Category Archives: Memoir writing theory

What a Memoir Writer Can Learn From a Novel

Today’s memoir review focuses on a novel. Huh? I’ll explain.

I’ve been wanting to read a novel by WordPress blogger Anneli Purchase for some time now, and the other day I had a long car trip so I settled into my seat with a copy of Orion’s Gift, Anneli’s 2012 novel.

Before I knew it we had arrived at our destination, and I didn’t want to put the book down. The story is part romance and part adventure, and I became caught up in the budding love story, as well as the dangerous escapades.

In the midst of all that, my memoir-writing brain started clicking away when I read what Anneli does with setting. I realized that I could learn from her about writing setting in memoir.

The story takes place, for the most part, in Baja California. Anneli has traveled and camped that area herself, and her own experiences inform the book with multi-dimensional descriptions of the area. Sometimes the reader is plunged into the natural beauty. Other times, the setting reflects the interior landscape of the characters. Kevin, one of the lovers who is beset with worries, sees the landscape this way:

Rocks, sand, cholla, ocotillo, and cardón cacti, and palo verde trees. Beautiful, yet unending and without distinguishing landmarks, and no ocean in sight. I didn’t like it. Oh, it was scenic enough, but heading out into the unknown, so late in the day, putting all my trust in people I had just met–it didn’t sit right with me.

In addition to using setting as an exterior marker for what is going on with her characters’ thoughts and emotions, Anneli uses setting as a way for her characters to interact.  Kevin has helped Sylvia in several ways, including escaping from a bandido and getting her damaged van back on the road again, but Sylvia can teach him a few things, too. When they enter the water, she advises him what to do if he runs into a stingray. Kevin says he will fight back if he has to, but then he realizes that he never fought back in his marriage that just ended–he had let his wife walk all over him.

The setting is integrated as part of the story; it’s not a bonus or addition, but an essential part of what occurs in the book. It has an effect on the plot and on the actions of the characters. The campgrounds and wilderness areas provide a backdrop for the dangers of Mexico, but the towns bring the couple in closer touch with their dangerous pasts. When Sylvia has to learn how to dress properly for the town, there is more at stake than just fitting in.

Orion’s Gift was a relaxing and engaging break from reading memoirs. I’ve already loaned it to my daughter to read.

It’s a perfect addition to your summer reading list.

Anneli writes two WordPress blogs. You can find her at Anneli’s Place and at wordfromanneli.

To find out more about Anneli and her books, click on the links below:

http://www.anneli-purchase.com

Links for Orion’s Gift:

Amazon.com http://amzn.to/TSNU8v

Amazon.co.uk http://amzn.to/13bba5z

Amazon.ca http://amzn.to/Zr8K3U

Smashwords.com http://bit.ly/VsEj7S

 

25 Comments

Filed under Book Review, Creative Nonfiction, Memoir writing theory, Research and prep for writing, WordPress, Writing

See, Mom, I AM Normal!

I’m taking a break from the regularly scheduled program–One Thing I Learned From Each Memoir I Have Read–to say thank you to a fellow writer and blogger, Ellen Morris Prewitt. She kindly wrote a post yesterday about Writer Site (yup, this blog) on her cain’t do nothing with love blog.

The title of the post is “The Allure of Normal.” In the midst of my gratitude toward Ellen, I did chuckle quite a bit about being presented as the poster child of normal.

After all, I did just write this passage the day before yesterday in a (first draft) scene for my memoir:

The therapist I’d seen years before had pointed out that normal was a setting on a washing machine, not a word associated with people. Maybe my teen hormones had blown things out of proportion.

normal

When I was a kid I lived in the mindset that I was just outside the bounds of normal. Not distressingly weird, for sure. But definitely if-they-only-knew-that-I-am-weird weird. My best friend and I used to call each other “weirdo,” just to reinforce our placement in the universe.

But now I’m all grown up and so normal. 😉 Unless you ask my husband. But that is a subject for a future invisible post.

Let me tell you something about Ellen. She’s got a super impressive bio, including Pushcart Prize nominations and a Special Mention. Her website is found here. One of the many intriguing facts about Ellen is that she has an essay published in Sue William Silverman’s memoir how-to book Fearless Confessions: A Writer’s Guide to Memoir (which I own!). How cool is that?!

Ellen has another blog, too, found here.

Thanks, Ellen, for your kindness to a fellow blogger!

I hope you stop back Monday to hear about the next memoir on my shelf.

