Have you been told to “write what you know”?
You may have heard the old adage “write what you know.” It’s a cliché, but it’s very popular.
Generally speaking, many screenwriters and writers think they would be better off writing something about personal matters. In other words, rather than “creating from scratch.”
In this article, we’ll show you how to write about what you know while writing a great spec script. Someone who doesn’t bore anyone.
What does the advice to “write what you know” actually mean?
Film is a glorious medium. It can provide us with stories that take us into worlds we have never seen or imagined. At the same time, it can take us into the world of creative writers’ lives and experiences.
Write down two ways you know
In this way, the advice to “write about what you know” can be divided into two areas:
❖ personal. Write down what you personally know (i.e. what you have experienced)
❖ Fear. Write down what you are afraid of (i.e. what you know about yourself)
Let’s take the example of a screenwriter who wrote a script about a family suffering from Alzheimer’s disease.
He probably wrote this story because it affected him personally. Or he might write about it because it’s something he’s deeply afraid of. Creating a story can be a way of completing the story by writing it.
“Write What You Know” Suggested Questions
When writers follow the “write what you know” maxim, it’s usually the first of the two examples above: what they personally know and have direct life experience with.
The problem is, real life is rarely interesting enough to make into a movie. A story may be deeply personal and heartfelt, but that doesn’t mean it will make for an interesting script.
Aspiring screenwriters who rely solely on writing what they know often create bland scripts because they literally transfer everything from real life to paper.
write what you think No Know
So the opposite advice to “write what you know” is to write something that resonates with you or that you’re just curious about. In this case, the author might no personal contact Not interested in Alzheimer’s at all, but wanted to explore it purely for creative reasons.
Let’s face it: as writers, we can create anything we can imagine. That’s the fun part about job descriptions.
Let’s say a writer specializes in horror and thriller scripts. She was most likely never possessed or hunted by a madman in the mountains. In this case, her script wasn’t based on the “write what you know” advice, but she could still write about these themes.
That’s not to say that stories that are more exciting than those based on the “write what you know” maxim can’t also be boring. They can.
All screenplays, whether based on “write what you know” or not, face the same problem: Keep readers engaged Make them believe in the world and the story.
What should you focus on instead of writing about things you know or don’t know
In a sense, It doesn’t matter Is your script based on your real life experience. Readers won’t know (unless you tell them at the beginning with some overlay text.)
The problem with most spec scripts isn’t whether they happen to be based on the writer’s personal experience, or whether they’re completely fictional.
The problem in both cases is that The story and characters are not interesting Or compelling enough.
The power of research
The way to solve this problem is through Research.
For example Writer A Wanted to write a screenplay based on her experience being involved in a toxic love triangle in college. This was something very personal to her, and even though it happened fifteen years ago, she still felt uneasy.
For example Writer B Wanted to write a story about the dark and mysterious underbelly of Venice, Italy, and a race of creatures that live under the buildings and feed on unsuspecting tourists. But he had never been to Venice.
Writer B clearly had to do a lot of research as he struggled to create a multi-faceted and believable depiction of Venice. and beautifying the world, creating a set of layered, believable characters and creatures.
Writer A may base her script on the old adage “write what you know,” but she should also engage in a similar level of research as Writer B.
She should also be studying what college campuses look like now compared to the last time they were there. She should still be researching each character’s background and occupation, likes and dislikes, etc.
Study even things you think you know
The great thing about film is that we can create anything we want. But of course, with great power comes great responsibility…
A large percentage of aspiring writers simply don’t do enough research into their story worlds and characters—whether they’re writing about something they know or don’t know. Don’t become one of them.
The broad scope and ease of access to knowledge make Readers are smarter too. Maybe back in the ’80s, you could put something in a script and improvise without really doing research.
But not anymore. Now, readers are ready to question every action in your story.
If you put something in your script that you think is great, but in reality, has no chance of working in anything other than over-the-top science fiction, you’re going to have a hard time getting readers to buy into it.
This is the key to everything…
Make readers believe your story rather than “write what you know”
Unless you can make your readers, and readers, Believe in choices and actions Your protagonist and the outcome of the story.
If an audience or reader can’t accept a choice, if they don’t believe what you’re trying to make us believe, then they’re going to quit, and it’s almost impossible to get them to come back.
If you are writing a script set in a coal mine but know nothing about coal mining and have never been to a coal mine, readers will understand this immediatelyunless you:
Talked to about a dozen people with intimate knowledge of coal mining, both inside and above the cave
Read articles, books and research brochures
❖ Watch movies and documentaries about coal mining
You know you’ve done your job when readers finish reading your script and comment that they would be surprised if the author himself didn’t work in a coal mine.
If you do it right – if you live it and “get” it – then The rewards can be huge.
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Do you think it’s always better to write about what you know or about what you don’t know? Or do you agree that it’s okay as long as the audience accepts the story? Leave a comment in the box below.
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