#writewhatyouknow

I view this literary idiom as having multiple applications and interpretations.

You Know Emotion

Writers should draw upon their emotional experiences to create realistic emotions and actions within their characters. When you are writing a character who is frustrated or scared, recall a time when you yourself were incensed or terrified. This is something akin to ‘method acting’ (another widely misunderstood term). You use your own memories of those emotions to solidify your understanding of the character’s mindset.

The question arises then; How do I write a character who is feeling something I’ve never felt?

This is where an author’s creativity comes in. Imagine you are writing a character who has just committed a murder. You have (presumably) never committed a murder. How could you ‘know’ what that character was feeling? You mutate and magnify your own experiences. An author is reliant upon empathy. You have never committed a murder, but perhaps when you were young you broke something. You tried to sweep the pieces under the rug so that your illicit behavior would go unnoticed. You can recall the initial panic, the paranoia, the fear of punishment, but also the thrill when you felt you might have gotten away scot-free. A good author takes those memories and magnifies them to fit the situation.

Write What You (Can) Know

We writers are fortunate to live in the modern era. The internet is the greatest asset for modern writers. There is a great wealth of knowledge at your fingertips.

Before you write a character, you should do your research. The more distinct their lives are from your own the more research you should do. Research their career. Research the terms and skills they use. If they come from another place in the US, perhaps there are region-specific phrases you can familiarize yourself with. Perhaps there are different cultural beliefs, or cultural traditions your character would know.

As a writer in the modern era you can know almost anything. Write what you know, but research, and know what you’re writing.

This also plays a part into writing fantasy and sci-fi; You may not know what it is like to walk through the streets of a medieval city, but you can research it. You may not know what it is like to be an engineer aboard a space ship, but you can research what it is like to work on a car motor, or a NASA spacecraft. You should also be just as detailed in your research of your own world. You should understand your world just as much as if you were writing any modern or historical setting.

Write What You See

Writers are notorious for borrowing people from their lives and inserting them into their stories. It is something we are accused off constantly. Everyone wants to know what character is based on them. But it is never that simple.

The people in your life are extensions of your experience and understanding. You may not know how to write a character coming home from war, but perhaps you have an uncle who is a veteran. You can base part of your character upon him and his behavior.

You can also base it off another character in other media you have consumed. As writers we should not feel bad while doing this; it is the natural way literary ideas evolve and propagates themselves. While it is important to understand your characters, a writer should have an equal ability to interpret and understand other writers’ characters, and reverse engineer them.

In the same way, you can interpret and understand people as characters, and reverse engineer their actions to be aspects of your character. Perhaps you notice someone on the bus, looking at their phone every five minutes, nervous about missing their stop. You notice their clothing, their foot tapping, the way they put their book away about five minutes before their stop, just to be sure. You can throw these into your vast library of character traits for later use.

As a writer you must know an entire world well enough to tell a story in it, be it the real world or a fictional one. “Write what you know” is often misconstrued as being a limitation upon the author, meant to restrict and confine one’s writing. Rather it is an instruction to write actively, thoughtfully, and emotionally. The second commandment instructs us to use our emotional and situational knowledge to breathe life into our stories.