They joke about writers cannibalizing their relationships for fun and profit, and sometimes as payback. Better yet is to cannibalize our own lives, lives we know from the inside out. I say, why the hell not? Use what you have.
My family is full of nuts. How many of you have a sister who was married to a predator priest who’d served time for altar-boy abuse? I do. To this day she has never admitted he might have been guilty of the crime. She says: “He said they were all trying to extract money from the church.” I’d been told of one accusation. I’m thinking: They all? What’s this they all?
Most everything I write in Sly, and now in Maisie, is rooted in my personal experience. I am the crazy old lady narrator in Maisie in Hollywood.
I have the brother who married money, and has spent his whole life leading the life of a grad student, with all the freedom to come and go that that entails. Meanwhile, his wife was the grad student. She finally got her PhD ten years ago, running through a large inheritance in the process. She’s down to her last two-three million. She had to sell her one-hundred-forty-acre family-descended property to revive her finances. But she’s still got the house in town. Nice, right?
We all have mountains of personal experience to assign to a character, and have a ball with, stretch it, twist it, as you would a slab of taffy. That’s why a book I discovered on Facebook really pushes my buttons. This is as bland a telling as I ever encountered. I’m tempted to buy the book to learn if the vapid storytelling continues down the same path. (Moonbeam Bay floats plenty of boats. The author is a USA Today Bestseller.)
GD writes about his experience in Viet Nam. Perry writes about his lifelong love of fly fishing. What pastures of plenty do you have in your past, that you can make hay of, that will enable you to write a story no one else could have written?
New writers frequently worry that their idea will be stolen. It’s not the idea, it’s what you do with it. Write something no one else could have written. Develop a signature point-of-view, and a signature style. If you can’t do that, what kind of writer are you?
Hmmm. I suppose Kay Correll has done that.
Develop an interesting point-of-view.