How to Get Ideas for Stories

Here’s the lesson about reading: read inside your genre to perfect your style, outside of it for new ideas.

I told my wife a while back that I had finally hit the turning point in my second novel, Fracture, coming out at the end of this month. My first novel starts out with a whip-crack (the lead character falling out of an 8th floor window) and only slows down to take a breath in a few places. With Fracture, I wanted to work on a slower build that gradually increased in tempo like a lit fuse nearing the first stick of dynamite in a chain of explosions.

When I explained this to my wife, she said, “I wouldn’t know where to begin writing a novel.”
“It all starts with an idea,” I said, “usually a ‘what-if?’.”

That’s why de-cluttering your space, schedule, and mind is so important to an author. When you’re stuck in routines or harried by to-do lists, your mind doesn’t have time to wander.

  • You need time to read. Books are great. They shape your perception and your style as an author. Books aren’t the only places where authors get ideas, though. Pick up magazines, news articles, slip through an encyclopedia or a national geographic. Here’s the lesson about reading: read inside your genre to perfect your style, outside of it for new ideas. So if you’re looking for something fresh, get outside your genre for that brilliant “what-if?” that sets your pants on fire.
  • You need time to wander too. Set aside 30 minutes to go for a walk at the end of the day. Go alone if you can or with a friend who likes to talk about things outside of conventional conversation. Maybe just sitting on the same bench in the same park is what you need. Whatever it is, clear your mind of all the tasks you have to do and give yourself time to dream on whatever takes your interest.
  • People-watch. There is no better place to find drama than laundro-mats and all-night diners. Go places where people talk loudly. Bring a pen and paper or your phone and a note-taking app. Capture moments of dialogue that hook your attention, life’s ironic twists, physical descriptions and tics, and the multiple facets of the human psyche.

These are just a few ideas to get you going. How about you, though? How do you find your stories?

As I Lay Dying Review

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As I Lay Dying was, honestly, like wading through an ever changing current of words. Faulkner’s ear for dialect is as keenly tuned as a master violinist’s toward the reverberations of his instrument. That being said, however, Faulkner’s writing style, when expressed in the stream of consciousness ramblings that fill this book, is…well to say “confusing” would be an understatement. The book is well worth the read if you enjoy reading for the sound of a character’s voice. There are some unique voices here. If you’re not one for meandering monologues on life’s meanings and odd sentence composition, then I’d suggest you leave this one on the shelf. If you choose to read this book, opt for the audiobook as the various readers help to make better sense of the unbroken style of Faulkner’s prose.

An example of when Faulkner gets confusing: 

“In a strange room you must empty yourself for sleep. And before you are emptied for sleep, what are you. And when you are emptied for sleep, you are not. And when you are filled with sleep, you never were. I don’t know what I am. I don’t know if I am or not. Jewel knows he is, because he does not know that he does not know whether he is or not. He cannot empty himself for sleep because he is not what he is and he is what he is not. Beyond the unlamped wall I can hear the rain shaping the wagon that is ours, the load that is no longer theirs that felled and sawed it nor yet theirs that bought it and which is not ours either, lie on our wagon though it does, since only the wind and the rain shape it only to Jewel and me, that are not asleep. And since sleep is is-not and rain and wind are was, it is not. Yet the wagon is, because when the wagon is was, Addie Bundren will not be. And Jewel is, so Addie Bundren must be. And then I must be, or I could not empty myself for sleep in a strange room. And so if I am not emptied yet, I am is.

How often have I lain beneath rain on a strange roof, thinking of home.”

An example of when Faulkner gets it right:

“He had a word, too. Love, he called it. But I had been used to words for a long time. I knew that that word was like those others: just a shape to fill a lack that when the right time came, you wouldn’t need a word for that anymore than for pride or fear.”

and…

“I notice how it takes a lazy man, a man that hates moving, to get set on moving once he does get started off, the same as when he was set on staying still, like it aint the moving he hates so much as the starting and the stopping. And like he would be kind of proud of whatever come up to make the moving or the setting still look hard. He set there on the wagon hunched up, blinking, listening to us tell about how quick the bridge went and how high the water was, and I be durn if he didn’t act like he was proud of it, like he had made the river rise himself.”

