I sometimes provoke students with this statement: “You can’t be a better writer than you are a person.” What I mean is that those issues that are unresolved in our lives will show up as weaknesses in our writing. A tendency toward impatience can result in writing that feels rushed or underdeveloped. A thirst for revenge can produce writing that is hurtful. We may find ourselves avoiding topics that scare us, creating worlds with less complexity than actually exists, or failing to render certain characters dimensionally because we haven’t found compassion for them.
Although this notion that we need to improve ourselves to strengthen our writing can be daunting, the good news is that writing offers writers endless opportunities for us to progress as people—to learn more, to empathize more deeply, to grow beyond our limitations and ignorance.
One of the things we learn as writers is that no character can be all good or all bad; a character presented in this way will be unconvincing and flat. The most heinous villain was once a child; the most noble protagonist hides some secret transgression. It is sometimes as big a challenge to push the hero off their pedestal as to the find that one good quality in the evil-doer. But humans are complex and contradictory, and finding the fullness of a character makes them come to life.
When it comes to telling stories from our own lives, we need to tap into our biggest, wisest selves to write in a balanced way about people who have hurt or harmed us. How can we empathize with what they were feeling, understand the forces that shaped them and their behavior? This can be the hardest work because it means shifting our ideas about ourselves as well as that other person. It can take some time to get there. But it is also where the growth and healing take place.
I’m not saying writers should approve of bad behavior or soft-peddle it. I am saying that even someone who commits a terrible act still has humanity in them, and the writer becomes better the more they can reveal it.
In his play, Night of the Iguana, Tennessee Williams gives a line to a character, a nun, who is speaking to a defrocked and dissolute priest. He is anticipating her judgement, her condemnation of who he has become. Instead, she says to him, “Nothing human disgusts me.” This is the stance that best serves the literary writer. It’s our job to reveal as fully and deeply as we can the human condition, and in the process, we grow and deepen as well.
Photo by Yvonne M. Estrada