29 Comments

Filed under Blogging, Creative Nonfiction, Essay, Memoir, Memoir writing theory, Nonfiction, WordPress, Writing

What the Blueprint Your Bestseller Process Looks Like

Renee is one of my in-person writing buddies. Look what she’s doing with her lovely book! This book she recommends by Stuart Horwitz is already winging its way to me so that I can do the same thing with mine. Best of luck, Renee!! xo

Photo by Renee

Photo by Renee

9 Comments

Filed under Books, Creative Nonfiction, Essay, Memoir, Memoir writing theory, Nonfiction, Research and prep for writing, Writing, Writing goals

She Asked Me a Lot of Questions . . .

Usually only “somebodies” are interviewed. But The Missouri Review isn’t confined by pedestrian boundaries . Although they are a well-respected and long-running literary magazine, they have a cutting edge attitude. For instance, did you know that they have an audio version of their magazine? This is what they have to say about it:

One of the many innovative ideas we’ve had in recent years was to create an audio version of our magazine. Every issue, our staff, lead by audio editor Kevin McFillen, gets an early uncorrected version of the stories, essays, and poems forthcoming in the next issue. The audio team reads the work and then selects a reader (or “performer”) from the Columbia theater community whose voice best captures the text. They get together in our recording studio, down in the basement of McReynolds Hall (it’s room 54 and, you betcha, we call it Studio 54), and then the audio file is edited for production. Each audio recording is then included in the digital version of The Missouri Review.

Alison Balaskovits, Social Media Editor of The Missouri Review was kind enough to interview me for their blog. I hope you’ll check out the interview (at least to see my new headshot 😉 by the magician Christopher Barr).

After you read it, tell me what you liked best about what you learned about me–or what broke your heart or made you irritated.  Insert more smiley faces with winks.

And take a look at TMR’s digital subscription deal, especially if you plan to submit work to them:

The digital edition of our magazine is created by GTxcel. Your subscription is delivered via link to your email address, and then you, as a subscriber, has access to not only read all of the stories, poems, and essays in each issue, but hear them as well. Our art features, in particular, really pop off the screen in the digital version.

One of the best offers we have is our Submit and Subscribe: submit your unpublished work to us and get a one-year subscription to the digital version of The Missouri Review for just $20, which is over fifteen percent lower than the print subscription. It’s a great opportunity to not only send your work to us but also to get a fantastic deal on four issues of our magazine. You can Submit and Subscribe here and, if you’re still not convinced, you can check out a sample of the digital issue.

Here’s the interview.

Should I write a blog post about what I endured to get that headshot accomplished?

###

On another note, I just returned to Arizona, the land of always-summer, from California.  Look what I found in California!  Autumn!

Fall is even beautiful up close.

I

28 Comments

Filed under Blogging, Books, Creative Nonfiction, Essay, Interview, Memoir, Memoir writing theory, Nonfiction, Research and prep for writing, WordPress, Writing

Turning My Book on End

I’ve heard some good exercises to improve plot or structure, but I read a book recently that gave me a new notion—a notion that threatens to turn my book upside down.

David Ball, in his “Technical Manual for Reading Plays,” called Backwards & Forwards argues that the way to read a play for meaning on stage is backwards, not just forwards.

He says that the play is “a series of dominoes: one event triggers the next, and so on.” He invites the reader to think of arranging dominoes on end, close enough together, so that if one is knocked over it knocks over the next and then the next.

If you read a good play forwards, you won’t notice this causality. That’s because if Event A triggers Event B, you know moving forward, that Event A could have triggered a whole array of other things.  But it didn’t—it triggered Event B.

If you start reading from the end—the last event (let’s call it Event Z), then the event which caused it (Event Y), then the event which caused it (Event X), you can see that you couldn’t have Event Z without Event Y occurring, and you couldn’t have Event X without Event Y.  So while reading forwards gives you a variety of options and thus adds mystery to the story, reading backwards is a series of “of courses” as you trace the play backwards.

While Ball makes a distinction between reading a play for performing on stage and reading a play as literature, I would suggest that his method for reading works for writing a story.  One caveat is that more unique and unusual variations on chronology make it more difficult to understand Ball’s point, but I think his argument is valid at heart of any story.

So why does it turn my book upside down? To analyze my structure backwards, I have to start with the end. But I don’t have an ending yet!  Since it’s not a novel, I can’t manufacture an ending. I haven’t decided if I’ve lived the last event or if it is still in my future. Until I do live it or decide I have already lived it and know what it is, I can’t work backwards on structure!