Kirkus Calls Hindsight, “A high-stakes suspense novel with a breakneck pace and a strong voice.”

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Kirkus Reviews has published the review of Hindsight and it’s stunning. The good news doesn’t stop there. They’ve chosen Hindsight for the “Kirkus’ Indie Books of the Month Selection,” which you’ll be seeing mid-March.

“A debut novel about an Irish-American ex-con combines the appeal of the thriller and noir fiction genres in a style similar to that of Lee Child’s Jack Reacher books… Featuring some insightful character development and pedal-to-the-metal pacing, this novel gets its real power from its gritty narrative voice, which is simultaneously jaded and principled… A high-stakes suspense novel with a breakneck pace and strong voice.” – Kirkus Reviews

Click here to purchase Hindsight on Kindle for the low price of $2.99. If you’re a part of the Amazon Lending Library, then you can pick it up for free.

Busting Writer’s Block

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There are plenty of tips to breaking up writer’s block. They are all good, but here’s my favorite. It’s my favorite because it makes me feel in control of the act of writing, lets me stop feeling satisfied and start with plenty of new ideas to bring to the page. You ready for it? Okay, here it is. Real simple: don’t finish.

When we’re writing–especially when we’ve struck a vein and the words are gushing–there is this drive to get it all out before that vein dries up. Number one, that mentality is a problem. By thinking you’ve got a limited supply of ideas and they only really come in spurts of inspiration, you lock yourself into a mindset of inspirational poverty. That’s not the case. The words are always in you. It’s just about your mind making connections between concepts. When you put a full stop on an idea with a period, you sever those connections. If, however, you stop writing in the middle of a sentence, you keep that connection open. What’s more, using the analogy of the vein, you let those words keep flowing when you walk away from the computer and soon you’ll be swimming in them. Your subconscious will keep making connections, and bursts of insight will hit you while you’re pulling the milk out of the fridge, the car out of the garage, or your head out of your ass after a fight with your spouse.

Number two, if you know how a sentence, or a scene is going to end, then you come back into the act of writing with at least half a tank of fuel to get you going. Writing out a full chapter till you can’t think of what comes next leaves you dry, with little motivation to sit back down and start, since you don’t have that enough juice to get things moving.

So, how do we put this into practice? Easy. If your goal is to write a chapter a day, write a chapter and a half, or just three-fourths of that chapter. I don’t typically stop conversations if they are really crackling, or a description that I have just the right words for. I do, however, stop right smack in the middle of a sentence if the point of the sentence is the character performing an action or moving from one place to another. I know where it’s going and it’s not critical to say it just right (not yet at least). To get into this practice, all you have to do is call off the voice of that asshole overlord in your head that tells you to finish the sentence and stop right in the-

How’s that? You’ve got that urge to finish the sentence, don’t you? Good. That’s what I’m talking about. Now try it out for yourself. But before you go, why not share some of your own ideas on busting writer’s block?

Review: The Spy Who Came in From the Cold

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Le Carre sets the standard for the intellectual spy thriller. While this is a George Smiley novel, you only see him in the shadows. The lead character in this novel is Alec Leamas, an MI6 operative running things in Cold War Germany before he gets sacked for a failed operation. He’s sullen, sarcastic, cunning, and quite likable. You can read the book’s description if you want to find out about the story. I’m here to tell you why I liked it.

Le Carre’s strength is the intricate web of lies that his characters weave around each other. The entire novel, like most Le Carre tales, is a dance of spiders, each trying to catch the other in their trap. Playing perfectly into this dynamic are the high-stakes consequences that result from seemingly insignificant exchanges of dialogue. In Le Carre’s world, it is not laser pens or grappling hook brassieres that turn the tides of war, it is the ability to deceive and maintain deception until the end. Take this excerpt that epitomizes what I think is the theme of the novel:

“A man who lives a part, not to others but alone, is exposed to obvious psychological dangers. In itself the practice of deception is not particularly exacting. It is a matter of experience, a professional expertise. It is a facility most of us can acquire. But while a confidence trickster, a play actor or a gambler can return from his performance to the ranks of his admirers, the secret agent enjoys no such relief. For him, deception is first a matter of self defense. He must protect himself not only from without, but from within, and against the most natural of impulses. Though he earn a fortune, his role may forbid him the purchase of a razor. Though he be erudite, it can befall him to mumble nothing but banalities. Though he be an affectionate husband and father, he must within all circumstances without himself from those with whom he should naturally confide. Aware of the overwhelming temptations which assail a man permanently isolated in his deceit, Leamas resorted to the course which armed him best. Even when he was alone, he compelled himself to live with the personality he had assumed. It is said that Balzac on his deathbed inquired anxiously after the health and prosperity of characters he had created. Similarly, Leamas, without relinquishing the power of invention, identified himself with what he had invented. The qualities he had exhibited to ****: the restless uncertainty, the protective arrogance concealing shame were not approximations, but extensions of qualities he actually possessed. Hence, also, the slight dragging of the feet, the aspect of personal neglect, the indifference to food, and an increasing reliance on alcohol and tobacco. When alone, he remained faithful to these habits. He would even exaggerate them a little, mumbling to himself about the iniquities of his service. Only very rarely, as now, going to bed that evening, did he allow himself the dangerous luxury of admitting the great lie that he lived.”

Conversations kill in “The Spy Who Came in From the Cold”, so every word counts.

To Write Authentic Dialogue, Write Backstory First

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Last week I told you about a conversation my wife and I started having about writing.
“I wouldn’t know where to start writing a novel,” she said.
“It all starts with an idea, a ‘what if?’.” I answered. So, last week we talked about where you get your ideas. That wasn’t enough for my wife, though.
“Yeah, but all that dialogue,” she said, “where do you begin writing that?”
“Backstory, I guess,” I said. “I start by figuring out who my characters are. I don’t try to write anything until I’ve got that sorted.”
Backstory is, perhaps, the most critical step in the creation of a novel for me. To write a character, I have to feel like I know them well enough to invite them to a birthday party. That’s actually a great way to get to know your characters.

If you’re having trouble getting a handle on someone in your novel, imagine that you are out on a double date with them, or that you’ve invited them over to your house for a party. 

Ask them the typical questions that you get asked at a party. How would they respond? What questions would they ask you? Who would they get along with? If you want to make things interesting, imagine a crisis: a motorcycle drives through your fence, you find out your sister has been sleeping with that character, you ran out of dip. What does that character do?

After I nail down the backstory of my characters complete with at least a few childhood memories and the track of their life decisions, then I pen that down on an index card. From that point on, all I have to do is put that character in the room with another character and a subject to talk about. They do the rest.
“When you know your characters, you don’t have to worry about dialogue,” I told my wife. “You just let them talk. If you start hearing words come out of their mouths and thinking, ‘that doesn’t sound like Shirley,’ then you know that you’re taking over and putting those words in there.”
Sure, writing this way may lead to some rambling conversations about trivialities, but that’s often what makes the dialogue interesting. It’s the details that tell the story. And, if you’ve got twelve pages of blathering nonsense at the end of your writing, you know two things. First, you know a little more about your character. Second, you know that you can always tighten that dialogue up when editing time comes around.

How about you? What part does backstory play in your writing process? Are there any characters who have become immortalized in your mind because of the amount of detail that the author put into their backstory?

Catching Up on the Blog Tour

If you haven’t found the recent links to my blog tour online, I’ve posted them here for you. Enjoy, my friend.

What Inspires My Writing on Journeys Thru Books

An Excerpt from Chapter 3 of Hindsight on BookBlurbsJim

Villains and What I Learned from Writing Hindsight on Pastime with Books

To Outline or Not To Outline on Next Big Book Thing

3 Keys to Getting Ideas

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I told my wife today that I had finally hit the turning point in my second novel, Fracture. My first novel, Hindsight, starts out with a whip-crack (the lead character falling out of an 8th floor window) and only slows down to take a breath in a few places. With Fracture, I wanted to work on a slower build that gradually increased in tempo like a lit fuse nearing the first stick of dynamite in a chain of explosions. Yesterday, my lead character turned the corner. It’s a good feeling when you’ve put all the pieces into play and you can finally start the real action. When I explained this to my wife, she said, “I wouldn’t know where to begin writing a novel.”

