A Quick Note & EXCERPT: “The Stories Behind the Music (or The Vibration Behind the Vibration)” [the post-practice Monday post] July 21, 2025

Many blessings to everyone, everywhere.

This is the post-practice post for Monday, July 21^st. The 2025 prompt question was, “If you were going to write a story, what would be the subject of your story?” 

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“I may be wrong about this, but it seems as though so much fiction, particularly that by younger people, is very much about themselves. Love and death and stuff, but my love, my death, my this, my that. Everybody else is a light character in that play.

When I taught creative writing at Princeton, [my students] had been told all of their lives to write what they knew. I always began the course by saying, ‘Don’t pay any attention to that.’ First, because you don’t know anything and second, because I don’t want to hear about your true love and your mama and your papa and your friends. Think of somebody you don’t know. What about a Mexican waitress in the Rio Grande who can barely speak English? Or what about a Grande Madame in Paris? Things way outside their camp. Imagine it, create it. Don’t record and editorialize on some event that you’ve already lived through. I was always amazed at how effective that was. They were always out of the box when they were given license to imagine something wholly outside their existence. I thought it was a good training for them. Even if they ended up just writing an autobiography, at least they could relate to themselves as strangers.”

— Toni Morrison, quoted from the American Theatre interview “Write, Erase, Do It Over: On Failure, Risk and Writing Outside Yourself — Learning how to fail well is as crucial a part of a writer’s craft as putting words on a page. With other kinds of failure, you have less control.” by Rebecca Gross (dated March 10, 2015)

Writers are often taught, “Write what you know.”  Some authors and creative writing teachers think that is the best advice ever. Others, as noted above* and below, think this old standard it is not so great advice. But, have you ever considered that (on a certain level) writers have no choice? Have you ever considered that every writer writes from their own experience — even when they are writing about the experience of others and even when they are writing about places that are not their home?

Storytelling is part of being human. Before we are born, our brains start processing all the sensations/information around us and communicating a story about the present moment. (YS 2.18-20) From an early age, we tell stories about how our day went and how we wish our day had gone. We make up stuff, embellish stuff, and tell lies. Or, we tell stories about things that randomly pop up in our head. Sometimes, those stories can be pretty fantastical. But, every time we tell a story, we are telling the story based on our understanding of the world, which is based on our past experiences and our samskara (“mental impression”).

In other words, we write what we know (and what we understand).

Now, take a moment to consider that much of what we read is available for us to read (and interests us) because of our previous experiences and, also, the experiences and identity of the writer — no matter their subject matter. This is why two writers can tell very different stories even when they are writing about the same things and the same places.

This is also why you may hear about one great author and not another.

Click on the excerpt title below for the very different stories of two writers born on July 21^st.

The Stories Behind the Music (or The Vibration Behind the Vibration)

“Every Wednesday, I teach an introductory fiction workshop at Harvard University, and on the first day of class I pass out a bullet-pointed list of things the students should try hard to avoid…. The last point is: Don’t Write What You Know.”

“The idea panics them for two reasons. First, like all writers, the students have been encouraged, explicitly or implicitly, for as long as they can remember, to write what they know, so the prospect of abandoning that approach now is disorienting. Second, they know an awful lot. In recent workshops, my students have included Iraq War veterans, professional athletes, a minister, a circus clown, a woman with a pet miniature elephant, and gobs of certified geniuses. They are endlessly interesting people, their lives brimming with uniquely compelling experiences, and too often they believe those experiences are what equip them to be writers. Encouraging them not to write what they know sounds as wrongheaded as a football coach telling a quarterback with a bazooka of a right arm to ride the bench. For them, the advice is confusing and heartbreaking, maybe even insulting. For me, it’s the difference between fiction that matters only to those who know the author and fiction that, well, matters.”

— quoted from The Atlantic (Fiction 2011 Issue) essay, “Don’t Write What You Know: Why fiction’s narrative and emotional integrity will always transcend the literal truth” by Bret Anthony Johnston 

There is no playlist for the Common Ground Meditation Center practices. 

If you are thinking about suicide, worried about a friend or loved one, or would like emotional support, you can dial 988 (in the US) or call 1-800-273-TALK (8255)for the Suicide and Crisis Lifeline. You can also call this TALK line if you are struggling with addiction or involved in an abusive relationship. The Lifeline network is free, confidential, and available to all 24/7. YOU CAN TALK ABOUT ANYTHING.

White Flag is an app, which I have not yet researched, but which may be helpful if you need peer-to-peer (non-professional) support.

If you are a young person in crisis, feeling suicidal, or in need of a safe and judgement-free place to talk,you can also click here to contact the TrevorLifeline (which is staffed 24/7 with trained counselors).

*NOTE: The Toni Morrison quote (above) is from a section of the interview titled, “Failures In Contemporary American Literature”

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