How to Make Your Talent Come Out In Scripture
If talent is not enough, this does not mean that it is not useful. Indeed, it serves all the same. But it must be helped to emerge and then it must be trained.
The first thing to do is therefore to try to create the best conditions for this talent to express itself freely. Only then can you identify it and then, as a result, you can train it.
How can you bring out your writing talent, then?
1. Write what you care about
First, your talent can only emerge if you write what is important to you. It is true that every story can be a valid subject for a book, because what matters is how it is written, but it is also true that if you do not have a real inner drive towards the story you are telling, you will never be able to write it well.
The author’s passion is felt in his words, as is the lack of passion.
Indeed, I will say more: a content transmitted with passion is valid and effective even if exposed with a shape that is not perfect, while a content lived with detachment will not be able to involve readers even if expressed in the best form.
So start from what you care about most.
Many times in writing courses we hear: “Write about what disturbs you, write about what strikes you, about what is bothering you”.
I don’t think you should limit yourself to just writing about things you don’t like or that make you suffer. Surely negative emotions are a powerful lever, but even positive ones stimulate and occupy our thoughts.
So write about something you care about, for one reason or another. Writing content that is important to you, it will also be natural for you to take care of or improve the form of what you write because your desire will be that as many people as possible read and understand your message.
If you start from a content that you care about, you will automatically also worry about its shape.
If words and feelings are dishonest, if the author cheats and writes about things that are not important to him or about which he is not convinced, then he cannot expect anyone else to show interest in his story. (Raymond Carver, The Craft of Writing)
2. Empathize with others
Writing what is important to you does not mean writing only autobiographical themes.
Most emerging writers begin with an autobiographical novel or one that contains many episodes experienced by the author himself. Even when the characters are not the literary transposition of the author and his family, there is no doubt that in the first works there is much of his world.
It’s normal. But it can only be fine at the beginning.
In the long run the autobiographical vein runs out or leads to repetitive results.
What you need to do is instead develop your ability to observe the world around you. Observe others, their behaviors, their reactions. Ask yourself the reason for other people’s gestures and choices. Try to tune in with those who have a very different life from you.
At the base of this cognitive process there must be a real curiosity of the human, a true interest in the psychological dynamics and the motives of the relationships.
This is called empathy with others and it is the only way to be able to understand, first, and then transcribe emotions or experiences that you have not personally experienced.
This is why the great thriller writers are able to describe the mentality of a serial killer without being murderers themselves.
In my novel Love counts at a certain point the protagonist Irene goes to find her best friend in the hospital who has just given birth and, in front of the little baby girl, makes some reflections on the meaning of birth and life. Well, one of the most beautiful comments I received after the publication of the book was that of a friend of mine who had recently had a little girl and who told me: «But how did you write those things? That’s exactly what I felt when my daughter was born! “
Well, I have no children, but to write that song I tried to put on paper all the sensations I had collected over the years watching my friends become mothers. His comment was the greatest gratification to my efforts.
In fact, you cannot think of writing only what you know from direct personal experience, but you can write about everything you are passionate about and analyze in depth.
He then begins to observe the people around you, then also unknown people who meet by chance, and then even unknown people who do not meet live but who you see on TV and who read in the newspapers: look at them with new eyes and deeper eyes , go beyond appearances and look for nuances, the unsaid, the “behind the scenes”. Make hypotheses and look for confirmations.
You will realize that in the end all human behaviors are moved by a few deep emotional levers (joy, sadness, fear, anger, etc.) then declined in their variants (guilt, fear of abandonment, pride, shame, etc.). ).
It is therefore a matter of getting out of the fence of your emotions and using them instead as a key to access the emotions of others.
We all have all the instincts of humanity in us. But at least a part of these instincts is held back by honesty, prudence and education, sometimes simply because we do not have the opportunity to do otherwise. The novel character, he, will go as far as himself. My role as a novelist is to put him in such a situation that he is forced into it. (Georges Simenon, The age of the novel)