Mostly from reading. My ideas for characters may be based on personal observation. My ideas for technical and social details sometimes come to me just because I told my brain I needed something and it better get to work. But the basic idea for a story usually jumps into my head when I'm reading.
CIDER (
Asimov's, January 1996) is about people who exterminate species as a kind of sport. I got the idea when I read an article in the Economist that described a place in Africa where armed bodyguards on camels accompany free-roving rhinos.ROMANCE IN LUNAR G (
Asimov's, October 95) grew out of a lifelong fascination with Giacomo Casanvoa. I first became interested in Casanova when I read an essay on him as a teenager. I based a character on Casanova in a story called "Chamber Story" (Asimov's, August 1992). Then I realized a Casanova character could get into all kinds of adventures in whatever future worlds I could imagine. He could travel all over the 21st Century Solar System in the same way the real Casanova traveled all over 18th Century Europe. And he had a built in reason for getting into trouble. I've written three other Casanova stories since I wrote ROMANCE IN LUNAR G-- a kind of Casanova quartet. They all draw, to some extent, on incidents in the real Casanova's life.RESEARCH PROJECT (
Asimov's, January 1995) is about aliens who evolved from forebears who survived by building rather than hunting. The immediate inspiration was a wonderful book about beavers: LILY POND by Hope Ryden.In DRAGON DRILL (
Asimov's, October 1994), a detachment from Frederick the Great's army fights a dragon. One snowy weekend, late at night, I was reading Asimov's, and I noticed a lot of the ads touted books that had dragons in them. I also remembered that I had liked a few stories in which fantasy motifs like werewolves and vampires were placed in unusual settings. Where could I place a dragon, says I? Over the years I've developed some familiarity with the 18th Century-- partly from my interest in Baroque music, partly from wargaming with miniature figures, and partly through a general interest in history. So....LEGACIES (
Asimov's, January 1992) grew out of my interest in military families and military childhoods. I grew up in a naval family, so it's based, to a large extent, on personal observation and experience, and some conversations with other ex-brats. Like a lot of ex-brats, I didn't realize there was anything special about military childhoods until I was in my thirties, in the 1970's. My ideas on the subject didn't really crystalize, however, until 1980, when I saw the movie version of THE GREAT SANTINI and read Pat Conroy's novel. The story was also influenced by several books written by ex-brats: John Master's BUGLES AND A TIGER, William Jay Smith's ARMY BRAT, and a little book of tape recorded interviews called BRATS, by Mary Truscott. It would have been influenced by Mary Wertsch's MILITARY BRATS, but I avoided reading that until after I finished the story. MILITARY BRATS is a long, very powerful book, and I wanted to base LEGACIES on the attitudes I had developed on my own. I've written two other stories on the military brat theme. SERGEANT MOTHER GLORY (Asimov's, Oct-Nov 2000) continues the story begun in LEGACIES. CIVILIANS (Asimov's, Aug 2001) is about military brats as half-breeds.You also need to know what a story is, of course. Then when an idea jumps into your head, you can see that it can be developed into a story.
I find this subject fascinating. I can tell you how I got the idea for almost every story I've written. Most people, oddly enough, seem to feel I'm giving them a very dull, boring answer to their question. I've been told this is because people want to be told that the true answer is either something magical or a simple formula they can apply without effort.
[I posted this when I first set up my website over fifteen years ago. You'll find longer discussions of many of these stories in my literary memoir. But I decided I would leave this page as is, for those who are looking for something briefer.]
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