What cries in your genetic code?
A hunt? A chase? A kill?
Or are you bred for simpler times?
A walk? A snack? A nap?
The adage I hear a lot in writing circles and books is “Write what you know”. By that, people mean write about the things for which you have a passion, because that passion for the subject will shine through your writing and become infectious to your reader or viewer.
To a large extent, I agree with this sentiment, but I think there has to be codicil. When you know how to write, write what you know.
Let me explain with an anecdote.
When I first started writing, I was coming out of a career as a biochemistry researcher who had spent the bulk of my training in protein biochemistry and genetics. That was where my passion lies. So, perhaps as no surprise, when I decided to become a science writer, I focused much of my initial energies on writing about protein biochemistry. I understood the science; I could see the story quickly; I could write about it with some fluency.
Unfortunately, despite or perhaps because of my passion and fluency, I was completely unreadable to anyone who wasn’t already a protein biochemist. I wasn’t speaking to my audience in terms they could understand but rather in terms I could understand. To a greater or lesser extent, I might as well have been writing in Klingon, which I suspect would have given me a broader audience.
When I finally realized what was happening—thanks to all of the people who beat me about the head—I made a pact with myself. Until I felt that I could really tell a story, I would do my best to avoid writing anything about that at which I was most expert. I had to become my audience: the relative non-experts.
About a year into writing about topics I had to research and for which I had to ask potentially stupid questions, my writing had matured to the point where I could go back to my area of expertise and approach it in the same way. I had finally arrived.
I think the same holds true for any kind of writing, whether news, novels, screenplays, blogs.
Until you are capable of telling a story that your audience can decipher, and more importantly wants to read, you are probably better served to stay away from the topics you know best. To do otherwise means running the risk that you will leave out the “obvious” and the “well, yeah” that you know in your bones, but that could be vitally important to an audience member trying to understand why certain facts or behaviours in your story exist.
Give yourself—and by extension, your audience—a chance to learn your story, to experience it at a visceral level. As you develop your story, you’ll likely find yourself asking questions of your plot or characters that your audience would ask. You want your audience to think, but you never want them to have to research. Until your work becomes part of a school curriculum, it shouldn’t require a study guide.
It is easier to remove the truly superfluous common knowledge or understanding later than it is to convince yourself that the information you need to add isn’t common knowledge.
When you are ready to tackle it, the subject(s) for which you have passion will still be there. Consider them the reward for all the hard work you did up front.
In a future post, I hope to discuss a flavour of this topic: “Based on a true story”.
This is so brilliant and funny that I have decided Ned must have stolen it from me! 😀
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