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Posts Tagged Write what you know
I was teaching a masterclass at The Guardian yesterday and we were discussing characters. One of my students said this:
‘I think of my characters as horses.’
To be honest, I couldn’t believe my ears. If you know me on Facebook and Twitter, you’ll know I’m rather fond of the equine breed, so when one of my students said ‘I think of my characters as horses’, I thought I was still in bed at home, waiting for the alarm.
Not as mad as it seems
But she went on to explain. She ran a carriage-driving centre, and found that all of her horses were such different temperaments they were a great basis for building fictional characters.
Stay with me here, because it makes glorious sense. One of the fundamentals of a character is what they’re like in the core of their soul, the things they can’t fake or change. Whether they’re bold in new situations, whether they feel safer following the crowd or prefer to be in charge, what kind of personalities annoy them, whether there are bad past experiences that have left scars, whether they’re naturally friendly or touchy-feely, or prefer to keep to themselves, whether they’re gentle or insensitive.
If you hang around horses a lot – and, I can imagine, dogs – you’re used to the company of a creature that can’t pretend. It always shows the material they’re made of. Then if we start to imagine those behaviours translated into a human character, who might try to cover them up, and whose life might make more complex demands…
The Johari Window
Indeed, this is not unlike the Johari Window, which can be useful for designing characters. It’s a grid, split into four, in which you write:
- the things the character and everyone else knows
- the things only the character knows
- the things everyone else knows but the character doesn’t
- the things that are unknown – the traits, fears, and feelings that no one suspects.
These last two are where we can have most fun with the character: the impulses that drive them, behaviours they are not in control of, and make them complex and interesting.
That’s the horse self. (And a nice excuse for me to include a picture of my own Lifeform Three.)
Use this to write a character who is very different from your own personality
Another student asked how to write a character who is very different from you.
This is where advice to ‘write what you know’ seems somewhat unhelpful. If we followed it we wouldn’t write murderers, queens, abuse victims, abusers, fatally jealous people, talented artists, heiresses, politicians, housemaids in Victorian houses, wizards…
On the other hand, ‘writing what you know’ is the place to start. All characters will have certain traits that we can relate to. Again, these come back to very simple impulses. What do they want to protect? What makes them feel threatened? What gives them joy and release? What makes them feel safe? If you start with those, you can find your way into most characters.
There are more tips for your fictional people in Writing Characters Who’ll Keep Readers Captivated: Nail Your Novel.
Do you have any off-the-wall tips for getting to the hidden depths in a character? All pets welcome.
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Ideally we’d all write from personal experience, but most of us have much bigger imaginations than our pockets, lives, bravery levels or the laws of the land can accommodate. So we have to wing it from research.
Ghostwriting is the ultimate rebuke to the idea that you write what you know. We pretend all the way, even down to our identity, outlook and heart. When I was ghosting I became a dab hand at travel by mouse – there was no way the publisher paid enough for me to jet to my book’s location. Or would spring me out of jail.
So here are my tips for bridging the experience gap.
Good first-hand accounts
Obviously the web is full of blogs about just about anything. They’ll give you up-close, spit-and-sweat details from those who are living the life. But look further afield. Good memoirs and novels will not only provide raw material, they’ll show how to bring a place alive on the page.
There are scores of books published for writers who want to bone up on unfamiliar areas – whether crime, ways to kill or die, historical periods and what might be possible in steampunk. Or how to write a vampire novel. Some of you may know I’m an obsessive equestrian, and Dave’s roleplaying fraternity used to ask me constant questions about what you could do with horses until I wrote this piece for them.
What everybody else may already know
If there are famous books or movies that tackle your subject or feature your key location, get acquainted with them. Some readers hunt down every story that features their favourite keywords. They will not be impressed if you miss an obvious location for a murderer to hide a body, or an annual festival that should muck up your hero’s plans.
Flickr is wonderful for finding travellers’ snaps. But don’t discount professional photography. The best captures the emotional essence of a place, not just the visual details. I wrote one novel set in India and found a book of photographs of the monsoon. Those exquisite images of deluge gave me powerful, dramatic scenes.
