that person license to spout off without accountability.

Knowing that snark is easier to write than something well thought out and eloquent, the writer works himself into a lather ... or is that "blather?"  And for good measure, let's start the name-calling because that's "always" funny.  In fact, it's been funny in every blog entry for the last six months so repeating it should make it even more hilarious, right?

Besides, he's repeated the lie enough that he doesn't care if it's not the truth.  It's time to make another blog entry.

But let's not check out the source of our ire.  Heaven forbid we should confuse ourselves with potentially contradictory facts. 

With one's ignorance firmly in place, the "reviewer" readies a few names and begins to type ...

                                                                * * *

My distaste for Internet critiques began a few months ago ... actually, it was more along the lines of I'd reached my saturation point with them. I make no secret of my out-of-control fetish for all things Kryptonian.  My view of Superman doesn't favor one version over another.  Instead, I look for the unique charm of each interpretation, much like how I enjoy Doctor Who in its myriad forms.

I also enjoyed the JJ Abrams relaunch of Star Trek.  I thought it had plenty of decent acting and action (although I think my retinas are scarred from all the lens flares).  I especially enjoyed the concept that this was an actual alternate timeline and the classic Trek of my misspent youth still existed, even if Mr. Spock wasn't in it any longer.  That way, Classic Trek sill existed ... but the movie audience's attention would now be focused elsewhere.

Also, in September of 2011, DC Comics did a reboot of their mainstream comic book line which included Superman.  Now, Superman was greatly affected by this in his origin seemed to have changed except in the basic premise of Neo-Moses found in the bulrushes of Kansas (no time spent as Superboy, his early days in Metropolis were spent as the Social Activist of Steel, his adoptive parents were dead, his uniform now resembled armor while no longer possessing the red trunks worn on the exterior, and Lois Lane was never his love, merely a good friend).

Creatively, it was a bold move.  Contemporary comic books are so tied up in their own continuity that sometimes consistency with a story that was published before most comic fans were born that it took real guts to break away from 75 years of continuity and start anew.  Also, sales were pretty bad so it was a calculated gamble that actually paid off when DC retook the #1 sales position in the comics industry for a couple of months.  In fact, during the last year, a relaunch of Aquaman outsold The Uncanny X-Men.  I'm tickled to see the day, I tell you.  Anyway ...

Immediately after these franchises were relaunched, I read way too many rants, many of them from friends who I expected to be a lot more eloquent and well-reasoned.  Suddenly, "Jar Jar Abrams" was supposed to have "ruined" Star "Track," past and present, forever and always and every actor in the new movie should have turned down their paycheck, rather than "steal" the roles from the original actors (some of whom have died prior to this movie, most of the rest are not exactly going to enter the Olympics to take the Gold in gymnastics, if you know what I mean).

And The Man of Steel was similarly "ruined forever," even before the first issue of "The New 52" (the number of mainstream titles that DC published as well as a reference to 52 alternate Earths in their continuity) hit the stands, even before a single page of artwork was drawn and shared with the community at large.  DC was "turning its back on older fans" and "going to drive away all their readers" because they were no longer publishing "THE" Superman.

(Before you ask, yes, all quotes are from actual posts that I've read and rolled my eyes at)

In both cases, these judgments were made by people who had never seen the movie, hadn't read the comic books, and had no intention whatsoever of doing so.

Granted, I understand the feeling of disenfranchisement that comes with change.  However, the vehemence of the reactions took me aback.  I mean I'd listened to the "fans" dissing John Byrne revamping Superman in 1986, Michael Keaton portraying Batman on the wide screen, and then the howls of outrage when he left the role to Val Kilmer.

Now how does this relate to creativity?  (or was this just an excuse to rant against the current level of social platform criticism ... well, now that you mention it ... )  We've discussed rejection in earlier editions of this blog.  If you don't remember those, feel free to check out earlier editions of this blog (and a refresher is always encouraged).

One roadblock many writers/artists/actors face in presenting their talents to the public is the possibility of receiving negative feedback.  Too much weight is given to the other party, putting them in charge of our attitude towards ourselves and our artistic endeavors.

One local theater group had a Facebook page to promote their shows and a volunteer to provide the site with continual content.  Well, the theater took down its page for fear of someone posting something, anything, negative.  A few weeks before, another local theater group received a trollish posting and the other fans of the acting troupe pretty much tore the offending writer a fresh, and much needed, orifice. But this group preferred to cut themselves off from free publicity, rather than endure just one sling, just one arrow of contrary opinion.

