Are you for real?

I'm not making this up!

 

 

Writing from fact, using a real event, can lend work real emotion, emotion difficult to conjure otherwise. Tears in a writer will bring tears to a reader, so they say.

 

Writing from fact does have its downside, however. Firstly, a straight account is reportage, not fiction so you must add extra spice and colour to the mixture to make it fiction.

 

It is important to get to the crux of what your story is ‘saying’ and make sure your narrative never loses sight of this point and – so, even if when you were all driving to the hospital, Brad told a joke so funny you’ve just got to mention it. No, don’t mention it. Stick to the point of the story – the story is the hospital, remember, not Brad’s unrelated joke.

 

You may also have to leave out years of backstory if it does not serve to drive your own story on in any way. You may have been brought up by the funniest, most eccentric, most loving or most dysfunctional family in the world, but if they have no role in the story at hand, don’t mention them.

 

Another issue with writing from real memory is that ironically, fact is often too weird and too unbelievable to work as fiction. Your readers will say, ‘oh, come on, that would never happen.’ And you can’t phone them all up and say, ‘actually, it did. I’m not making it up. I once knew this bloke…’ Instead, you’ve often got to tone down the story to make it more credible. Real-life coincidences can be particularly problematic here.

 

And remember if you stick too close to the truth, you may be setting yourself up for some legal headaches, especially if you are presenting another person in an unflattering light. It’s best to change names and/or genders, and settings. Once you make those factual changes, most people will fail to recognize themselves in fiction, simply because we don’t see ourselves as we are seen by others….

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About suehealy

Irish writer/playwright Sue Healy’s work has been supported and developed by Arts Council England, Dublin’s Abbey Theatre, the Peggy Ramsay Foundation, the Heinrich Boll Association and Waterford Corporation/Tyrone Guthrie Centre. Her short play ‘The Dog in the Tree House‘ won the 2017 Claremorris Fringe Award. In 2016, her debut stage production, ‘Brazen Strap’ showed at the King’s Head Theatre. She was a finalist for the 2016 Eamon Keane Playwriting Prize, the 2016 Nick Darke Award and the 2016 Old Vic 12. In 2017, her work shows at the Hackney Attic (January) and the Etcetra Theatre (April). Sue’s nine radio dramas have broadcast on BBC Radio 4,WLRfm, KCLR96fm. She has also won the Sussex Playwrights’ Award, presented in the Festival of Contemporary European Drama and has had staged readings of her work in London, Norwich, Brighton and Cornwall. A UEA Creative Writing MA alumna, Sue’s prose won seven national prizes: the Molly Keane Memorial Award, BBC Opening Lines, Escalator Prize and HiSSAC Award. She spent eleven years in Budapest, editing Hungary A.M. Presently, she is London-based, researching a PhD on the Royal Court Theatre. Sue is Deputy Literary Manager at the Finborough Theatre. View all posts by suehealy

2 responses to “Are you for real?

  • Alannah Murphy

    Great advice. Very true as well, about having to tone things down. I toyed with the idea of using something in my family history, and giving my female character the experience, but it was so unbelievable, that I changed my mind, as it was hard to believe. No wonder they say true life is stranger than fiction.

  • Carol Lovekin

    Not so much a heavy duty emotional event, rather a moment captured & squirrelled away.

    It re-emerged a while back & set me on the path to The New Story. A real event, something that happened to me one day, imprinted on my brain for a reason.

    My own writing is often informed by real events of a personal nature. (Isn’t everybody’s?) The trick I feel is to disguise the experiences.

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