“It all starts with an idea,” I said, “usually a ‘what-if?’.”

That’s why de-cluttering your space, schedule, and mind is so important to an author. When you’re stuck in routines or harried by to-do lists, your mind doesn’t have time to wander.

  1. You need time to read. Books are great. They shape your perception and your style as an author. Books aren’t the only places where authors get ideas, though. Pick up magazines, news articles, slip through an encyclopedia or a national geographic. Here’s the lesson about reading: read inside your genre to perfect your style, outside of it for new ideas. So if you’re looking for something fresh, get outside your genre for that brilliant “what-if?” that sets your pants on fire.
  2. You need time to wander too. Set aside 30 minutes to go for a walk at the end of the day. Go alone if you can or with a friend who likes to talk about things outside of conventional conversation. Maybe just sitting on the same bench in the same part is what you need. Whatever it is, clear your mind of all the tasks you have to do and give yourself time to dream on whatever takes your interest.
  3. People-watch. There is no better place to find drama than laundro-mats and all-night diners. Go places where people talk loudly. Bring a pen and paper or your phone and a note-taking app. Capture moments of dialogue that hook your attention, life’s ironic twists, physical descriptions and tics, and the multiple facets of the human psyche.

How about you? Where do you get your best ideas from? What places or habits help you to get those brilliant ideas?

Love-in-a-Mist: A Christmas Present for You, Dear Reader

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I wanted to do something special for you, because with your limited time, you’ve chosen to visit my blog. So here it is, my gift to you this Christmas: an unpublished short story I wrote just a little bit ago called, Love-In-A-Mist. Merry Christmas.

Love-in-a-Mist

by Owen Banner

Dad’s at it again–mowing the lawn. I smell the grass and hear the quiet whirr of his push-reel mower even through my closed bedroom window. It fogs up with my breath, and I rub my palm over it to clear the fog away, hearing the squeaky rubbery sound of skin on glass. Mom left a month ago, and, since then, Dad’s been out there every couple of days.

It used to be their thing. He’d cut the grass in his riding mower. Mom planted flowers: powdery lavender, sweet white and pink peonies, yellow California poppies that closed up at night, and bright pink azaleas that looked like trumpets bursting open with so much color. Her favorites, though, were the Love-in-a-Mist bushes. They’ve got pale blue stars for flowers with wispy green veins stretching out behind them. She said they were a perfect cottage flower.

A few years ago, at a garage sale, she’d bought a beat-up garden gnome with a red hat, blue pants, and dirt smudged all through his white beard. She always put him right in the middle of the Love-in-a-Mist. It drove Dad nuts. He complained about it every time we grilled out in the backyard.

The gnome’s gone now. Mom must have taken it with her. The peonies are dead. All that’s left of the California poppies are their grey-green leaves and stems.

I can’t see them now, anyway, because it’s nighttime, but I can see the line of freshly cut grass that Dad’s leaving as he walks the imaginary boundary between our yard and our neighbor’s. He’s wearing grey sweatpants and a zip up hoodie because it’s getting colder at night. His white tennis shoes are slick with dew and spattered with blades of grass like bugs on a windshield. Before mom left, he kept his face shaved. Now he’s got a week-old beard climbing up his neck. It’s a lighter brown than the hair on his head–the part of his head that isn’t bald. The beard’s closer to the copper on the rims of the glasses he’s wearing.

Dad passes by the California poppies with his mower singing, to himself, “I can’t go for that. Oh, no can do,” by Hall and Oats, his favorite band. He pushes the mower from one side of the yard to the other, tripping the motion sensor spotlights like he’s on stage at a concert. He passes by the two trees on the right, then doubles back.

When I was born, Dad named me after his dad, Elmer. I don’t know why he did it, because we only see my Grampa at Veteran’s Day and the Fourth of July. The day I was born, though, dad planted an Elm tree in the back yard. Two years later, my mom got pregnant again. “And this time,” she said, “I get to name the baby.” She picked “Ashton” for my brother and planted an Ash tree beside the Elm.