Too many potential Oliviers have never set foot on a stage for fear of someone telling them they lacked talent.  Manuscripts sit in locked drawers -- or worse yet, never written at all -- because of a writer's fear of a bad review or a rejection slip.  And sometimes, the negativity becomes more believable when it's delivered by a so-called friend.  Also, it's all too easy to fall into the negative mob mentality.

But the only way you can never fail is to never make an attempt at success.  You'll miss 100% of all the targets you never aim at.  And the only way to never receive a negative review is to never put your talent out for display.

But you should never let that stop you.  If someone has a criticism that's useful, see if you can apply it.  If the feedback comes from someone who can't articulate their opinion or justify their judgment, let their words roll off your back.  If they can't criticize without name calling or ridicule, drop them like a live ember.

Frequently, I've found that many critics are, to be honest, so full of crap that their eyes should be brown.  Most people who have the time and inclination to assess your work really have no basis for judging, except if it appeals to them on a level that they can't put into words.  I mean if a piece or performance works in a way that the person enjoys it, that's good.  But as a creator, you want to know why.  Keep searching until you can find that critic who has the words to help you grow as a creative entity.

If you're like me, you'll find your worst critic (in terms of both quality of judgment, usually) is yourself.  That's why putting a different set of eyes to your work is important.

***

"CrimsonAgent93" adjusted his glasses and rested his fingers on the edge of the keyboard.  He pondered what he was going to say as well as the reaction.  Was he looking for "attaboys"?  Was he seeking ego gratification?  What if the source of his snark happened to read his review?  What if that guy didn't read it?

Would it worth the time and effort to create a blog entry?  Would the work improve?  Would the sun shine a little more brightly tomorrow?

Just whose mind was he trying to change? 

"CrimsonAgent93" turned off his monitor and considered his next words carefully.  For once ... 

***
Just a couple of quick aside here ...

First, thanks for putting up with my irregular schedule lately.  I've had to get some rush projects done but I hope to put out (he said "put out") a couple of entries a week for a few weeks.

Second, check out www.audiomoviesclub.com.  Mary Hackett heads up a great team of performers, writers, and technical people who put out all-ages friendly, reasonably priced audio adventures, or "the best movies you'll ever hear."  Get in on the ground floor and enjoy their terrific stories!

Third, my friends Jim Amash and Teresa Davidson run a page on Facebook called Buster's Boosters.  Buster was a beloved cat who left this world too soon, but with a lot more love than when he came here.  Jim and Teresa have worked for various comic book companies, Archie Comics in particular, and are helping repay Buster's owner for medical expenses incurred while trying to save the animal.

Go to https://www.facebook.com/BustersBoosters where Jim and Teresa are selling original art pages from various comic books they've worked on as well as original sketch commissions.  The pages are VERY reasonably priced, many as low as ten buck a page, and you can often pic up entire stories filled with your favorite Riverdale friends.  So if you would, please help my friends help their friend while giving yourself a one-of-a-kind work of art.

Meanwhile, what's the worst or best criticism you've ever received?  Let me know at bkmorris56@gmail.com or leave me a comment below.  See you in a few days!

"I was sick when my dog ate my manuscript, just before my ex came over, wanting to make up."

Last time around, I spoke of the importance of deadlines.  In the world of print, there's a whole lot of people who can't do what they need to do (usually in order to be paid) until you complete your literary task.  If nothing else, an audience awaits you.  Produce on schedule and you become a joyous habit for them.  Don't produce on time, they find another addiction.

However, as vital as deadlines are, there are times when it's understandable to ignore them.

My wife works in a day care and is thus exposed to several dozen small children.  The age range spans infants to sixth graders and all of them seem to be carriers for the disease du joir.  Well, the missus contracted a rather vigorous stomach flu and being the dutiful husband and faux nurse that I was, I got the bug too.  Boy, did I get the bug!  Without going into glorious breakfast-ruining detail, let's just say I lost ten pounds in ten minutes the hard way.  But I digress ...

I've missed deadlines.  I'll miss more (this blog notwithstanding).  So will you.  There are times when it is unavoidable, however, so learn to live with it.

