You’re not the main character
You’re not the main character
The reader is
It’s not without nerves that I write this extended response to
‘s brilliant account of what she learnt from reading thousands of manuscripts… My gut tells me to go for it for the sake of the main character: YOU.
A couple of weeks ago I shared a piece titled “How to write what others want to read”, in which I state that real people want to read about other real people.
We’re all desperate for a better understanding of ourselves and our surroundings and look to others for guidance on how to make sense of it all. More than anything, we want to feel like we’re not alone in whatever we think or feel about various things. We crave a sense of belonging despite being fed “strong alone” ideologies from all directions.
The writers that best succeed at transforming the lives of readers are those, as
eloquently points out, who are able to share experiences and observations in ways that need no further explanation. Where the reader can see themselves in the shoes of the protagonist and feel as though you’re speaking not only to them, but about them.This is where I think many creatives on social media unfortunately puts themselves in a corner. It’s very easy to blame on external factors like algorithms and unfair advantages, when the root may lie in the positioning of your art.
Are you writing about yourself for yourself?
Or are you writing about yourself for the benefit of others?
The realisation that you’re not the main character of your own story (should you wish to reach a large readership) hurts the ego. And artists tend to have big egos.
hasn’t transformed other’s lives by writing about love and creativity in a self-focused way. She has mastered the art of writing from intrinsic observation of her internal life in ways that calls for no further explanation. The reader can feel what she writes as if it was happening to them as well.The same goes for Brené Brown’s work on vulnerability. She makes you discover your own vulnerabilities and raise stronger as a result of reading her writings. This is unrelated to the examples used (and whether they’re from Brené’s own life or not).
Julia Cameron reminds us that it’s necessary for creative souls to express themselves or else they slowly drown in self contained anger and frustration.
Just reading that makes it easy to feel frustrated as you think of your own self-contained emotions that are bubbling under the surface.
Positioning
I’m by no means an expert. Rather, I’m of the perspective that we as creatives, are forever learners.
I can only speak from my own experience of living off my art for the past 7 years. Though I wish my embroideries spoke for themselves, sadly they don’t.
The only way I’ve been able to sustain myself is by doing the talking (mostly writing) for them. But not in the way of:
“I did this, because I feel this, and therefore I am that.”
If I had, it would’ve potentially kept me broke.
Instead, pushed by necessity to not look for another job, I learnt to position my work for the benefit of the client.
It sounds easy to say it now. In reality, it took years.
The real “aha-moment” came (unexpectedly as usual) five years ago when I sat in the corner of a grey hospital room where my mother in law was going through cancer treatments.
To give her time with her son, while still showing support with my presence (for both of them), I listened to audio-books.
One of them was “Storybrand” by Donald Miller, which by the way should be mandatory reading for anyone who wishes to “make it” in whatever way or form.
Miller positions his branding strategy as that of a story.
The catch: You don’t position yourself as the protagonist. Rather, the reader/collector/client is and instead you position yourself as the guide who has the solution for the problems that the protagonist inevitably will encounter through the storyline.
Personal stories and examples serve as enhancers for why you’re the ultimate guide to solve the problems at hand. Whether you’re just starting out or not, you carry a unique back-pack of experiences that makes you a leader in your field.
Collectors might have a status problem. They want art to fill their walls as a measure of success. You can provide that status.
Readers maybe have a “to belong” problem, which you can solve by writing relatable stories that makes them feel less alone.
Creatives, potentially have a “how to” problem. You can provide the teaching for them to develop the know-how needed for their next project.
Would you continue to read?
I don’t think that the artist ego is inherently bad. A strong ego builds courage to dare to go for (and create) what you believe in.
There needs to be a humble balance in realizing that everyone is closest to themselves.
If there’s no personal interest in a story we don’t continue to read it, do we?
With this reality in mind, we can all ask ourselves: How to shift the positioning for readers to not need further explanation? To the point where they just get it, because they feel so in line with what and how you write.
Then, but only then, will you achieve raving fans who’ll want to read your sh*t every day.
I’d love to hear your thoughts, reflections and experiences in the comments!
Thanks for reading,
Elin, x
For further discussion…
I imagine the notion “You’re not the main character, the reader is” to apply to both fiction and non-fiction, what do you reckon
? Equally to screen-play… you’re the master here.Ps. If you’re curious about the role of courage,
has studied the subject for the past 10 years and got a thing or three to say about it.Would also be intruiged to bounce with the lovely
(congrats’ for the feature btw!), who specialises in soulful branding… What’s your take on positioning, Sarah?Five more writers I’ve read recently that I think do a terrific job on all the aforementioned:
- I just discovered Laura’s work and fell in love with how she carries you through her experiences while painting vivid images of what its like (in a way that needs no further explanation!).
- is phenomenal at making you feel like what she writes is about you even though she describes very personal reflections.
- makes wellness reachable for even the busy mom (hey, that’s me!). You feel seen and understood as opposed to the general wellness tips that does nothing but make you stressed out (am I right?!). This is probably why Kate has managed to reach such inspiring success as a writing on within just 10 months.
- I accidentally fell into some of Rosana’s writing last week (thanks algorithms). Even though we live opposite realities, she carried me through her vivid stories and made me laugh out loud in recognition. What more can you ask for?
- is another powerhouse writer. The closest I’ve been to her stories is to pass in front of strip-clubs in Paris. Yet she lurks you in with literary finesse that makes you unable to stop reading.
If you loved this article, you may also like:
Thanks again ❤️
Oh, and of course… Don’t forget to subscribe if this resonated with you. I’ve got lots cooking in the drafts that you don’t want to miss.
Following these links is going to keep me busy today - another great post. Your writing really is relatable and I realised some time ago that that’s what was holding me back on Instagram: my disbelief at the self-absorption of posts I would read, when what I really wanted to know was the reality. What’s great about Substack is that the reality is definitely present!
Thanks for tagging me, Elin.
I think positioning is helpful to understand. But it’s kind of like a muscle you have to train over time. Too much focus on this element of brand strategy and you’re in danger of appearing inauthentic. Too little focus and you’ll lack confidence and direction. I cover it in some detail on my These Are The Days journal, but you’ve inspired me to share more:
https://thesearethedays.co/journal/the-core-elements-of-a-brand-strategy/