A breeze blows through the branches of those trees and across the yard, knocking the rusty swingset by the fence into motion. We don’t use it anymore, but dad never got around to taking it down. Mom’s ivy geraniums are climbing up the wooden sides of it. Above and behind it, a low rumble starts in the dirty, yellow clouds somewhere over Cincinnati. The blinking red and green lights of an airplane follow the sound out into the sky. I watch the plane climb higher until it disappears again, wondering if Mom’s on it. I look down. Dad’s stopped. He’s watching it too.

I’ve got his light brown hair, but mine’s cut in a straight line a centimeter above my eyebrows. Mom said that Dad had freckles too, like I do, when she first met him. She said, “They just exploded across his face. I thought he was the cutest thing.” She told me that every now and then when she’d come in to kiss me and Ash goodnight. She’d bend over our beds, smelling like lavender and say, “I. Love. You,” tapping us on the nose with each word. But she always said, “Boop” and tapped my brother on the nose a fourth time. Then, she’d give us a kiss and go downstairs, open up a Clive Cussler adventure novel and read until my dad called her to bed.

Her and Dad started fighting about six months ago. They were in the kitchen washing dishes.

“Well, maybe that’s a sign that you should try writing again,” I heard mom say. “I always thought you gave up too early.”

Dad told her to be realistic. “No one’s handing out jobs in this economy, Jo. I’ve got one. I put food on the table, and I like what I do.” His voice sounded stiff.

“No you don’t. You hate it, Todd,” she said back. “It’s a soul sucking, shit-eating job, but you’re just scared that your dad was right and that you aren’t good enough on your own. You hate it, and I hate it, and I hate what it’s done to you–to us.” She stopped. “I can’t do this with you, anymore.”

Dad was quiet. Mom dropped a pot into the sink and pushed out the door to the backyard.

A couple weeks after that, she came home late from the library. She walked in to kiss us goodnight, and there was cigarette smoke mixed with the lavender in the curls of her hair. Mom hated cigarettes. That’s how I knew she was going to leave us.

Ash rustles in his bed behind me. I turn to see if he’s awake, but he’s just rolled over. He’s got my mom’s black hair and creamy white skin. He’s sucking his thumb again. I turn back to the window and catch my own face in its reflection. Ash and I have my dad’s eyes, a dull green that blends into the color of the night-time grass.

“What’s he doing?” Ash says, quietly, from behind me.

I look back over my shoulder to see his eyes open. There’s a wet smear on his pillow where his thumb is resting against it.

“He’s done with the mower,” I say, looking back outside.

Dad leans it on the worn-out picnic table and picks up his garden sheers. We listen to them snipping away under the sound of the cicadas in the trees.

A month ago, I walked by my parent’s room and saw Mom’s suitcase half-packed, lying open on the bed. Clothes, jewelry and a few books were scattered around it. She was in the bathroom, showering. I knew that I couldn’t make her stay–maybe if Ash was there, but he was at soccer practice. And besides, I thought she might be happier if she left. Maybe if her and dad just had some time, she would come back and he would quit his job and write like he always wanted to. I didn’t knock on the door to say “goodbye”. I dug through the suitcase and found the Bon Jovi, Live in L.A. T-shirt that she wore to bed sometimes. I pressed it to my face and smelled the sweet, dreamy lavender on it. Then I put it back at the bottom of the suitcase and went to my room to start my World History report.

The next day she was gone. Ash locked himself in our room and wouldn’t come out for dinner. Dad and I sat downstairs at the table eating some microwaved vegetables and a rotisserie chicken he’d bought at Publix. The only sound between us was our forks punching through peas and clinking against our plates. I slept in Dad’s room that night. He cried in his sleep.

He started mowing the yard the next day. At first it was just every few afternoons, but then it got later. The neighbors called the cops because of the noise, so Dad bought the push-reel mower. Ash and I were in to bed one night, and we heard the rotors on the mower start to flick across the grass. We looked at each other in the darkness.