For instance, you cannot predict getting sick (as I can attest).  We should all try to take care of ourselves like actors during the last two weeks of rehearsals.  When the premiere looms, you will never find a more health-conscious group of people than actors.  We suddenly remember to take our vitamins every day.  We somehow find time for a power nap and rediscover the joys of fresh vegetables. We should remember how to take such care of ourselves every week of the year, right?  Uh-huh ... pull the other one.

However, there are times when illness is as avoidable as either Death or Taxes.  In that case, perhaps the proper course of action might be to work as far ahead of deadline as possible.  Very few editors will shout at you for turning in your work ahead of schedule.  If you aren't sure your editor is one of those, run a test where you amaze him/her with your deadline-meeting skills.

But you can't predict illness and most editors should understand.  Once you believe your physical condition will affect your writing negatively, let the editor know!  Sometimes, you can't give your boss too much information.

Sometimes, you cannot schedule a needed interview for an article.  Or some component, such as a book to assist with your research doesn't arrive in time.  A lot of this can be solved in advance with some proper time-management skills, of course.  Remember, the local library is open all week long except holidays.  Get your Plan B in place when lining up your A because crap occurs.

There are also times when nothing comes together for your article. I was writing an article on a comic book series that was announced back in the '80s, but never saw print.  So I got the phone number of the writer and contact info on the artist.  After a month's worth of attempts, neither one would get back to me.  Since this was a spin-off of an existing series, I contacted the artist of the parent comic because we'd talked before and gotten along quite well.  It seems that he'd done a podcast and pretty much outlined his involvement -- or lack thereof -- with the spin-off.  While I'd rather have talked to my friend -- always looking for an excuse -- I could still use the podcast as a source.  Then I also got ahold of the editor of the series.via Facebook.  His more-polite-than-I-probably-deserved reply was that this spin-off represented the absolute nadir of his professional life and he'd spent many years trying to forget this book.  So I had virtually no one who could, or would, discuss the comic with me.

(actually, he was quite polite about it ... but what's a little drama in the retelling?)

Once I realized the unwritability of this article, I contacted my editor immediately!  He reassured me that this happened all the time, that sometimes an article simply can't be written.  This had happened with two other writers for this issue, it seemed.  But he was glad to know as soon as he did so he could make alternate plans.  It seems he had his Plan B in place already.

Despite my editor's reassurances, I was annoyed that the history of this aborted comic series would be lost to time.  But I digress ...

When you run into problems, talk to your editor immediately!  The editor may have a solution to your problem.  If nothing else, the sooner they know of your dilemma, the sooner they can design a solution, whether it includes your work or not.  It beats the heck out of blowing off the deadline.  So own up!  It's easier on everyone involved.

But if you can't write the article, for whatever good and proper reason, you cannot write it.  But be professional, apologize, and perhaps you'll get another assignment because the editor would probably rather have a good article from you rather than one you simply ground out to make a deadline.  Now what about that dreaded deadline?  It is the alpha and omega of publishing?

When I worked in newspapers, there was one deadline and it was to be adhered to uber alles!  In the daily journalism trade, the time between the deadline and going to press is a matter of hours.  In magazines, it is a little more flexible, especially if your editor and publisher have their acts together.  As one of my editors told me (and I was sworn to secrecy so guess all you want, I won't confirm or deny), "There are deadlines ... and there are deadlines."

Many print magazine editors will tell YOU what the deadline is, but it isn't necessarily his/hers.  Many editors will set a deadline that gives them time to handle problems, to edit the article, to move it through the gauntlet of production, and then to publication.  You are not the only player in the editor's game, remember?

But treat their deadline as THE deadline.  It's all a part of keeping your editor good and gruntled, which could lead to further assignments.  If they choose to cut you some slack by cutting into their production time, be grateful and cooperative.  But don't assume that your writing is so precious that you are worth blowing a publishing deadline.  Chances are that you aren't.

What's the best defense against missing a deadline?  Manage your time and resources so you can turn in your work before the dreaded date ahead of time or at the latest, on the day of deadline. If blowing the deadline is unavoidable on your part due to illness or other difficulties, communication with your editor is as vital as communicating with your friends and family.

And I blew last week's deadline and almost this one's.  However, there has been illness and other difficulties as of late, all of which have been dealt with.  Fortunately, I am my own editor so I get to do that.  After all, there are deadlines ... and there are deadlines. 

