[DON'T] Write What You Know

by Charlotte Levine Gruber

Ten years ago I began my writing journey. Crime fiction is my genre of choice, so it was no surprise to me when my emerging story headed down the dark path. 

The Self + The Path by Hartwig HKD

When I approached the soggy middle, I joined a local writers group. The speaker that day was a creative writing professor who said, “Write what you know.”

I thumbed through my pages (yes, a hard copy).

• My protagonist was a single dad with two teenagers. 
• Another POV character was a teenage thug. Also male.
• I had no real clue how they fit together.

I went to the writers group a few more times and learned how to punctuate dialogue, but pretty much didn’t know how to fix my project. I began another story, and this time I followed the professor’s advice and wrote what I know. But of course, what I know isn’t really that interesting. I have an MBA and worked in bankruptcy. But I filled pages and pages of bankruptcy information. 

Good thing I have beta readers and critique partners making snarky comments. Even my sister confessed to skipping those blocks of text.

Now I’ve been writing long enough to question that first visiting professor. He may have been talking about beginning writers, or, gasp, perhaps I misunderstood. 

Because really?

The Boy Who Lived by Beth

Is JK Rowling the boy who lived?

Stephanie Meyers in love with a vampire?

Or EL James… well…let’s not go there.

The Creative Writing Director at Harvard University, Bret Anthony Johnson, argues against writing what you know. He states; 

“For me, it’s the difference between fiction that matters only to those who know the author and fiction that, well, matters.”

Read Johnston’s article—it’s enlightening. 

As a genre fiction junkie, I often feel that literary works put out by Iowa graduates are beautiful and memorable but I still prefer Janet Evanovich or Stephen King.

Even so, I happen to agree with Johnston. Writing what you know is not the same as knowing what you write. Research is key, as is transporting yourself to the page. Or more specifically, transferring your emotions to your character, or learning to see the world through their eyes.

Photo by Dawn Ellner

I shelved that first manuscript. In a rewrite of my second project, CODE OF SILENCE, Hank Phillippi Ryan told me, “It’s not enough to describe this scene. You have to BE Andrea.”

Of course, Hank is right. Seeing the world through your character’s eyes allows your reader to do the same. Engaged readers don’t want to put the book down. 

So write what you know how to feel. 

But the rest? Make it up. And have fun doing it. At a writers' convention Jonathan Mayberry bragged that he got to go to work everyday in his pretend world with his pretend friends. 

And what could be better than that?

Is it Better to Have Loved and Lost Than to Have Never Loved at All?

by Charlotte Levine-Gruber

photo by William Creswell

I've titled this post with a quote (modified) from Alfred Lord Tennyson's poem, In Memorium. For me, it's apropos. Last month, I lost my first love. Someone who was the most important person in my life for decades. My heart still aches. While I've gone back to work and tried to put some semblance of "normal" back into my schedule--the loss still feels fresh and painful.

Tennyson lost a beloved friend to a sudden and unexpected death. While I didn't lose a friend, my loss was unexpected. I was completely unprepared--as if you could prepare.

I pose this question:

Would you avoid the pain of loss, if it meant you never had a chance to love __________________(fill in a name).

Our blog is all about writing. So let's substitute your person above with a "life dream."

Like any great love, writing has many ups and downs. Sometimes great joy, and sometimes heartache. Let's be honest--writers have a lot of heartaches. 

The words may not flow. Writing anything to hit your daily goal only makes what I call "forced words." These awkward words are readily apparent to anyone reading. You may as well just write THESE WORDS WERE FORCED.

Even then, writing is like no other job. As Marissa just posted last week--only other writers truly understand a "writers high." You can decide what to write, who to write, where they live, do you build a new world, or do they live in your neighborhood? You can even decide who to kill and who kills.

If you think about your favorite author and how much you love a book, answer these questions: Do you talk about characters with friends and neighbors?  Get mad when characters do stupid things? How about when your favorite series ends? Do you re-read favorites?

The first time someone read my manuscript and talked about my characters floored me--they knew...MY PEOPLE?

Jonathan Mayberry once said of his writing gig; "I get to live in my imaginary world, with my imaginary friends."

But to get to Jonathan Mayberry's level, you're guaranteed a lot of heartache and rejection. 

In my PitchWars group, most writers have queried more than one hundred agents before being offered representation. One hundred rejections. And that's all before submitting to publishers.

So, back to my question:

Would you rather have loved and lost, or never loved at all?

My dear, sweet, prickly, sometimes irritable, and always stubborn mother had a heart attack last month. I've never gone through anything that hurts this much. 

Would I trade to eliminate the pain? 

Not a chance. 

The gift of loving such a wonderful woman makes up for every bit of pain. And I had the ultimate privilege of calling my favorite person "Mom."

At the funeral, even through my thick fog of grief, I realized how many lives my mother touched. 

So, writers, if you love what you do, keep working, keep trying, and don't give up. Remember, it takes a writer to become an author.