Before the days of broadband, my go-to was National Geographic on searchable CD-ROM. I bought it as a Christmas present for Dave many years ago and probably you can now get the same thing on line. Sublime photography and descriptive writing that will get your fingers tapping.
Befriend an expert
Misapprehensions are inevitable if you’re appropriating others’ experiences. If possible, tame an expert you can bounce ideas off – especially if you’ve hung a major plot point on your theoretical understanding. When ghosting, I could ring my ‘authors’ for advice, but they weren’t always available so I found other sources to get my facts straight.
You’ll be surprised where these experts could be hiding. I never noticed my neighbourhood had a diving shop until I needed to write scenes featuring scuba. They were flattered and excited when I asked if I could pick their brains for a novel. When I was working on My Memories of a Future Life, a friend mentioned her family knew one of the BBC Young Musicians of the Year. Voila – I had an introduction to a concert pianist. Right now, I’m recruiting high-altitude climbers and pop musicians. Say hi in the comments if you know any.
What do you use to write what you don’t know? Share your tips in the comments! And do you have any research needs at the moment? Appeal for help here and you may find your perfect partner!
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What does this phrase mean, ‘write what you know’? New writers are often baffled by it, and feel their creativity has been stomped on. Most of us have a regular life with average troubles and jobs that aren’t the stuff of stories. And we want to write fiction to escape, explore, expand – so how do we do it?
Find your people in fiction
Great stories come from great characters. We might know a few people in real life with traits that are good story fodder, but not suitable wholesale. Most writers get inspired by characters they meet on the page – and especially in fiction.
In the UK at the moment there’s a scandal about an eccentric disc jockey and charity worker. He died a year ago and now we’re stunned to hear he’s accused of indecent acts. An often heard remark is ‘how could someone who did such immense good also do such evil’? Read some literature, though, and you’ll know – very well – how it is possible for remarkable people to have extreme sides.
More than any other written medium, novels can give us a person stripped bare, scrutinised in three dimensions. We see how they behave with their friends, family, strangers, people they think will never see them again. We can peek at what goes through their heads when they’re on their own. That’s a level of honesty you don’t even get in historical texts or biography. And you certainly don’t get that access to the people you rub along with in real life.
Reading fiction gives you characters you’re curious to understand, and that can guide who you’re interested to write.
Some novels are written about normal, domestic lives. But many more are about characters in danger, or on the edges of society, or realms of the extreme and extraordinary. Have all those writers had racy, perilous lives? Most have not; their natural habitat is usually a desk, like you and me. (Or if they have been adventurers, the chances are they don’t do the writing too.)
Ghostwriters, historical novelists, crime writers, fantasy and science fiction novelists are the living proof that you don’t have to have to write what you have personally experienced. But what these writers are good at is thorough research, led by genuine interest, so they can inhabit these environments as though they were real.
Write what you know – don’t let this stuffy phrase smother your imagination. Novels are not created by your daily life, but your inner life.
You’re interested in certain kinds of people? That’s who you ‘know’, on a writing level. You’re interested in certain kinds of story, settings or time periods? There’s what you know – or can know – well enough to write about.
Thanks for the pic H Koppdelaney
What feeds your writing and how different is it from your life? Are there other pieces of writing advice you’d like to take a hammer to? Share in the comments!
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- ‘Intense mystical dreams, an obsession with TS Eliot, and music’ – The Undercover Soundtrack, Vivienne Tuffnell September 17, 2017
- Editing as creative development – guest post at Ingram Spark September 14, 2017
- Bill Bryson, Lewis Carroll logic and cryonics – interview about Not Quite Lost at Andrea Darby’s blog September 7, 2017
- Readers’ reasons; writers’ reasons – do they ever agree? September 3, 2017
- ‘Things fall apart … hearts rip open’ – The Undercover Soundtrack, Caroline Leavitt August 16, 2017
- The end of exploration – on writing a book where you can’t make things up August 13, 2017