By the way, discussion is welcome in the convenient box below.  Or if you're shy, drop me a line at bkmorris56@gmail.com.  And let's see what I come up with next week ... on time, if I do this right. 

So discuss already ... what is your experience with deadlines?  What's kept you from making them?  What do you do to make sure you beat the submission date?  Have any horror stories about trying to reach the finish line on time?  I'd love to hear it!

"Deadlines are deadlines."

One of my first writing gigs was the high school newspaper.  In fact, my second regular writing job was the college newspaper.  When you are assigned a story, or your pitch is accepted, one of the things you are assigned is a deadline.  There's a reason for that.

Writing for publication does no good until it's published.  And very few -- might as well call it none -- will put out their wares without a target date.  Now deadlines can be missed ... and we'll go over that a little later.

(if you aren't assigned a deadline, be nervous.  Very rarely will an editor assign a piece without a deadline unless that person wants filler for when someone else can't come through.  If you are contracted for filler, that's okay, I guess ... but your piece doesn't elicit the love it should from your editor and might get lost in the shuffle.  I submitted an article to someone I still do business with as a transcriber and he said he'd use it when he got space ... and we've never spoken of it since as if it was an experience shared in a seedy bar that we'd never mention to each other again.  So demand some love of your own and go for a deadline commitment)

Some writers love deadlines -- I'm one of them.  Given that I come from a foundation of newspaper work, it's good to have a target to complete the task or else it might never get done.  There's too many pages on Facebook to examine, too many hours of Jerry Springer to watch, too many comic books to read, so knowing that a piece has higher priority is a good thing.

Plus, the prospect of a deadline helps me to focus, almost as much as a word count.  I've been told (read: accused) that if someone asked me for the time, I'd relate the history of clock making.  Mea culpa.  Anyway, without the limitations of a word count and more importantly, a deadline, I'd prattle on endlessly, drowning you in the width and breadth of my knowledge ... whether you wanted it or not.

Also, there's something about the ticking of the deadline clock that seems to unlock the best writer in me.  I am forced to prioritize my research time and maintain my subject focus.  Also, I don't overthink the article or story, which sometimes leads to questioning my writing choices.

When you make your deadline, it also marks you as a go-to person.  Editors appreciate people who make their lives easier.  Turning in your work on -- or better yet, ahead of -- schedule shows you possess a professional attitude and a commitment to meeting your editor's goals, the primary one of which is getting the magazine (whether online or old school paper, glue, and staples) out in a timely manner.

In regular print, a whole line of people are waiting for you to submit your writing.  The editor knows he or she will require some time to edit your script, even if your prose is flawless and your research golden.  A graphics person might be waiting to lay out and design your article.  An artist might be drumming his fingers, knowing that every minute he waits is putting off other drawing assignments and waiting on you is losing him money.  The printer checks the calendar, knowing your publisher has booked time on the presses.  The publisher seethes, knowing anything that delays the publication could cost him in late printing fees.  A distributor years for your work to be delivered so he can dole out copies to book stores, supermarkets, and other outlets and hope to sell enough to justify your rack space.  The retailer wants to make money from your work and in some cases, that storeowner has already paid for your books and wants nothing more than to recoup his/her investment.

Even more than all that, a reader is waiting to take in the fruits of your creativity.  If your work is accepted by a periodical, the steady release of that magazine/newspaper gives the buyer a reason to enter a store where they might buy even more.  If the periodical doesn't hit the stands at the promised time, the buyer loses faith in the magazine and may wind up spending money on something else.  So when your publication finally hits the stands, the dough may not be budgeted for the purchase.

So it's not just you.  A whole line of people will be affected by your ability to meet a deadline.  It's not quite so critical online where many deadlines are pretty fluid.  But if it runs through a regular press, you should adhere to your promised deadline as closely as you can.  And even your work won't be immortalized in ink on dead trees, delivering your work on time, as I said earlier, shows you have the right stuff to make an editor's life easier.

And now that I've (hopefully) demonstrated how vital deadlines are, my next blog will ed-u-ma-cate you on when it's understandable to blow a deadline, how to not annoy your editor any more than you need to when you do, and why some deadlines are more rigid than others.  I'll also tell you what made me think of deadlines ... because I skipped one too.

If you have any comments on this blog, feel free to leave them below.  Or else you can drop me a note at bkmorris56@gmail.com.  So discuss, already ...

"I can never come up with an ending."

