"Stuck for Ideas? Let Your Work Go to the Movies"

I grew up watching offbeat Saturday afternoon westerns like "Sky King" on TV. Not very original and highly formulaic, series like these featured stories a kid could snack on without spoiling her dinner. They were also instructive on plot, setting and a bit of character development. Now, with Comcast and Dish Network, the prospects of finding old and new flat screen gems from all over the globe are virtually limitless. If you're looking for story ideas, try the "it's so old, it's new" or the "it's so new, it's new" approach.

From A&E to the History Channel to Turner Classic Movies, today's cable fare offers a nearly infinite variety of old films and true stories (check out international news channels like ITN, too) that if studied and emulated (not plagiarized) for their strengths can break writers' block and reinvigorate a writing slump. The key is to select the salient story points — plot twist, offbeat setting, funky character — and consider how to bring these into the 21^st century a la Kenneth Branagh setting Shakespeare's As You Like It in Japan (okay, the reviews are mixed on that one, but you get the point). Speaking of Branagh, on the modern side of the coin, check out Wallander, a British detective series set in Sweden. Emmy-winning Philip Martin's direction in this stark, minimalist setting is refreshing.

Don't limit your search to movies. Stories from genealogies to "Antiques Road Show" can inspire fact-based stories, often the best kind.

Tip: While the classics are great (The Hunchback of Notre Dame just appeared on TCM), look for offbeat stories. A recent showing of Joan Crawford and Leif Erickson in Straight Jacket (also on TCM), had a wonderful twist ending that surprised even a fan of Alfred Hitchcock's Ghost Stories For Young People. But watch the difference between drama and melodrama — it's a fine line.

"A Second Cup of Coffee — and the Ruthless Critique"

Last week we discussed the value of the unsparing writing critique — one that's honest, incisive, direct — and comes from someone you trust. But what should you look for in a critique partner?
Small critique groups (or one on one) done face to face are like dating. Whom do you know with these qualities:

• Willing to put time and effort into evaluating and analyzing
• Is well-read in various genres
• Has some familiarity and experience in your genre
• Knows and pays attention to various aspects of a story (plot, tone, voice, characters)
• Addresses the critique as art and science
• Has writing and/or editing credits
• Is trustworthy with your work and has your best interest at heart

A list like this clearly eliminates many options upfront and may not be a peer review or partnership. You may opt to work with someone from whom you receive but don't receive feedback.

Another reason to join a critique group besides getting feedback is learning to give it, because you learn to see the same foibles in your writing that you find in others. Put into practice, this hones your writing skills. For mutual critique sessions and groups, consider these:

• Are group members generally open to your suggestions?
• Is there a balance between the members, with different strengths and weaknesses to learn from?
• Is the group moderated so as to maintain order?

Generally, critique groups, like toddlers, scamper away after a year or two. One way to tell whether your group or mentor is working for you is that your work is better for the effort.

For those wondering about cost — there doesn't have to be one. Some peer reviewers don't have as many writing credits, but still offer insights that improve your writing. As to groups, most are free, though mentoring relationships generally aren't. Still, these can be worth it. In choosing a mentor, ask the same questions you would when hiring an editor:

• How long have you been doing this?
• Whom have you worked with?
• What genres do you work in?
• What's your professional background, and where has your work been published?
• What's the fee structure?

A resume, bio and list of writing credits should provide this information.

Tip: Meet informally first, maybe with a sample of work to critique, and leave yourself room to opt out.

Resources:

• For more information on critique groups, visit Writing World.
• For novelists looking for the best source ever on critiques, visit Your First Page.