Write What You Know? Well...
If you ever read a screenwriting book or heard anyone give
professional advice on what you should write, you've probably heard
the same advice over and over again: "Write what you
know."
Unfortunately, too many writers take this literally. Hollywood
gets endless script submissions with stories about a small town
waitress who loses her job only to find out that her alcoholic
boyfriend has left her, her dog is pregnant, and her crotchety old
grandmother must come live with her because the nursing home has shown
her the door for non-payment.
Or this one: A car salesman risks losing his job if he doesn't sell 25
cars in the next two weeks. Meanwhile his son is on dope, his
wife is an alcoholic, and oh - the dog is pregnant.
Now maybe a really gifted writer can turn these stories into something
special. Someone like Todd Solondz or Sofia Coppola can spin a
yarn about a small town waitress and give it enough of a twist to make
it unique and exciting. But most writers can't...and shouldn't
try.
Too often, writers take "write what you know" to mean
"write what you've lived." Yet, few writers lead
dramatic lives; if they did, they wouldn�t have much time or energy
for writing. Writing what you know, therefore, can constrict a writer
to a very narrow and uninteresting perspective.
I believe it was William Goldman who when asked if he always
"writes what he knows" was quoted as saying,
"No...because I have an imagination." Imagine if every
writer simply wrote about their own personal experiences, we wouldn't
have The Godfather, Star Wars, Taxi Driver, and on and on. The
writers of these stories did not "live" them, the did
research and/or made them up out of whole cloth.
So what does the advice of "write what you know" really
mean?
It means that you should apply what you know to your stories no matter
how fantastic and outside of your personal experience they are.
Not necessarily specific events but human behavior, reactions,
dialogue, etc. For example, If you are writing a story about a space
adventure. Obviously, very few have ever had any personal
experience in this area. But stories are about characters and
relationships. This is where what you know can be
invaluable. How your characters interact, what they say, what
they do, will be colored by human experience no matter what the
setting.
Your past dealings with heartbreak, rude people, overbearing bosses,
petty co-workers, super competitive siblings...should be mined to give
your characters and stories the ring of reality that will set them
apart from the pack.
It's also important to realize that you know more than you
think. For instance, you know what frightens you. You know how
you feel when you're afraid. It's this knowledge you draw upon to make
your stories believable to others: your fear of dark places, of the
unknown, of pain and death -- primal emotions that everyone shares. If
it frightens you, it will likely frighten others. Likewise with love,
happiness, sadness, anger -- the full range of emotions common to all
people. You know both what prompts these feelings, and how you feel
when experiencing them -- what you think, how you react and what
happens to your body while under the influence of those feelings. This
is the knowledge you draw upon to make your stories real for others.
What else do you know? Well, you feel more than emotions. You know how
the sun feels on your shoulders, how ice feels in your mouth, how your
knees felt when you fell and scraped them as a child. You know what
your senses tell you, and other people share those sensations -- tell
readers that the paper cut stung, and they will immediately know how
it feels, and thus what your character feels. Readers will identify
with your character.
So far, by simply drawing upon what you and everyone else know, you've
created a rapport between the reader and your character; you've
identified the stimuli that trigger emotions in you and your readers
and used it to make your setting, your characters, your story line
come alive. All while sitting in front of a computer in outer
suburbia.
Don't neglect the other thing you know -- the people around you. Yes,
Harry's an insurance agent and Madeline is a housewife; what could you
possibly find to write about these people? Maybe Harry has this
nervous habit of tapping a pencil against his teeth while he thinks.
And Madeline's whole face changes when she smiles -- suddenly, that
average, everyday housewife is beautiful. These details that make the
people you know so familiar to you will also make your characters
familiar to your readers. Give one of them your Uncle Bob's staccato
chuckle, or your best friend's father's unusual penchant for knitting,
and your characters will be remembered for much longer than the cliche
character who is merely shifty-eyed or the little old lady who knits
in her rocker.
So what do you do if you want to write about a rodeo
rider but you've never set one foot west of the Mississippi? Get
thee to a library! Research is an important way to expand what
you know and to find the details that will make your Nascar or Vampire
story feel authentic. Researching a topic can give you great
ideas for scenes and characters that you never would have come up with
using just your imagination.
Now, next time you hear "write what you know," you'll
realize that you know an awful lot about what matters most in a
story's success. And if you don't know anything about the setting,
time period, or event you feel compelled to write about, do the hard
work and research it. What you know is waiting only to be shaped
by your imagination.
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