For years, I've said that when I write, I have no problem with kicking off the story and I can wrap it up with a fair amount of satisfaction.  It's that "middle" part that gives me fits.  And without the Holy Trinity of Plotting (Beginning, Middle, and Ending), you don't have a tale, merely a vignette.

When crafting a story, I've often found that creating the ending makes plotting easier.  I simply cannot write just to write any more.  I need structure or else I'd be typing nothing but character studies that drone on for pages and pages and pages.  Heck, I'd really be doing little more than typing and not providing a story for the money, right?

For me, the ending might come first and I'd work to find a path to reach it or else the basic premise would come to me and then I'd have to come up with a way to resolve it.  Either way, I'd have a beginning and an end ... now how would I get from point A to point C?  That's where you construct your Middle.

In fiction, it would be too easy to create a path where learning of one person who knows someone else who has the phone number of somebody different.  However, it's often far from exciting.  A fiction plotline would involve various obstacles that prevent the protagonist from reaching the goal.  Mike Hammer learns that someone picked up the evidence he needs to solve the case but the killer found that someone first.  Superman needs a special herb to cure Lois Lane's Crimson Fever, but Clark Kent's been "arrested" for a "Get Out Of Jail" charity event sponsored by The Daily Planet.  Babette found the recipe to Joe's favorite meat lasagna, the one that his mother used to make and would surely win his heart, but learns that her intended also intends to become a vegetarian until he finds his One True Love.  Work around the characters' problems and you'll solve your plotting issues, one step at a time.

But don't make it easy on yourself.  If it's a choice between coincidence or the character using their innate abilities to emerge victorious, always choose the latter.  Sure, one coincidence can spice up a story, but don't rely on more than one per adventure.  If you can summarize your plot and must use the words "he/she just happened to ..." then replot that section.

When outlining your non-fiction, consider that your story may also have an ending.  Figure out your conclusion first and it makes wrapping up the piece a lot easier.  Whether its a report for a school project or an article for your favorite magazine, even a book on a particular subject, how many times have you sat staring at the word processor, wondering how to tie the bow on the piece?  I've personally written an article, several thousand words of deftly-crafted prose (I hope!) on a subject in a day or two, only to spend twice as long trying to find the words to conclude the piece without sounding like a five-year old or having to wish everyone a good night and to drive home safely.

This theory wasn't taught to me.  If only!  I was writing an article on Supergirl for BACK ISSUE Magazine #17 (available at http://twomorrows.com/index.php?main_page=product_info&products_id=373 or your local comics monger) and course, you have to do your research.  In the Maid of Might's first appearance (Action Comics #252, May 1959), Kara Zor-El came to Earth, barely escaping the destruction of Argo City, a domed city that was launched into space as a result of the explosion of the planet Krypton.  To allow Kara to use her powers while adjusting to Earth life, Superman decides she'd be his "secret weapon."  As writer Mark Waid once said, when Superman got his butt kicked, Supergirl would have to save him.

Eventually, Supergirl was killed in The Crisis on Infinite Earths (a thrilling limited-run series that allowed DC to reboot its continuity) but appeared one more time in a short story in an anthology book as a spirit that would appear to those in dire need.  And it dawned on me ... as Superman still flew high to save all of humankind with his great physical might, Kara Zor-El still existed to help those in spiritual and emotional need ... so she's still a "secret weapon." Once I had that in my mind, it was easy to craft my article to lead towards that ending.  I could write the rest of the article with confidence, knowing my ending was all sewn up.

Now, that's not to say that you couldn't discover a better ending by the time your story ended.  However, it takes a bit of pressure off your writing if you have the ending in sight.  To quote a line from The Monkees' Head, when you see the end in sight, the beginning may arrive.

So when you get to your ending, are you as surprised as your readers may be?  Do you know your ending before you begin typing?  Discuss

(Note: this week, I'll be spending some spare time, such as that is, working on my website.  When it's up and running, I'll gladly invite you to come on over, maybe even take advantage of my various writing services.  But I'll try to deliver something this week.)

"Time keeps on slippin', slippin', slippin' ... into the future."

This week's gonna be a little light.  All the cool kids will be at the Superman Celebration in Metropolis, Illinois from Thursday, June 7 through the 10th.  Special guests will include John Glover and Cassidy Freeman from Smallville, and the Superboys of two generations -- John Rockwell and Gerard Christopher -- along with comic artists George Perez and Terry Beatty as well as other writers like Bruce Scivally and painter Trevor Hawkins and many, many more.

