"Write What You Know" Only Gets You So Far

Summary

In this video, the concept of 'Write What You Know' is dissected, revealing its limitations as a writing rule. The speaker argues that while knowledge is important, it shouldn’t restrict creativity. Writers can start by exploring unfamiliar topics through research, discovery, and imagination. The writing process itself can lead to new insights and understanding. By considering audience expectations and getting feedback from others, writers can create authentic, engaging work. Ultimately, the speaker encourages writers to embrace learning throughout the process and to 'Know what you write' rather than limiting themselves to only what they already know.

Takeaways

• 😀 Write what you know is often bad advice for writers. It may limit creativity and doesn't account for the process of discovering knowledge during writing.
• 😀 Writers don’t have to be experts in a subject at the beginning of a project. Instead, they can start with research and refine their understanding over time.
• 😀 The real key to effective writing is to know enough about what you're writing to make it believable and engaging for readers.
• 😀 Suspension of disbelief applies to fiction, but non-fiction also needs to be grounded in factual accuracy. Readers will disengage if the content lacks consistency or accuracy.
• 😀 Inexperienced writers may unintentionally perpetuate unhealthy or problematic ideas when writing about things they haven’t personally experienced, such as romantic relationships.
• 😀 Writing isn’t just about reporting what you already know; it’s a process of discovery. Writers often learn more about their topics as they work through the writing process.
• 😀 Research is essential when writing about unfamiliar topics. Writers should embrace research to gain enough understanding to make their writing convincing.
• 😀 Writers don’t need to know everything upfront. They can start with a question or idea and learn along the way, uncovering new insights during the writing process.
• 😀 Writers should be open to feedback and willing to adjust their work. For example, getting a second opinion from a reader can help identify issues that the writer might not have noticed.
• 😀 'Write what you know' can be an obstacle to creativity. Instead, writers should aim to 'know what you write' by the time they finish their project, ensuring reliability and believability.

Q & A

What is the central idea behind the statement 'write what you know'?

The central idea behind 'write what you know' is to write about subjects with which you are personally familiar. However, the script argues that this advice can be restrictive, as it assumes you must have firsthand knowledge of everything you write about, which limits creative possibilities.

Why does the speaker believe that 'write what you know' is an overly simplistic rule?

The speaker argues that 'write what you know' is an overly simplistic rule because it ignores the nuance of writing. Writers should be able to explore subjects they don't know intimately, as long as they do enough research and understand what they're writing about. The rule often comes from teachers frustrated with students, not as a genuine piece of advice.

How does inexperience in writing about romance affect young writers, according to the speaker?

Young writers, lacking experience in romantic relationships, often portray idealized, unrealistic romances that can end up celebrating toxic behaviors. This leads to stories that fail to meet readers' expectations, causing them to disengage with the work.

What is the importance of audience expectations when writing, as discussed in the script?

Audience expectations are crucial because a writer needs to be aware of the reader's willingness to suspend disbelief and accept the world of the story. If a writer is not in control of their subject matter or makes glaring factual errors, it risks breaking the reader's immersion and trust in the work.

How does research play a role in writing about things you don't know?

Research is essential when writing about unfamiliar topics. Whether it’s a fiction story set in a historical period or a non-fiction essay, research helps writers gain enough knowledge to create a believable, reliable narrative. The speaker emphasizes that you don't need to know everything to start; research helps fill in the gaps.

Can you give an example from the script where a writer took on a topic they didn't initially know much about?

An example from the script is Rita Dove’s book *Sonata Melodica*, which deals with a violinist in 18th-century Europe. Though Dove didn't have personal experience living as a violinist or interacting with Beethoven, she conducted research to ensure historical accuracy, demonstrating that research allows writers to tackle topics they don't know from the start.

What does the speaker mean by 'write what you know' putting up barriers to creativity?

'Write what you know' can stifle creativity because it discourages writers from exploring new or unfamiliar subjects. The speaker suggests that the real key is to 'know what you write' — meaning you should learn enough about your topic through research or experience to make it convincing by the end of the project.

How does the speaker describe the writing process of discovery?

The speaker likens the writing process to discovery, particularly in creative writing. Writers often start with an idea or a vague concept but discover deeper meanings and connections as they write. This process can be unpredictable, and sometimes writers learn more about their work and themselves as they go along.

What is the role of external feedback in writing, according to the script?

External feedback, especially from actual readers or peers, can help identify gaps in knowledge or areas where the writing may lose credibility. The speaker recalls a personal experience in a workshop where a peer pointed out an error in the timing of a flower’s bloom, showing how outside perspectives can refine a piece.

What does the speaker suggest to writers who want to tackle something they don't know?

The speaker suggests that writers should challenge themselves to write about something they don't know, such as a setting or concept they've never experienced. They should engage in research, learn as they go, and be open to the discovery process. This encourages writers to explore unfamiliar territories while still ensuring their work remains grounded in reality.