“I just added a little bit of fiction to move the story along,” you say, to explain a memoir shortcut you have just taken, joining the ranks of such pseudo memoirist as James Frey in A Million Pieces?
Or, perhaps the ranks of Frank McCourt who fictionalized long dialogs in Angela’s Ashes. (No one remembers as much dialog as he tries to tell us he does years later from when he was six.)
Shouldn’t writing another person’s memoir be called writing biography rather than writing memoir? You the writer are, after all, not the subject. Doesn’t that make it a biography?
But, are there occasions when a biography can justly be called a memoir?
In one of my books, A Sugary Frosting / Life in a 1960s Parsonage, I used lifestories that my late wife Martha Blowen had composed—and to which I added text. And…
I called the finished book a memoir.
Was this appropriate?
When telling the truth, how much of what happened do you have to tell? At what point does withholding the truth become a lie? For instance, in all her famous diaries, as Anais Nin celebrated the freedoms of her life as an artist, she never once mentioned that she was bankrolled by a husband. True, she could not mention his name or details of his life because he had refused her legal permission to do so in print. But wouldn’t the truth have been better served if she had mentioned the working husband who paid her bills and made her artistic life free of financial constraints possible?
In that sense, her diaries have always seemed to me to contain a fundamental lie and avoided telling the truth. Nin clearly wanted her readers to believe that she lived independently as a woman and a writer. The fact of her husband’s support makes it evident that the self-sufficient persona she projected was wishful thinking. How much truth to tell is always a subjective decision that can be made only in the context of the writer’s life and family. The following are considerations to keep in mind as you decide how to solve telling the truth.
Without other people, our lives and our memoirs risk becoming dull. Although ideas are pivotal for many individuals, relationships are even more commanding. We are intrigued with who other people are and how they function. “Who’s that? What are they doing? Where did they come from?” These are question we want answered. To write a strong story, capitalize on this interest.
The people in your memoir are your characters. It is your job to bring vivid characters to the attention of your readers. To do so, use descriptive writing to present believable characters.
Many people mistakenly believe that characters in a story have to be well-known to be interesting. When they write their stories, they search their pasts for when they might have crossed paths with the famous. Consequently they write about when they were in the same elevator with some luminary back in 1978. This is not necessarily something that will make your story interesting. A representation of a vivid character is more likely to entice your reader.
Ever wish you had the secret of generating a fast way to fast start writing your memoir—or most any other book?
A proven way to start writing is to follow a set of steps that will help you get into the writing habit. When I wrote and published A Sugary Frosting / A Memoir Of A Girlhood Spent in a Parsonage, I appreciated the efficiency and effectiveness of my writing process all the more. A Sugary Frosting is the story of the first 20 years of my deceased wife’s life. She had written a number of her stories but died before completing a memoir. When I took up the task, I followed what I consider to be “best practices” of memoir writing.
Below I offer them to you to help you get a fast start and to write more prolifically—and even bring it to a finish in the form of a published memoir.
Here are my nine “best practices” for memoir writing. They are tried and true and bear implementing today.
“I don’t quite know how to describe what I’m feeling,” you might say during your writing as you grope for a way to describe in words this emotion that is beyond words. There is a solution to this dilemma that writers often resort to—but too many writers are sure they can’t handle it. The solution? It is the use of images, specifically similes and metaphors. These will bring your text to a level beyond words.
Not sure how to handle these literary techniques? Not to worry. The following article explains much. You will read examples of similes and metaphors and learn the difference between similes and metaphors.
When you say, “Life is like a merry-go-round”, you are making an image we call a simile—even if it’s not a terribly original one. It’s a simile, too, if you write, “I’m busy as a bee.” In a simile, because of the use of like and as, it is clear that the writer is making a comparison. Here is an example of a simile:
My love is like the red, red rose/That’s newly sprung in June, /My love is like the melody/That’s sweetly played in tune. —Robert Burns
To view this post as a YouTube video, click here.
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People will sometimes suppose that only big drama can make an interesting memoir. Of course, there are many readers who require constant titillation if they are to remain reading. Perhaps they are not the readers you should be seeking for your memoir. Nonetheless, nearly all readers require some attention to “interesting.”
No, I do not believe that it is the scope of the drama of your memoir that is the crucial element to creating interest. Some would-be memoir-writers get discouraged by the ordinariness of their lives. Yet, I have found that almost everyone I have had a serious conversation with about memoir writing had enough happen in their lives to fashion an interesting memoir.
Much more important than the inherent drama of an action is the dramatic development of your story.
DL: This post was published in 2022. French Boy/A 1950s Franco-American Childhood has been out in the world for two years. In 2025, I am about to publish Here To Stay/Life in 17th Century Canada. The same introversion/extraversion struggle is about to play itself out again.
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I am committed to independent publishing—even if self-publishing, I know as an introvert, means extroversion . Ever since I realized two things, this has been my mode of publication.
“I just added a little bit of fiction to move the story along,” you say, to explain a memoir shortcut you have just taken, joining the ranks of such pseudo memoirist as James Frey in A Million Pieces? Or, perhaps the ranks of Frank McCourt who fictionalized long dialogs in Angela’s Ashes. (No one remembers […]
Shouldn’t writing another person’s memoir be called writing biography rather than writing memoir? You the writer are, after all, not the subject. Doesn’t that make it a biography? But, are there occasions when a biography can justly be called a memoir? In one of my books, A Sugary Frosting / Life in a 1960s Parsonage, […]
My new memoir, French Boy (due out in the summer of 2023), is about my childhood. Much about this time in my life has a context that is unique and consequently different from that of my contemporaries. This memoir has a place in the world of memoirs, and I want it to find that place, […]
Telling the truth is not always easy. How much of what happened do you have to tell in order to tell the truth? At what point does withholding the truth become a lie? For instance, in all her famous diaries, as Anais Nin celebrated the freedoms of her life as an artist, she never once […]
Without other people, our lives and our memoirs risk becoming dull. Although ideas are pivotal for many individuals, relationships are even more commanding. We are intrigued with who other people are and how they function. “Who’s that? What are they doing? Where did they come from?” These are question we want answered. To write a […]
To help you to get a fast start writing and to write your memoirs more prolifically–and even bring them to a finish in the form of a published memoir–I offer these nine suggestions. They are tried and true tips that bear repeating and repeating. (more…)
Don’t be afraid of similes and metaphors. “I don’t quite know how to describe what I’m feeling,” you might say during your writing as you grope for a way to describe in words this emotion that is beyond words. (more…)
To view this post as a YouTube video, click here. — People will sometimes suppose that only big drama can make an interesting memoir. Of course, there are many readers who require constant titillation if they are to remain reading. Perhaps they are not the readers you should be seeking for your memoir. Nonetheless, nearly […]
DL: This post was published in 2022. French Boy/A 1950s Franco-American Childhood has been out in the world for two years. In 2025, I am about to publish Here To Stay/Life in 17th Century Canada. The same introversion/extraversion struggle is about to play itself out again. ___ I am committed to independent publishing—even if self-publishing, […]