There will be parties, Q&As, autogrph sessions, auction, costume contests, re-enactment of the radio program, live skits, and more.  For more information, head on over to www.supermancelebration.net and I hope to see you there.

Anyway, as a result, I'll probably only have one blog entry this week.  I'll be back to two or more next week when I've recovered.

One thing that impresses me when I go to Metropolis is the range of creativity in its myriad forms.  First of all, it takes a lot of creativity to assemble one of these affairs.  Guests have to be selected, contacted, cajoled, negotiated, and then imported to this town of 6,500 that'll several times that number of people during the best four days of the year for some people.

Then there are writers who've done historical books on Superman and other pop culture icons or the writers of the comic books and movies.  We've also gotten artists who've worked on the Superman titles or used him as a muse for their own work.

A large draw every year are the actors.  Since I've attended the Celebration since 1999, I've met actors from Broadway, TV, and the films as well as actors who've appeared in other shows such as Batman, The Incredible Hulk, and SHAZAM! 

I'm not above dropping names of the amazing creative people I've met ... however, I would regret omitting any names.

One demographic that seems to be taking over the Celebration, much to my delight, is the growing number of costumers who spend a lot of time and re-creating the look of their favorite media heroes or heroines.  I've read many times where some Hollywood designer, with millions of dollars at their disposal, might claim that a comic book or video game costume might be impossible to recreate and not look idiotic.  Then on any given weekend of the year, there's a costumer who's replicated the look flawlessly and for a fraction of the price.

(An aside here: in reading about the costuming community, you may have heard the hobby referred to as "cosplay."  My friend Ned Cox once explained to me that he viewed the replicators of the Oriental manga and anime [their comic books and animated shows ... see how educational this blog can be?] as "cosplayers" while the more Western world-based characters were portrayed by "costumers."  It seemed like a reasonable idea at the time and I fully concur with it now)

And not only do the costumers take pride in their threads, they also make sure they, themselves, stay in shape to resemble their favorite characters.  Also, a great many of them visit hospitals, military bases, and appear at various charitable functions in costume.  To me, that's a whole different level of heroism that we all should aspire to.

But I will say that the costuming bug may bite anyone ...

  

 Uncle Dudley Marvel ... real and unreal!

 So if I don't blog at you later this week,I'll continue my dissertation on creativity next week.  

So what's your next-favorite creative outlet?  Discuss!

"Reject ME, will you?  I reject YOU!!!" (insert maniacal cackling)

Near-death experiences are pretty much expected at auto races and in the Intensive Care Unit of any hospital.  It shouldn't occur when you open the mail or get into your e-mailbox.

I spoke last week about receiving a rejection to your creative efforts.  It can be a demoralizing experience until you have your emotional shields up and working.  And even then, it may sting a little because you put some work into that, right?  Whether it's girding your loins for an audition or sending off some art or a piece of your writing.  It's like hearing that your children are too short to ride the roller coaster they've been aching to experience for what seems forever.

First, give yourself a few minutes to grieve.  You put forth the effort to create, research your market, and then submit, so you're entitled to a moment.  Walk around the block.  Use this as an excuse to buy something nice.  Console yourself that your efforts would have been accepted if the buyer/producer had a human soul.  Then close the door on the pity party.

Now here's where you make your work stronger.  Let's start out with looking at your writing.

You've probably not seen your baby for a couple of months.  Take a cold, calculating look at the work.  Read it aloud once again.  You did read it aloud when you first sent it out, right?  Sure, it feels wacky/crazy/demented/creepy but your writing can't read any better than it sounds.  Make sure it sounds right, which is always a good reason to brush up on your elocution and vocabulary.  If you find yourself wanting to rush through speaking the piece, chances are your audience can't wait for it to end either -- and I don't mean rushing to find out how it ends so much as when.

This is where you get the opportunity to re-evaluate your work, rewrite it if necessary, and then send it out, a stronger work than before.

If you are auditioning for a part, this is where you can re-run your "gaffs" and instead of kicking yourself for committing them, even if inadvertently, you can re-rehearse and strengthen your presentation.  And remember that sometimes, a producer or director may see what they're looking for anyway.

