Showing posts with label personal memoir. Show all posts
Showing posts with label personal memoir. Show all posts

Friday Speak Out!: Writing a Memoir Is Not For Sissies, Guest Post by Margaret Norton

Friday, February 10, 2012
Writing a Memoir Is Not For Sissies

by Margaret Norton

“You should write a book,” my friends said to me after reading my journal. In 2004, eight people I knew died, including my mother-in-law and brother. As 2005 began, I was paralyzed with grief. A counselor suggested I write about my feelings. Cheaper than therapy, I thought. I went from journaling to writing a book, with nothing in-between. I didn’t know that this would be one of the hardest things I ever did.

Once I started transforming my journal notes into a manuscript, I knew that I was in over my head. In my middle fifties, it had been many years since I attended school. I knew little about writing. This can’t be much harder than doing a church bulletin or Christmas letter. But I was wrong. I immediately signed up for online writing courses and joined a local writers group. Then I started to look for an agent and a publisher.

It was difficult writing about my personal life. I relived the experiences I wrote about. Sometimes this was fun, but mostly it was painful. I found myself doing a lot of deep soul searching and self analysis. I had made a lot of mistakes. Why? I wanted to know. Eventually, I discovered the positives in my story and felt that others could benefit from my experiences.

Even though I was willing to share my life with others, some of the people in my book were not ready to have their actions revealed in such an honest and permanent way. It’s one thing to have disputes with your family--everyone does--but it’s potentially explosive when they find out you’re going to immortalize the family. Some family members and friends supported me, while others openly expressed their opposition. It was my story, but I was sensitive to the feelings of others. I changed the names of everyone in my book, as a courtesy to them. I left out personal, painful details that I felt would not dilute my message.

Writing is good therapy, but telling true life stories is hard. Even when you take the advice of experts and do what you believe is best; nothing prepares you for what happens once the book is published. Seeing it in print forced my family to deal with how they treated me, and the reactions varied greatly.

“Would you do it again?” I am often asked. Yes, I think so. It’s hard to honestly answer that question. I made a lot of mistakes--like picking the wrong publisher and not fighting for the cover I really wanted. I have thousands of hours and dollars invested; sometimes, I think maybe I should have lived abroad for a year, instead of writing my memoir. But then I get an e-mail from a stranger telling me how much my story touched them and the changes they are making because of my book. No, it’s not a bestseller, yet, but it does touch one person at a time. This makes it all worthwhile.

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Margaret Norton is a writer, speaker, personal life coach, and It Works! distributor. She is running a blog comment and Twitter contest in February to coordinate with the re-release of her book, When Ties Break, and turning 60! For more information and to enter the contest to win a free life coaching session or copy of her memoir, please visit Healthy and Fit Granny blog and go to the February 8th post.
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Would you like to participate in Friday "Speak Out!"? Email your short posts (under 500 words) about women and writing to: marcia[at]wow-womenonwriting[dot]com for consideration. We look forward to hearing from you!

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Getting Personal, Really Personal

Sunday, September 25, 2011
I'm reading some writing which has made me re-consider my own writing about personal issues and how to deliver my feelings to my own readers.

Often a writer is trying to get at a personal truth and hopes and dreams and wonderment. But what is left on the page is one dimensional. The in-depth soul searching is left in the writer's soul or journal. When a writer most believes she is over-reaching, in truth, she is barely reaching out.

Often, as writers, we may take a shortcut. We tell our feelings, but we don't layer them using descriptions that deepen our readers' understanding of who we are.

As with fiction, self-help and personal nonfiction benefits from additional color and description.

We assume our readers will understand what we're saying by just writing "I felt bad." But we leave out the richness and three-dimensional element of ourselves. "I felt so bad that my heart sped up and my stomach churned" or "I felt so bad it felt as if my blood drained from my face and I ran from the room." While these are basic examples, I think it provides a difference that readers can more closely engage with the feelings the author is having and gives the bad feelings a bit more scale. Maybe even accessing an earlier scene that can bring more depth to the scene at hand.

But as writers, as our draft comes to completion, we shouldn't stop there.

We've all done it--given our writing to someone who understands us or who, at least, knows of our desire to be published. We hand over our writing to someone in our writers' group or someone who has read the previous six drafts. Those someones know or can easily interpret our "shortcut" to our emotions. They often understand the scale when we write "I felt bad."

I suggest that those writing about personal struggles and emotions find a reader not accustomed to the shortcuts. Find someone with a gentle yet critical eye who can find the areas of one-dimension. The areas where the writer is not serving the reader.

Why would this be as important to a writer than finding a reader or editor to ensure that the grammar is correct?

This reader is important in helping find where the writer fails to connect--in depth--with the reader. A reader shouldn't be left at the end of a chapter wondering why read more? Or with the worst question, "So what? Why should I care?" When a writer writing about personal issues fails to connect with the reader--leaving the reader with more questions than answers--the writing may be interesting, but it has delivered a one-dimensional character instead of a full-formed, layered journey of self-discovery.