However, I can take the last event I’ve written and read backward from there, searching for cause and effect and revising where needed.

Have you ever read or analyzed your own or someone else’s story backwards?

###

Just a reminder that I have a story in the Midlife Collage contest this week.  To find my story go to Midlife Collage  OR Facebook page.  Remember: it’s “Still Photo” by Luanne Castle.  Please comment after my story and “like” it with the Facebook link if you have a Facebook account.  You can tell them which story you want to win in “closing arguments.”

16 Comments

Filed under Creative Nonfiction, Essay, Memoir, Memoir writing theory, Nonfiction, Research and prep for writing, Writing

My Biggest Writing Problem

When I started writing my memoir, I floundered for the longest time.  I had the memories, the writing style, and just enough grammar.  But I could not figure out how to structure my story. Part of my story is the “child’s survival story” memoir like Mary Karr‘s The Liar’s Club and Tobias Wolff‘s This Boy’s Life. But another part of my story takes place in the present day and also involves family history which took place before I was born.

Cover of "The Bill from My Father"

Cover of The Bill from My Father

Then I read a memoir which showed me a new possibility. Bernard Cooper‘s The Bill from My Father.  In Cooper’s book, he sets the story in a very limited present-day, which covers his father’s aging and eventual death.  Then he goes on excursions into the past through flashbacks, which are in some cases very lengthy.

His structure is a far cry from what my first memoir instructor insisted upon–complete chronology without flashback.  And while I can understand that a story focused upon childhood or a coming-of-age story makes the most sense told chronologically, for my story it wasn’t working.

So I am trying to structure using a present-day framework which moves to the past and then comes back to the present again.  It works a lot better than telling the story chronologically.

Nevertheless, I still have problems with my structure. That’s because I have to deal with excursions into the far past.  Mine have to come near the end of my book.  Frank McCourt’s family info is provided at the beginning of the book, and to me it’s the one structural flaw in Angela’s Ashes: the stylistically different section where we meet the parents before the narrator was born.

What creates the biggest problem for you in your writing?

57 Comments

Filed under Creative Nonfiction, Memoir, Memoir writing theory, Nonfiction, Research and prep for writing, Writing

What I Learned about Revision

I’ve been reading a lot about the revision process this past week. I was particularly taken with a list created by Madeline Sharples.  In her list one particular point stood out.  In fact, I can’t get it out of my mind.

She says “Don’t edit as you write.  Write, wait a while, then edit.”  I thought that for a full-length book she couldn’t possibly mean write one scene or one chapter and set it aside, then revise, then write the next scene or chapter.  That must mean write the whole durn book, then wait a while and then edit.  Wow, why didn’t anybody tell me this before?

For the first couple of years, it’s true that I needed to keep revising because I had to find my story and how to start it.  I thought I had my story—it was about how I grew up with a father who was in some ways wonderful and in other ways a terror.  But it wasn’t until I wrestled with getting my memories down on paper that I learned I had to have a very specific string to hang these beads on.

Well, that’s been accomplished for a year now, and I am still revising by scene and by chapter and listening to a lot of advice from my wonderful and smart readers. But it’s time I take Sharples’ advice and just write the book already.

Then I can set it aside to breathe and start my next book about my goofy husband or maybe my cats.  Maybe finish my play, my young adult novel, or my poetry manuscript.

When I’m ready I can revise the entire book.  Good thing I planned for a ten year process.

Now there’s one caveat to this advice. If you’re a writer like Dylan Thomas , you can skip the advice altogether. He wrote two lines of poetry, revised, and then kept going.  He didn’t go back and revise the whole poem. That’s a writer with the final product in his head from the beginning. I can’t even imagine having that ability.

12 Comments

Filed under Creative Nonfiction, Memoir, Memoir writing theory, Poetry, Research and prep for writing

What About the Little Things in Life? Part 2

On Monday I wrote about an essay in Telling True Stories by Walt Harrington called “Details Matter.”  It reminded me how important are the small things in life.  But, as Harrington shows,  it’s our interpretations of them (in our writing) which are even more important.

Most writers realize that details are important.  In Writing Down the Bones, Natalie Goldberg writes, “This is what it is to be a writer: to be the carrier of details that make up history.”  Writers obsessively scribble notes to themselves about the shade of a flower petal, the height of a tree, and the sound of a motor.  I know I do this.  I want to remember it all. It becomes part of my history.