A personal aside here: once, I auditioned for a local production of The Music Man.  My goal was to snag the role of Charlie, the anvil salesman.  Well, I did just about everything wrong that an actor could do during the audition.  First of all, I showed up 20 minutes late.  By then, the dancing piece was rehearsed and everyone floated like the Law of Gravity had been repealed.  My reading was okay, but then we had to sing and my voice wasn't warmed up.  I left the audition ready to give up singing, dancing, acting, writing, and living.  I was morose for two solid days over my total fubar of an audition.

However, I received a phone call from one of the stage managers.  I was told that didn't get the role of Charlie, which I expected, and waited for the plea to never audition again ... a request that never came because I was offered the role of Mayor Shinn, a much meatier role.  So sometimes, you're a good fit ... sometimes you aren't ... but what good will it do to fill your time with regret.

I've heard it said that to get almost any job, you need to be 1) talented, 2) good with deadlines, and 3) a good person.  But what if you don't sell your script or snag that role? 

Thank them anyway.

When you receive any sort of rejection, just drop a friendly line, reminding them of your work ("my audition for the role of Q.C. Proops in your production of Jekyll and Hyde," "my one-act play Beach Blanket Bazinga," "my novelization of The Two Towers," etc.) and to thank them for the opportunity. 

This places your name in the back of TPTB's mind.  Next time, if it's a choice between you and someone of comparable talent, your total class and positive attitude will stick in their minds.  It could give you the edge you need to land that next gig because you sound like someone who they will want to work with

Perhaps they'll even wonder if they made the correct choice after all.

I've heard of people who've lost out on jobs who later got a call when the first candidate didn't work out.  If nothing else, you may establish a relationship with someone who may even become a friend later on.  I know it's worked for me in the past and you lose nothing from the effort.

But what's most important is to think of yourself like a shark.  You must swim, constantly move forward to survive.  Keep writing ... continue to work on your monologue ... work those strings ... continue to create and to get better at what you do.  Eventually, you can turn those rejections into contacts, productions, and paychecks.

"You hate me ... you really hate me ... "

No one ever died from being told "no" ... well, maybe Socrates when he asked, "You got something I can chase this hemlock with?"

When you get that letter, phone call, or e-mail saying that you've been turned down, it should never be a reason for celebration.  If that's the case, you should have your temperature taken and the thermometer placed nowhere near your mouth.  No one enjoys rejection for any reason.  In any creative field, someone not desiring your services seems especially painful.

A writer may spend hours polishing their blog content.  In the case of an article or a poem, it could be days.  And with novels or full-length plays, we could be talking about years of concerted effort.  After investing all that sweat equity, to say nothing of locating a market for your talents and taking the time and trouble to present your work, it hurts just a little (or a lot, depending on how much you wanted the acceptance) to be turned down.

Even in the case of an actor, that person could have read the script, rehearsed a song, or memorized a monologue for the audition.  This doesn't count the years spent learning to put together a role inside one's head, much less the time spent in training the voice, learning to move on stage, or just finding a way to commit the lines and blocking to memory.  In writing, anything that comes from the keyboard reflects the living and processing of a lifetime's worth of stimuli.  It's become almost cliche to liken our stories to our genetic progeny, but still ...

While it still may sting to receive a rejection, I just remind myself of several things.  First of all, and foremost, they are not rejecting me as a creative person or as a human being.  Heck, they don't even know me.  The only contact they have -- or may ever have -- is the creative product I've put before them. 

Since I've been in the position of being able to accept writing or to cast performers, it's never really personal.  The overall work must be of primary importance.  Does this fit the overall design?  Will it/they work well alongside others?  It might be good.  It might be brilliant.  However, it may not be a good fit for the project and there's nothing wrong with that. 

Years ago, I submitted a short play to a production company in the hopes that it would be included in their Christmas-themed night of plays.  Of course, it had Santa Claus in it ... but I wanted to do something that wouldn't be too saccharine or overly sentimental so I added a dollop of dark humor to it.  Naturally, I didn't exactly capture the warmth of the holiday within my work (when was the last time you heard the words "advanced decomposition" in a Christmas play?) so I wasn't surprised when the note came back that it didn't fit the evening's overall theme.  I was told the committee found it quite amusing ... horrifying, but amusing.  But hey, ya gotta try!

Instead of treating a rejection as if it said that you had two months to live, you should find positive uses for it.  Use it to 1) learn, 2) keep the door open for future submissions, and 3) make them wonder if they made the right choice after all.  How can you do that?