“What’s wrong with Dad?” he said, his dark hair falling in his eyes.

“Nothing. He just misses Mom,” I said back.

Ash was quiet for a while, then he fell asleep. He started sucking his thumb. I started watching Dad at night. Sometimes he sings. Other times he just talks to himself.

“Something’s wrong with him,” Ash says.

“Yeah.”

We both listen, and I watch him. He’s cutting the strands of grass that he couldn’t get with the mower. He starts around the legs of the picnic table. Then he clips along where the yard meets Mom’s flower beds. When he’s done, he lays his head sideways on the grass and scans for any blade he missed. He’s still singing, “No can do.”

“He reads mom’s books,” Ash says from over my shoulder again.

“What?” I look at him.

“Last week, I thought I heard someone downstairs, in the living room. I thought mom came back.”

He looks like her, and I wish I did.

“I went down to see if it was her. But it was him. He was sitting in her rocking chair, reading a Cussler novel that he got from the library.”

“Did he see you?” I ask.

“No.”

We’re both quiet, listening to dad singing to himself outside and the snipping of the garden shears.

“I hate him,” Ash whispers through his teeth. His eyes are full. Tears run sideways over his nose and cheek, down into his pillow.

“She’ll come back,” I say, “for you,” I finish.

He sniffs, wipes his nose and squeezes his eyes shut.

Dad finishes with the sheers and pushes himself to his feet. The front of his sweatpants are wet and stretched out around the knees. He’s stopped singing. Now he’s just talking to himself. I can’t hear much, but every now and then, I catch my mom’s name, “Joanna”. He tucks the sheers under his neck, hitches the waistband up and ties the drawstring tighter. Then he sets the sheers back on the picnic table and grunts as he picks up a bag of mulch. His tennis shoes squeak over to the azaleas. He tips the shiny, white plastic bag and the mulch comes tumbling out. He pours too much, sets the bag down, grabs a handful from around the bush and sprinkles it on the dead peonies nearby. Pretty soon the bag is empty, and the whole yard smells like manure. Dad takes Mom’s spade and kneels down by the bushes, pushing the mulch around till it’s even.

On Monday he planted some Love-in-a-Mist underneath the Ash tree and a few lavenders. I’m getting sleepy while he works his way around to them. I lean my head on the glass, feeling the cool, hard pane press against my face. My eyelids feel like old rags rubbing against my eyes.

A creaking noise wakes me up. I jolt, thinking that Dad’s at the door and he’s caught me with my face against the window. The door’s still closed, though. I look for Ash, but he’s asleep, sucking his thumb again. The creaking is coming from outside, down at the swingset. Dad’s sitting on the swing, nudging himself back and forth with the dirty tips of his tennis shoes. There’s a stray piece of mulch in his beard. His hands are tucked into his sweatshirt. He’s singing “Sarah, Smile”, the part of the song that says, “It’s you and me forever,” and staring at the dirt in front of him. I look to the right and see what he’s done. Under the Ash tree, between the lavenders and the Love-in-a-Mist that he planted on Monday, the garden gnome is standing.

I feel cold at my ribs and pull my elbows in to touch them. I want to wake Ash up, but I can’t take my eyes off of my dad. He creaks back and forth on the swing. The cicadas have died out, so it seems louder. He takes his glasses off. They glint in the spotlights. He rubs them on his sweatshirt, then unzips it, and sets the glasses back on his face. He stands, walking towards the house, and the chains jangle behind him. Still singing, he takes off the sweatshirt and ties it around his waist. He’s wearing mom’s T-shirt, the one that says Bon Jovi, Live in L.A.

If you enjoyed this, consider checking out my novel, Hindsight, available on Amazon for only $0.99 and in the Kindle Owners Lending Library for free.

Christmas Sale!

“A staccato beat of furious double-crosses, stunning revelations and gritty action.”- 5 Star Review on Amazon

In the spirit of giving, Hindsight, my thriller about a Jersey boy who gets mixed up in some of his family’s old IRA connections, will be going on sale. That’s right. It was cheap before, but now it’s only $0.99 until Christmas! Pick it up on Amazon now!