What reading have you done lately that has changed the way you view your writing or revision process?

Elizabeth King Humphrey is a writer and editor living along the North Carolina coast.



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Writing Your Life Into Short Creative Essays: Tips from Melanie Faith

Monday, June 21, 2010
"In the writing of memoirs, as in the production of shows, too much caution causes the audience to nod and think of other channels." Gerald Clarke.

The writer in us desires to share where we've been, what we've learned, our thoughts on life, love, forgiveness, strength and the art of being human. We pick up the pen and...suddenly all our experiences seem dull and lifeless. Good news, Melanie Faith is coming to the rescue with her class The Art Of Truth: Writing Your Life Into Short Creative Essays which begins Friday, June 25th, 2010. There is still time to enroll in this exciting class; please visit our classroom page for information.

Melanie Faith is a poet, educator, photographer and returning WOW! workshop instructor. We had a nice chat this week about her upcoming class:

Welcome Melanie! We're excited to have you as a returning instructor here at WOW! Workshop and Classes. This time you will be teaching a course in creative essay writing. Would you please elaborate on what exactly is a creative essay? How is this different from other forms of memoir?

Melanie: Thanks. I have thoroughly enjoyed working with WOW! writers and staff in the three other writing courses I've taught, and I'm excited about this new essay writing class! I would be happy to elaborate on the creative essay. While both memoir and creative essays are based on the life experiences of the author herself, memoirs tend to be linear and ordered in sequential time periods, whereas creative essays (sometimes referred to as the "creative nonfiction" essay genre) may jump backwards or forwards through time or omit certain eras or details entirely, choosing to focus a spotlight on one particular theme or one particular experience. In general, creative essays are shorter in length, but still integrate many of the fascinating literary techniques of memoir as well as fiction and poetic techniques, too--such as a focus on setting along with rich and resonant imagery. In the class, students will use various prompts to inspire five individual essays of under a thousand words each for supportive and constructive feedback and suggestions each week. I will also provide three professionally-written and published personal essays each week as examples of the variety of essay styles and techniques which students may study to note what other essayists have done and then incorporate into their own drafts.

I see, so creative essay is more artistic than the average auto-biographical account of one's life experiences.

What is the benefit to learning the art of creative essay? What skills will students learn that can be applied to other areas?

Melanie: Students will delve into memories (and in many cases unearth details they'd long forgotten) and have the chance to set those moments onto page. For many writers who dream of one day telling their own stories in their own ways but find it difficult to begin, completing an essay can be a huge accomplishment. Whether wanting to note these experiences for one's own clarity at a crossroads in life of hoping to set down the way it truly was for future generations, students will find the essay form to be both accessible and illuminating. Many of the essays we will read and use as class examples read as fascinating and immediate as a chat with a good friend or an afternoon with a good fiction story--with the added bonus that students are sculpting meaning from real life events. So seldom in life do we have time or energy to reflect at length on what we have done or what has been done to us, much less where we have been and where we hope yet to go. This course will provide that invaluable opportunity--along with learning tools to structure a compelling and meaning-rich personal narrative from the dizzying array of details the writer may choose.

Sounds like there is a therapeutic quality this style of writing (smile).

What are some of the struggles or obstacles students are facing in their writing practice when they come to you?

Melanie: One of the biggest struggles my students share is the deep desire to write despite various limitations on time in making writing a priority in everyday life. As busy caregivers, grandmothers, sisters, career women or stay-at-home moms, having a consistent weekly deadline can be extremely helpful in making time to write in an already crowded schedule. I very much admire my students' breadth of commitments to so many others in their lives as well as their determination to see their own experiences shine on the page.
In addition to the structure and motivation in the form of regular deadlines and teacher feedback on their pieces, the course also provides a community of writers. Writing can be a solitary craft, and the support and interaction with other writers can be tremendously motivating. In my last WOW! writing course, I created a Google group for students to introduce themselves, ask writing questions (of the instructor as well as each other), post writing quotations and excerpts of their own writing and writers who have inspired them, as well as to download instructive writing files that I post. I was thrilled at the level of interactions and camaraderie of the students, and I will be creating a private Google croup again for the essay writing course. For writers without a writing group in their community in particular, the online class group is a wonderful space to discuss the writing craft, challenges and joys of works-in-progress, and to develop contacts and courage to write one's own best work. I look forward to virtually "meeting" and getting to know my students who sign up for the course!

We love that feeling of group camaraderie here at WOW! It is amazing how much more inner strength a writer experiences when she has access to a group of people sharing similar goals.

Many times when we begin to write about our past experience we find ourselves writing about an incident from an outside or distanced perspective. Can you share with us a tip or trick on how to get back into the emotional memory?

