How to Write a Book Based on your LifeWhere can I write a book about my life?
An 8-tip guide to turning "real life" into bestselling fiction
Lots of folks are starting to type because they have a true narrative to tell - something that happens in their own or in the Lives of a friend or member of their families that they think would make a great work. However, if you choose to make your history as a novel, you must take this crude tone of facts and make it into something that is your own work.
This is sometimes more work than rewriting a whole storyline, because you have to dissociate yourself from the "real" personalities and make them your own. To write a novel that' s rooted in a real-life scenario is much more than just chewing up a tale you know by chance - even if it's a whizz-bang, a whopper in a tale.
It is a challenging task to turn reality and reality into destiny. Since I had no rules at the moment when I started to write DECOADES, I found out when I participated. 1 ) Get to know your trade. It' easy, but you can stand to repeat yourself: teach yourself how to create a captivating notion. My first "big book" was my first few years, but before I started to write it, I spent over ten years working on professional essays for men's and men's journals and inventive pocket books, mostly Gothic romance and romance, under various acronyms.
During the trial - and hardly deliberately - I learnt how to spell actions, emotions and sexuality, how to get hold of a readership from the first movement and how to make a clip figur. Chance - and true love - gave me the first inspirations for years, the history of a married couple in times of war. By chance, I happen to know each of the three protagonists, two much better than the third.
When I wrote a novel on the basis of reality, I was confronted with the same challenge that a novelist has with every novel - the need to build credible personalities and a drama - with the added turn of structuring the informality, disorientation and indecisiveness of reality into the requirements of a novel.
The knowledge of the "real people" proved to be both a boon and a barrier. 4 ) Safeguard the private sphere of your "real" character. I of course altered the name, but when I started writing, I went on and also altered the spell. For example, a drastic name shift to Mark Saint Clair ensured JD's private sphere and had the side effect of ridding me of any memories of the true John Doe/Jack Dawson.
5 ) Help your readers to refer to your history. my fashiondesigner Freund was a classy, neverwed Manhattan singles gal who lived a frantic, high-caliber community outfit. He was her student boyfriend and is learning (the tough way) how to behave in a demanding and competition-oriented corporate milieu.
Everyone of the other players got a similar madeover. 6 ) Give your character space to scour. The history took place mainly in Manhattan, but I found the settings too narrow. Manhattan is where the figures in the novel are, but I have added Florida, Nantucket and Caribbean film.
With different attitudes I could show how the personalities in different regions and in different environments have behave. 7 ) Extend the breadth of your history. Nearly every "real" history is naturally restricted to those directly affected. Unless your tale is about a pal who happens to be president of the United States.
When I designed the novel and its storyline and character took form, I wanted to show how the effects of what began as an accidental love affair affected those who were not directly affected. 8 ) Look for the greater importance of your history. I' m not saying that you should bang your readers on the face with "The Meaning Of It All".
I was in the middle of the design and stopped to type the last thing that turned actual living into destiny (outlines are not my strength!). When I had completed my transformations, storylines and the quest for a more substantive frame for the storyline, the protagonists had taken up their own fictitious way of living, the storyline came to a completely different end than in reality with their own energies, and I was able to depict huge amounts of culture and society change in an amusing and historically appropriate way.
It turned out that the novel's primary condition - a marital breakdown and an adultery scandal - was not led by one but two celebrity editors - "This is my life," one of them commented. I' ve never thought about it, I had no clue that my fictitious scandal reflects the actual experience of the two publishing houses.
I only knew that chance had given me an unbelievable foundation for a novel that linked a captivatingly dynamic personality with an eras of rapid socio-historical transformation, the effects of which we still sense today. Did you write a storybook that'?s real? ANNIE recounts it all in an exclusive conversation with Catherine Ryan Hyde, and Anne was genetrified and canonised by Porter Anderson on Writing on theEthern.