But it’s not enough that we add these details to our books.  It’s not enough to give our characters little details which differentiate them.  We need to know the emotional story of their belongings, their accoutrements, their props.

My friend Wilma, aka Jeannieunbottled, asked how we give the emotional story to these objects.  This is what I wrote to her:

I think it’s the context in which you present the details that show emotional meaning. If a man carries a bouquet of flowers next to him on the car seat, we don’t know anything until we know what he does with them or how he relates to them. He might be giving them to someone or he might be dumping them in the dumpster behind the restaurant.

Did I really just do the tacky thing of quoting myself?  Hah.  Well, it’s because I’m too lazy to re-write the thought.

I kind of like thinking of it in a magnified way to see it more clearly.  For the following photo, if I describe the luminosity of the white pearls and how they are speckled by light and shadow, but forget to mention where the pearls are hanging, you might automatically think of an entirely different emotional context.

Art by Janet Orr

12 Comments

Filed under Creative Nonfiction, Memoir, Memoir writing theory

What About the Little Things in Life?

In Telling True Stories, I read a short piece by Walt Harrington called “Details Matter.”  While it’s geared toward journalists, it spoke to me as a creative nonfiction writer.

To research a story, he visited a home, which he described as “full of tacky teddy bears and knickknacks.”  His first assumption was that they represented bad taste; I felt he was implying a moral deficiency in that judgment. What he discovered was that those offensive items were all gifts from people the family had helped.

Knowing that they had been of service to so many people completely revised his opinion of the family.

He said that details are important, but the information behind the stories is most important.  Without that, they are just objects.

What I got out of his essay is that in memoir the details are important, but it’s important to show what those details mean to the narrator and to the characters. Each object must carry an emotional meaning. It’s not enough to merely describe.

Now that’s a powerful reminder about the small things in life.

Tiny baby bunny behind the flower pot 5-5-13

Tiny baby bunny behind the flower pot 5-5-13

14 Comments

Filed under Creative Nonfiction, Memoir, Memoir writing theory

Performing My Life: Writing Memoir

Now that I’m writing a memoir of my life, I have to admit that sometimes as I write I feel that I am performing my own life.  You know: like a performer up on stage singing or dancing with emotions blazing.

I wrote a dissertation years ago called Performing Identities.  Actually the full title is Performing Identities:  The Spectacle of Multiple Identity in American Women’s Poetry.  Although I once lived and breathed this project, I had to look up the title for you as I no longer remembered it.  Searching online, I discovered it’s available at three whole libraries–in their archives and, in one case, in their “rare book room.”  (Even writing that I am laughing at the thought). I don’t know if the durn thing has ever been read (other than by my dissertation advisors and my friend Wilma Kahn who edited it), except by my parents who thought there were some disgusting passages (especially quotes from Sylvia Plath’s journals about–and I kid you not–nose picking).

That thought reminds me of that Seinfeld episode where Jerry’s girlfriend dumps him because she suspects him of picking his nose.  Actually, there is a Seinfeld episode for almost everything, and I am always quick to remember them.  I think of comedians as writers who take performing to the nth degree.

Back in grad school, as I read poetry, I saw that poetry seemed to be the performance of identity–where the poet tries out masks composed of bits of her own identities.  I studied the work of symbolic anthropologist Victor Turner who argued that our very lives are performative, so it wasn’t a big step to notice the performance aspect of writing.

But I never felt like I was performing when I wrote poetry or lit crit.  Writing my memoir I am engaged in the act of performing my life.  It’s as if I stand on stage acting out a part written by myself which I have already lived.  What an odd feeling.  And yet it’s a feeling of engagement and with it comes a little hint of stage fright.

I started thinking about this subject after blogger Michelle at The Green Study  wrote a post which features this marvelous quote: “Writing is a marvelous human endeavor, but to try and suss out the actual human is an exercise in futility.”  She argues that we shouldn’t believe that a piece of writing is the writer herself.  And I agree with her. For instance, it ticks me off when people read Plath’s poetry as “the true story of Sylvia Plath.”

But the memoir writer does take bits and pieces and large swaths of herself and uses them to create the personae or identities she uses in her work.  The work itself performs these identities, making the identities live just as a puppeteer brings the puppets to life.

###

I wanted to share something I found when I searched online for my dissertation.  There is a website called Classify, an experimental classification web service.  It made a pie chart of the contents of my dissertation.  That means a little scrap of all that work resides on the internet ;).

14 Comments

Filed under Creative Nonfiction, Memoir, Memoir writing theory