I'll cover that next time around. 

So what have been some of your most memorable rejections?  Did any crush you, if only for a little while?  Or did they inspire you to keep trying?  Leave me some comments, okay? 

"I'm afraid someone will steal my idea ... "

I give ideas away all the time to my friends.  When I'm in "Brian Mode," I often tell anyone who'll listen that they can probably use those ideas more than I can.  Besides, giving away something good could potentially balance out my karma, which requires it more often than not.

Ideas are like clay.  Malleable, easy to locate (see my 4/23/2012 blog entry on Ideas), with lots of creative potential, ideas are the foundation for writing ... but by no means the most important part.

Too many people clutch their ideas like a passenger aboard the Titanic might grip a floatation device.  They believe this precious brain child could be The Next Big Thing ... and it could be.  However, someone else has already invented Sherlock Holmes, Tarzan, Superman, Dirk Pitt, whatever.  Get over it!

What really matters is execution.  Take the idea of star-crossed young lovers.  In one version, you have Romeo and Juliet.  Toss them into the New York barrio and it becomes West Side Story.  Push your tongue firmly into your cheek, get some attractive young actresses to run around with a minimum of clothing (and a maximum of piercings) and it's Tromeo and Juliet. 

It's been said that just about every story boils down to around seven plots and they'd all been used by the time Shakespeare took quill to paper.  But what will make your story different is the descriptive power you bring or the flourishes to the tale that you alone will apply.  Want to write a tale about a pre-programmed espionage agent?  One way makes for a Raymond Shaw, another for a Jason Bourne.  But the stories each character can facilitate differ greatly.  No doubt, you can find a third set of writing choices.

Even when it comes to nonfiction, almost any interview subject has been interrogated before you even found their e-mail address.  However, what can make your article stand out is the perspective you take to the subject at hand.  Also, try to think of two or three questions that the person may never have been asked.  Or attempt to think of a new way to ask them something you know they've answered before.

Ideas are never to be discounted.  However, they're plentiful like corn in Illinois after the Fourth of July.  Take some time and come up with your own recipe for them, okay?

"I'm waiting for inspiration to strike me ... "

How about I do it instead?  No, seriously, we've all been there.  We've waited for the muse to find us, to whisper those golden words in our ears and give us the next Gone With the Wind or the new Superman or whatever may fire up not only our own imagination, but that of our audience.

Well, muses ride the wind and no one can steer the breeze.  If you have the desire to write, to create, you can't wait for inspiration to find you.  You have to hunt it down.  You must pursue it like with the ferocity of a bounty hunter, grip it by the throat, and drag it back to your writing alcove.

Inspiration is all around you.  I remember meeting writer/artist Nicola Cuti (then part of the Charlton Comics editorial staff and writer/creator of the classic character E-Man) back in the '70s and asked the usual lame question, "Where do you get your crazy ideas?"  He told me that he read newspapers, watched the evening news, followed real world events.  Then he applied his character to the situation and let the story evolve from there.  How did this character react to the situation?  How did the situation change as a result of the character's intervention?  How would this particular character resolve the problems generated by roadblocks generated as a result of his actions?

Even if you watch nothing but reality TV or read comic books or listen to the radio, there's still plenty of inspiration to be found.  Turn a familiar situation into something strange and exotic.  For instance, one of my favorite comic book series from the '80s was a title called normalman (written and illustrated by Jim Valentino) where a baby was rocketed from a dying planet to another where everyone except him possessed powers and abilities far beyond those of mortal men.  There was also a very short-lived television series in the Seventies produced by Norman Lear called All That Glitters.  The premise was that women were the alpha gender and males faced limited opportunities and sexual exploitation.  Also, more than one book has been written where Professor Moriarty was the protagonist who faced challenges from his oppressor, Sherlock Holmes.

So do some mental plotting exercises for your own amusement.  How might a retired consulting detective react to the alarms aboard the Titanic?  How does a man ask for what he knows are the winning State Lottery numbers when he has tetraphobia?  What if a maid discovered her sister was a prostitute whose client worked for the Secret Service?  See where this could go?

Nothing wrong with waiting for your muse.  But the muscles of the imagination grow stronger through use.  Like opportunity, inspiration is unlikely to seek you out, but there's nothing wrong with hunting it down and making it work for you.