Never Shut Up: You Get To Write History

To Hell With Goals. Sort of.
Write Better Now
Write Better Now
Never Shut Up: You Get To Write History

Hi, welcome to Write Better Now, a podcast of quick, weekly writing tips meant to help you become a better writer. We’re your hosts with NYT bestselling author Carrie Jones and copyeditor extraordinaire Shaun Farrar. Thank you for joining us.

What is your story? Really? It’s more than you’re a writer. You’re a citizen of your community, your country, your world. You might be a certain race, religion, a sex (or not). You might have a faith, an economic status, a job. You might have hobbies, traits.

But you might not think you have a story especially when you see huge events unfolding in the world. You might think that your voice doesn’t matter, that your viewpoint doesn’t either. You might be used to people shouting you down when you say things they might not agree with or don’t want to hear.

This week we wanted to touch on how big events happen and we find them so harrowing and we think: Who am I to tell this story? I’m not in the Ukraine. I’m not on the frontlines of human rights struggles in Texas or Florida or China. I am not this or I am not that.

But here’s the thing. We are all witnesses or witnesses of witnesses. We all are a part of this world and the moments of this world. And we all get to tell our moments and our stories if we want to. Perspective and voice doesn’t just belong to people in power and it doesn’t not belong to people who see, who can testify, who can witness.

In Tell It Slant: Writing and Shaping Creative Nonfiction, Brenda Miller and Suzanne Paola write, “Our role as writers can be that of witness. … Think of yourself as a witness and your writing will take on greater weight and urgency.”

Daisy Hernandez has a great essay where she comes to terms with her aversion to the term ‘witness’ when it comes to literature.

She writes (link below):

“While it may well be that no book has ever prevented genocide or fascism, we still have a necessity for literature to testify to the political conditions of our lives—not only so that we might have a record of those we have lost, but also that we might have a reason to gather with others to read and to continue resisting.”

She prefers the term ‘testimony.’

“In contrast to witness, I love the word testimonio, testimony. I love how it sounds: serious and engaged, aware of itself. Intentional. It says: I have made a decision, and I am here to testify.”

Intention is important. Connections are important. And so are authentic narratives. We learn by story, but we also learn how to be human via stories.

Connections happen because humanity happens. And even if you think that you’re not an important piece to the story that unfolds, you are. We all come through things through our own psychographics and demographics and bubbles and experiences. Each piece and understanding of the stories of our times matter.

George Sand wrote,

“Everyone has his own story, and everyone could arouse interest in the romance of his life if he could but comprehend it.”

Here’s the thing: There are enough buttheads out there in the world trying to prevent people from having a voice and trying to keep others from hearing that voice. It could be a company or government censoring tweets, political statements, books. It could be an ideological group banning books. It could be a sibling shouting at you to “Shut the hell up” when you talk about feminism.

But you can’t. You must not shut the hell up. As long as you can fight, fight. As long as you can write, write. As long as you can survive, survive.

Here are a couple of exercises adapted from Tell It Slant

What event (national or world) do you remember super well? How did you know about it? Were you there? Were you not there? Where were you when you heard about that event? What in your life resonated because of it? Write about it.

What part of you do people think is cool? When you meet people and they are socially aware enough to ask you questions, what do they want to know? Now, imagine your life the way someone two hundred in the years in the future would find interesting. What bits of history would they want to know about? Write about that.

American University has some great writer as witness texts, but there are so many more, but here are some to start you off.

Previous Writer as Witness Texts

  • Rising Out of Hatred: The Awakening of a Former White Nationalist, by Eli Saslow, winner of the 2019 Dayton Literary Peace Prize for Nonfiction.
  • The Sixth Extinction: An Unnatural History, by Elizabeth Kolbert, winner of the 2015 Pulitzer Prize in the General Nonfiction Category
  • Strangers in Their Own Land: Anger and Mourning on the American Right, by Arlie Russell Hochschild, National Book Award finalist
  • We Gon’ Be Alright: Notes on Race and Resegregation, by Jeff Chang, the Northern California Nonfiction Book of the Year
  • Notes from No Man’s Land, by Eula Biss, winner of the Graywolf Press Nonfiction Prize and the National Book Critics Circle Award for Criticism.
  • The Good Soldiers, by David Finkel, a “Best Book of the Year” for the New York Times, Chicago Tribune, the Boston Globe, the Christian Science Monitor, and others, and the winner of the Helen Bernstein Book Award for Excellence in Journalism.
  • The Devil’s Highway: A True Story, by Luis Alberto Urrea, a Pulitzer Prize Finalist and winner of the Lannen Literary Award.
  • Savage Inequalities, by Jonathan Kozol, a finalist for the National Book Critics Circle Award. 


Thanks for listening to Write Better Now.

The music you hear is made available through the creative commons and it’s a bit of a shortened track from the fantastic Mr.ruiz and the track is Arctic Air and the album is Winter Haze Summer Daze.

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Author: carriejonesbooks

I am the NYT and internationally-bestselling author of children's books, which include the NEED series, FLYING series, TIME STOPPERS series, DEAR BULLY and other books. I like hedgehogs and puppies and warm places. I have none of these things in my life.

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