Melanie: Great question! Particularly when writing about painful or previously suppressed memories, it can be a challenge in the first draft for the essayist to draw near to the incident without emotionally distancing. One of the best tricks for drawing close to the memory is the "five minute challenge"--an initial five-minute free write. (Students may, of course, keep writing past those initial five-minutes on the clock, and are encouraged to do so, but five minutes appears to launch writing without too much second-guessing or criticism from the internal editor.) Within that amount of time , it is very difficult to self-protect or shield the emotional details from bubbling up from the pen; it's truly amazing what five mere minutes can deliver! Students typically begin the first two or three sentences in third-person, in a more formal and distanced Voice, and then (because of the constriction of time) find their sentences relaxing and becoming more fluid and self-revealing as the draft progresses. Students have frequently noted an "aha!" moment half-way through an essay draft which draws very close to a personal truth or emotional vulnerability that otherwise they would not have felt comfortable revealing at onset. When editing the piece after the free-write, students often find that they can edit or even entirely omit the first few sentences where the essayist is cautiously working a way into their real emotional territory, once the subconscious begins to deliver ideas and the essayist begins to follow the flow, letting the emotional guard down and daring to write what before seemed impossible to share. So I would certainly suggest a five-minute challenge, followed by editing to get to the "real" emotional terrain of a piece. Another little trick I've shared with students wanting to draw closer to emotion in a piece: highlight one sentence in the piece that seems to shimmer with beauty or to leap off of the page with vital truth--then begin the second draft of the piece with that sentence.

Another tip to draw near the emotion (and which our class text, Courage & Craft also suggests) is to practice keeping a journal. "A journal should be raw and messy... The more secure you feel about the privacy of what you 're writing, the more free you'll be when you write... When you write about traumatic events or huge milestones in your life, you'll get the energy and the feelings down, but in the moment it's unlikely you'll have the perspective. It's all raw data-- valuable for its energy and detail, but it needs time to cool so that it can be shaped into meaning. During the bad times, just take notes." Writers can then integrate the emotional energy and specific details from their unorganized journal entries into their more-ordered essay drafts at places where the authors have backed away a bit from he emotional detail of gone flat out of self-protection.

Terrific Tips! Thank you for sharing them with us.

Melanie, what do you hope the students come away with at the end of the course?

Melanie: First and foremost, their experiences in life matter and can be shaped and molded to an art form that others will find compelling. While a creative essay may ostensibly focus on the experiences of one person's daily life, the essay form is amazingly connective.

Also, I want students to come away with further ideas for writing future personal essays, and enriched sense of the variety of literary techniques used in crafting writing, and (just as importantly) five of their own new creative essays to refine and, potentially, to submit for publication.

I sounds like this class could open up new doorways in a writer's life. Thank you so much for visiting with us today, Melanie. We are looking forward to this class.

Readers, if you are interested in learning the art of writing creative essays or would like to read more about Melanie Faith please visit our classroom page. The Art Of Truth: Writing Your Life Into Short Creative Essays begins Friday, June 25th, 2010 and runs for 5 weeks; enrollment is still open but we encourage you to register now as class size is limited.

Interview by Robyn Chausse
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List of Universal Themes in Memoir Writing

Saturday, November 21, 2009
Do you need a universal theme for your memoir? 
 
In Annette Fix' article on WOW, Memoir Writing: Drawing From Your Life to Create Your Story, she says, "You need to decide who your target audience is and what message you want to leave them with when they reach the end of the book. If you find that you have no 'point' to your story, it may be best to consider binding some copies for family members as a legacy or as an addition to your family's genealogy collection. If your intent is to see your memoir in the trade marketplace, you need to have a universal theme to which your readers can relate."  
 
Here is a list of universal themes you can incorporate in your memoir: (in alphabetical order) 
 
Abandonment
Abuse
Accepting
Change
Adjusting to a New Life
Adoption
Anger
Appearances
Appreciation of Nature
Being Gifted
Brotherhood
Bullies
Belonging
Betrayal
Bondage
Bravery
Caring for the Environment
Censorship
Challenges
Change
Coming of Age
Commitment
Communication
Community
Cooperation
Coping with Loss
Courage and Honor
Cultural Diversity
Customs and Traditions
Dealing with Handicaps
Death and Dying
Denial
Determination
Discrimination
Diversity
Dreams
Effects of War
Ethical Dilemmas
Euthanasia
Faith
Family
Fear
Forgiveness
Freedom
Friendship
Gender Issues
Good vs. Evil
Gratitude
Grief
Growing Up
Guilt
Heroes
Heroism
History
Honesty
Hope
Humor
Immigrants
Initiation
Innocence
Intergenerational Relationships
Invincibility
Jealousy
Leadership
Living in Today's Society
Loneliness
Love
Loyalty
Making Choices
Media
Morals & Values
Patriotism
Peace
Peer Pressure
Poverty
Relationships
Self-esteem
Sense of Community
Sense of Self
Separation and Loss
Social Change
Survival
Taking a Stand
Teamwork
Trust
Violence
 
By incorporating one or more of these themes into your memoir you'll gain a universal connection to your reader.
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