The first arises from the writer’s own life: empathy, intuition, observation, inquisitiveness, moral compass, and the like.
Some skills within this first set are surreptitiously acquired over time, simply by living one’s life; others are innate and spring from the writer’s general and emotional intelligence.
The second is learnt more quickly. Knowledge about the craft, such as how to fashion the theme of a story, how to make characters engaging, how to weave plot and subplot together so that they compliment each other, is easier to acquire.
Much of the writerly advice offered in books, blogs, and courses emphasises this second set of skills. Mention is made of the importance of the first set, a writer’s powers of observation, or the need to be inquisitive, but the emphasis lies squarely on how to work with technique. The reason is simple.
It is far easier to teach someone how to use a turning point to spin the story around than it is to align that turning point with some astute observation about the human condition.
I often advise my students to think about both sets of requirements simultaneously; to try and integrate them into the writing process from the get-go.
The information needed to produce great writing is all around us—in streets, shops, restaurants—if only we can learn to observe, relate, and recognise its relevance in our work.
Several years ago, I was fortunate enough to be teaching at a college in Australia, which was situated a few hundred meters from the art gallery at Brisbane’s South Bank. I would often spend my lunch hour there browsing through its many treasures.
Turning life into great writing
I remember on one occasion being captivated by a painting of a young woman in a floral dress. She was leaning against a tree and seemed rather forlorn.
I noticed, out of the corner of my eye, that someone else was studying the painting intently. A glance revealed that this person, an elderly man with deeply wrinkled skin, was working his top lip with his teeth. Another glance revealed a trace of tears in his pale eyes.
I crept away so as not to intrude, but my imagination raced with narrative possibilities. Did she remind him of his own daughter that had, perhaps, passed away? Or, had the young woman been a lover who had rejected him?
I tucked the image away in my mind for use in some future story, perhaps as a minor beat, perhaps as an inciting incident or turning point.
I have, as yet, not exactly done so, although I did locate a few important scenes with a very different character at that very gallery in my second Scarab novel.
The point is that one’s readiness to absorb a spectrum of experiences, to remember the small details that breathe life into memory, and to allow for their narrative possibilities to take hold of the imagination, is a wonderful way to broaden one’s skills in life and in writing.
Great writing requires the integration of two distinct sets of skills. The one stems from living and observing life, the other from mastering the techniques that transforms life into stories.