I'd go one more in that the secret to creativity is knowledge itself; take the area of magic that you want to develop and learn all the techniques tied to that arena. Now I'm emphasizing TECHNIQUE not effects; in learning method you will be able to "see" things at the "mechanical" level and from that build a concept.
The other thing you must do is challenge yourself; create the idea of an effect let's say on Monday morning and by the end of the day develop one method for doing it, two if possible. Don't worry about how complicated it may be, this is the prototype; spend the rest of the week developing at least one new method each day by which to accomplish the same general effect; understanding that there will be slight variants to what you cultivate in how things look and actions taken.
Once you have 5 or 6 variants select the one that is the most direct and simple in that this will be the best version to making the effect work in performance. At this stage it's a matter of presenting it numerous times so as to audience test it. . . not a dozen or two times but a hundred or so times. Share it with a SMALL handful of TRUSTED associates or mentors so you can get their feedback from both, a technical view as well as their performance experience with it. At this point you will have something that has proven itself or you will have at least learned a handful of very valuable lessons when it comes to effect development, either way, you win!
More than not you will have a "new" effect but that's where the next step comes into play -- RESEARCH. . . ALWAYS be a person of integrity and do the footwork that confirms that the effect, as you have designed it, is in fact "unique". Document other similar pieces or how others used this and that technqiue and how possibly, they inspired your work, etc. You loose absolutely nothing in doing this but gain a significant amount of kudos and respect from the real "Pros" out there because you did the added footwork. Too, by doing this you establish yourself as being both, an example in the field but likewise a true aspiring "Master" to the cause.
Only hacks and wannabes take the short cuts and rush into production; you don't want to be associated with such, so take your time. Learn all that you can and move on. Keep your material as exclusive as you can for as long as you can, creating that notebook (library) of research so that you can literally translate it into your own book and series of books in the future.
You may want to inquire about what books would be best when it comes to learning about effect methods that address your particular area of interest. For an example; someone interested in grand illusion would want to start off with the Paul Osborne Illusion Plan Books and sources like the Gary Darwin Book of Inexpensive Illusions, where a Mentalist would begin with the classics of Mentlalism like Corinda, Annemann and T.A. Water's Mind, Myth & Magic.
I think you've won a few of us over by taking the advice already offered, so stick with it and you'll go much further than the typical trickster.
