Creativity. Sorting out Bad ideas from the Good.

[The Salty Vulcan]

I have a question for all the creatives out there. How do you chafe the bad ideas from the good ones?

Allow me to delve further into what I'm asking you for a moment. For the longest time I've wanted to write comic books, quite simply because I love them so much. We'll for the past few months, I have been doing just that...sort of.

During that time, I have created an entire universe of original superhero characters who serve as an homage to both DC's and Marvel's stable of characters. However that doesn't mean that I haven't had a few "hiccups" on the way. Namely with two potential characters: Harry Dauntless, a super-spy who works for an agency called D.A.M.O.C.L.E.S, and Martin, an extra-terrestrial shapeshifter/telepath who works as a high school teacher incognito.

The problem is, I don't know if including these two, or even one, is such a hot idea or not. On the one hand, it does give make a rather clever homage to both Marvel's Nick Fury and DC's Martian Manhunter, however they also make what I have created so far rather clunky and kinda feel unnecessary.

Now, I'm not expecting any of you to make that particular decision for me but I am genuinely curious as to how does one recognize a good idea from bad one. Think you guys could help me out?

 

[Heart of Darkness]

There really is no surefire method of sorting out good ideas from bad, but a general rule of thumb would be to ask yourself who your intended audience is, and then approaching what you're working on from the needs or wants of your audience. Ask yourself, as a potential audience member, "Is this something I would want to read?" The bad ideas should get a "No" or a "Not really."

You should also get input from actual people, too, preferably from your target audience. Find out what they like and what they don't like, and then work on refining your idea in order to better please your audience. Of course, you don't have to do this, but if what you've written so far feels "clunky" and "unnecessary," you might want to consider reworking those parts so that they flow together with your work as a whole. If you can't get it to work after several iterations, consider scrapping them entirely; if you don't like what you've written as an author, chances are your audience won't, either.

 

[Anarchemitis]

As much as it may destroy concepts, try making them laconic or summarizing them, then asking other people's opinions of them. It's reminiscent of crumpling a paper into a ball, then bouncing it off people. If people don't understand it, you can improvise alterations to make it more understandable or comprehensive, and they'll willingly add their own ideas in.
Do it as much as you like, just keep in mind that it can occur that too many cooks spoil the soup.

 

[Dr.Susse]

Graham Lineahan had a good idea he puts his stuff away in a drawer and comes back to it in a month and if he still thinks it's good he'll run with it.

I think it gives you a fresh-ish perspective when you look at it again.

 

[Axzarious]

I remember reading somewhere that sometimes, one is not the best judge of thier own work, often thinking its awsome when its crap, or crap when its awsome.

 

[jaketaz]

This is definitely a big question that I struggle with all the time. If you figure it out, let men know.

 

[zen5887]

Be tough on yourself.

Whenever I'm writing a song I think "Hmm.. Does that bass part really work there?" or "Is the harmony there as good as it could be?" I keep asking myself questions like that, and with a bit of luck the end product will turn out alright. Most of the time it doesn't though, and of the possibly 100s of little sketches I've made I have 4 complete songs that I'm happy with.

But thats just part of the process. Eventually I'll get better and be able to come up with good stuff much quicker.

Hope that helps!

 

[The Salty Vulcan]

As much as it may destroy concepts, try making them laconic or summarizing them, then asking other people's opinions of them. It's reminiscent of crumpling a paper into a ball, then bouncing it off people. If people don't understand it, you can improvise alterations to make it more understandable or comprehensive, and they'll willingly add their own ideas in.
Do it as much as you like, just keep in mind that it can occur that too many cooks spoil the soup.

Ok, I'm not quite sure how much I can say but I'll try to keep you in the loop. All I put down was his premise, his origin, personality and how he fits in. Beware wall o' text.

Spoiler: Harry Dauntless

Harry Dauntless, The Man from D.A.M.O.C.L.E.S

Harry Dauntless was a Marine and a CIA agent before he joined the UN's Department Agency of Metahuman Overt/Covert Logistics and Espionage Strategies, an agency created in order monitor and combat any risks the Metahuman population may pose. Tough, beguilingly cunning and willing to take unbelievable risks in order to accomplish a mission, Dauntless was one of D.A.M.O.C.L.E.S' finest, routinely fighting of aliens, monsters, death rays and computer gods. He was also its oldest field agent, ancient at 42.

It was the day of his retirement that he was asked to help escort the Director of D.A.M.O.C.L.E.S around the Agency's Research and Developement complex, The Cube. It was here that a spy organization, named The Blue Ribbon Army, infiltrated and made an attempt at the Director's life. Dauntless was able to save him, but not before he found himself injected with an experimental nanite serum. Now, gifted with a healing factor and augmented strength, speed, endurance and reactions, Harry Dauntless finds himself once again acting as a field agent. Whether he likes it or not.

Harry is essentially a man who has been shadow-boxing all his life. Though jaded by the murky waters of espionage and years of combat, he finds himself uncomfortable with any alternative. He finds himself doing what he does, not because he wants to, but because "what else is there for him to do?". Though clever, he acts the part of the fool, often quiping about how he's treated more like a pack mule or and errand boy than a real employee. To most at H.Q, he's just "one of the guys". Popular among his fellow agents and well respected by the brass.

Since the accident which saw him back in service, he has become something of a legend and is actually the Agency's first Metahuman agent. To this end he has been given a team of his own, tasked to investigate and combat only the greatest of metahuman threats. There are also rumours that he is being groomed to become the next Director of D.A.M.O.C.L.E.S.

Universe-wise I haven't been able to make Harry work so good. An agency that deals with Superheroes and the threats they face is only a natural idea and yet for the most part,it only seems to bring up more questions. I have been able to write up some scenarios that feature other characters from my Universe, like The Roberts* and Ms Amazing** but the rest don't seem to work out so well. I'm considering putting him in my anthology project, that takes place in the 23rd Century*** of my Universe.



* The Roberts, Family of Tomorrow. A family of science heroes and adventurers led by Quantum Roberts, smartest man on Earth. A homage to DC's Challengers of the Unknown, Marvel's Fantastic Four and the Silver Age Superman.

** Ms Amazing, Earth's most powerful Woman. A cynical "everyman" superheroine who possesses powers comparable to DC's Superman or Marvel's Ms Marvel.

*** 23rd Century. Home to technological marvels and a greater population of Superheroes including the students of the Reeves Institute for Super-Heroic Youngsters. A pastiche of DC's Teen Titans and Legion of Superheroes and Marvel's X-Men.

So, whaddya think?

Oh I didn't put down Martin the Martian yet. Didn't wanna scare you guys off.