I can’t tell you how often I read early drafts of memoirs that are thorough, lively recordings of events, great for preserving family history but absolutely unsatisfying as memoirs. First this happened, and then this, and then this… Even when the events are shocking, amazing, horrific, terrifying, or otherwise scintillating, the drafts read like flat […]
Giving Your Story a Plot Read More »
The other evening I taught a lesson at the Loft that was meant to help beginning memoirists distinguish between the character and the narrator in their stories. We create personas for ourselves on the page; the main character in every memoir is the younger self who experiences and is changed by events; we can also
The Journey from Self-Conscious to Aware Read More »
When I teach, I often ask the question, “What’s at stake for you in this story?” I’m not alone; it’s a common question in the world of writing. Students are puzzled by it, however, and usually ask me to explain. Really I’m looking for the intersection between the writer’s heart and the words on the
You Are What You Write Read More »
You must sympathize with the reader’s plight (most readers are in trouble about half the time) but never seek to know the reader’s wants. Your whole duty as a writer is to please and satisfy yourself, and the true writer always plays to an audience of one. When I came upon these words in Strunk
Dismissing, Then Welcoming the Audience Read More »
When tweaking language during the final stages of revision, strive for clarity first. Language is meant to communicate. Sound, rhythm, pacing, word choice, sentence structure, punctuation, paragraphing—all stylistic choices—should convey the content rather than call attention to themselves. Take Strunk and White’s advice: “The beginner should approach style warily, realizing that it is an expression
Language that Shows Read More »
Great premium is placed on language in our literary culture today. Is it fresh? Is it witty? Does it dazzle? The question I wish reviewers and publishers would ask about language is “Is it true?” We need writers who name the vast diversities of our reality with language that illuminates rather than obscures. Truth, of
Language 2: The Right Word Read More »
I’m a great proponent of the triage method of revising: Take care of the big problems first and gradually work your way down to the details of language. In the abstract, this is a great philosophy. If there’s such a thing as a time-saver, prioritizing like this is it. And generally writers DO pay more
Language 1: Triage Read More »
A critical but usually unspoken component to writing well is the quality of the human being who writes. Is he or she smart? Thoughtful? Curious? Provocative? Original? Has he or she done emotional research to undergird the story? “Living a conscious and reflective life is a prerequisite for writing a memoir of substance,” writes Judith
Life Behind the Writing Read More »
The last thing that we find in making a book is to know what we must put first. –Blaise Pascal Why do new writers assume they must begin writing at the beginning and end at the end? Of course this is a silly question. We read from beginning to end, so this order seems obvious.
Beginnings and Endings Read More »
The structure of a creative work is discovered, not imposed. Consider the architect’s mantra, “Form follows function.” A skyscraper exists because of land limitations, population density, and the nature of business relations; its inherent qualities (its purpose, its limitations) distinguish it from a bungalow or a Carnegie library. Likewise each piece of prose has a
Structure Discovered Read More »