We have to accept that
whatever we write about often reflects our own personal philosophy, beliefs or
morality. Because we feel strongly about something means that we can inject
extra passion into dialogue and it can be a useful device in fiction to have
one of your characters expound these ideas; conversely, in non-fiction it can
bog down the text and turn it into the dreaded ‘opinion piece’. However we
intend to use this device, it is essential that the narrative does not descend
into megalomania either on the part of our characters, or on us as the writer.
Fictional characters can
engage in polemic dialogue/discussion in order to make a point or set a scene,
but confrontational nonfiction is generally only acceptable to an editor when
submitted by celebrity writers. Outré social or political statements need to be
riveting and convincing because a publisher or editor will rarely take a risk on
a new writer dabbling in this field, unless there is some authentic background
to support the research – whether fiction or non-fiction. A device I used in my
novel, Whittlewood, was to allow
one of the characters to make certain pertinent social statements by way of an
interview that was being conducted as part of the story-line. This gave room
for manoeuvre when the journalist queried or wanted to clarify a point.
To see how people put an opinion
across in an interview, study how the points are made in those published in the
weekend colour supplements to the broadsheets. The interviewer not only reports
on responses to pertinent questions, but also comments on appearance, manner
and body language to complete the picture. This is one of the best methods of
painting pictures by people using economy of language, especially if trying to
make a social or political statement without getting bogged down with
description and narrative. A good journalist can convey these images in
thumb-nail sketches, while not missing out on the essential point of the
interview – a trick that most fiction writers would benefit from studying.
Many ideas begin life as personal
memories and, although they are important to us as the individuals who have
experienced them, unless we have already attained celebrity status, our personal
memories and reflections are of little interest to others – particularly
editors and publishers. The original idea might have its roots in fact but it
may be more marketable to develop it into the form of a short story, or a poem,
which can often provide a new dimension to what started out as a straight
forward, real-life experience.
Already, the contents of
our Ideas Book should be growing at a rapid rate as we discover new ways of
expressing ideas, viewpoints and sentiments. This is why, unlike many writing tutorials,
I ask you not to use my ideas but to substitute your own for the different
categories of ‘things’ and exercises. I have been drawing on what I know (from experience,
background, family, personal interest, reading, researching) and, to be a
successful writer, you need to draw on what you know,
whether on a conscious or subconscious level.
As we’ve already seen, writing
about what we know, doesn’t mean restricting our subject matter. To ‘know’,
according to the dictionary is: “To have a clear and certain
perception of; to recognise from memory or description, to identify; to be
convinced of the truth or reality of; to be acquainted with; to have personal
experience of; to be familiar with; to be on intimate terms with; to be
aware of; to understand from learning or study.” Which
means we can also write about those things we care to acquire knowledge about
in order to extend our personal viewpoint or perspective for the purpose of
scene-setting.
Make a list
of all the things you’d like to know more about in your Ideas Book – and
start reading.
Handy Hint:
Always keep an eye open for
reference books, particularly dictionaries, in charity shops, car boot and yard
sales - especially any relating to your own developing fields of interest.
These can be obtained at a fraction of the original cost and hasn’t made a dent
in your pocket if you discard them at a later date.
Try This
Exercise:
Think of several subjects
that you would like to know more about and, using the mind mapping technique
described earlier, explore areas of how you can use each of them in your own writing.
For example, using Japan as the key-word, we might come up with a poem, article
or short story based on a visiting Japanese exhibition. Or a kabuki
performance. Or a season of Kurosawa films at the National Film Theatre. Or an
object found at a car boot sale. Or watching a Japanese tourist on a visit London.
Some degree of study or learning about Japan is, of course, necessary but it
doesn’t mean that the piece needs to have an in-depth Japanese setting for us
to be able to write about it.
• What subject would you choose?
Life-Writes, published by Moon Books is available from Amazon in paperback or e-book format
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