Documentary Memoir

When I first began writing lifestories and teaching workshops to help others do the same, my emphasis was on preserving family memories and creating a legacy of personal and family history for future generations. That picture gradually enlarged to include documenting your way of life in what will soon be times gone by.

In spite of a growing emphasis on transformational, healing and confessional memoir, historical documentation still serves a valid and important purpose, one that should not get lost in the scramble to bare more psychological skin. Well-written documentary memoir can be both fascinating and thrilling.

British author Ian Mathie is remarkably skilled at this. I read each of his four  engrossing volumes of memoir straight through. I was unable to tear my eyes from the page as I read about his experiences during the 1970s in various parts of northern Africa where he worked as a water engineer for an unspecified British Foreign Service agency. Rather than commuting from cities, he preferred to live in remote villages among the people while teaching them to dig reliable wells with natural filtering systems to provide a sustainable, safe water supply. He began schools with native teachers to spread these skills to other areas.

At times he was in the jungle. Other times he was in one desert or another, and occasionally he did live in cities. He encountered witch doctors, tribal chiefs, and ordinary villagers. He was invited to dinner by four different presidents, including Mobutu. He drove all over in Land Rovers, rode trains and camels, and often relied on his small Cessna. He was a genius at working the system.

But these are not books about “The Further Adventures of Ian Mathie.” Despite the fact that his life was indeed filled with constant adventure, the emphasis in his stories is on the people he encountered, the people he came to care so deeply for, his friends for life — which unfortunately wasn't long. Most of those people and cultures were victims of one revolution or another.

The books document lifestyles of people who had highly evolved cultures, ideally adapted to an environment which was already endangered when he lived among them. My understanding and respect for the wisdom of prewestern, native cultures soared, and I expect enthralled anthropology students will be citing Mathie’s accounts in piles of research papers for decades.

Few of us have stories as inherently exotic and powerful as Mathie’s, but even ordinary life can be described in compelling ways and may seem exotic to your offspring  in fifty or one hundred years. Imagine how fascinating it would be to read the details of your great-great-grandparents’ lives more than 100 years ago. Even if all mine did was haul in the harvest and milk the cows, I’d love to know how they went about it.

Each of Mathie’s volumes has a different structure, so each has a lesson to teach on how to write as a bonus beyond the amazing content. All four of his volumes are available in print on Amazon. The first, Bride Price, is now also available in all eBook formats as well as text documents on Smashwords, and the other titles will soon follow.

Write now: write a description of your day today (or a recent one of your choosing). Rather than simply listing things calendar style, describe how you did them. Pretend you are writing for someone from 200 years ago and explain what a dishwasher is and how it works. What sort of blankets are on your bed. What does your house look like? What did you do at work if you went there? Fill them in, and tell how you felt about each activity. You may find your days are more interesting than you’d realized!

Breathe Life Into Stories

Your story seems flat. You knew that even before writing group members confirmed your suspicion. You’ve been working on descriptions. You’ve double-checked details to be sure give readers have a clear picture of the situation.

You’ve scattered plenty of sensory description through your story, without clumping it or making it sound like you used a checklist. It still seems flat and shallow. How can you make it pop off the page? What magic will breathe life into it and connect with readers?

A clue to a solution lies in this excerpt from a scene in Dinty Moore’s memoir, The Accidental Buddhist, where Moore is being exposed to the ancient art of meditation in a Buddhist monastery:

… I turn out to have a particularly unrelenting monkey. He not only swings from tree to tree, he rips off big green leaves and chatters at the top of his monkey lungs, an angry baboon somehow set loose in an espresso bar.

Zen students will immediately recognize this monkey as a metaphor for the state of Moore’s mind. That metaphor brings mental chaos into focus as something tangible, something we can see and hear, and at least imagine touching and smelling.

Moore’s static image of  sitting zazen on a zafu* snaps to life with this metaphor. I hope he will forgive me for taking the liberty of publicly imagining how he might have initially written the thought in that paragraph:

… I have a terrible case of monkey mind. I can’t stay focused on anything for longer than a second….

That simple statement would suffice to describe the situation, but it leaves me yawning and my monkey mind swings into another tree, maybe to find coconuts to lob at his. In the completed version, his napkin sketch image has become a mind movie with depth and dimension as the monkey swings from tree to tree, rips leaves and chatters.

Some simpler examples:

Her eyes were lively.	Her eyes sparkled.
The scene was picturesque.	Hundred-foot oaks and maples stood guard behind the cabin, wildflowers dotted the meadow, and …
The scent of wild roses was in the air.	Wild roses wafted scent through the air.

The first two examples above use a form of “to be” to link to an adjective describing the subject. In the third example, “in the air” is an participial phrase that tells where the scent was. Don’t worry about remembering that term. The important thing is that functionally the phrase gives additional information about the subject without imparting any sense of vitality.

Using a “be” verb this way is grammatically correct and adds variety in sentence structure, but this wording has a calming effect. Switching to an active verb, as the second column shows, is one of the many ways to liven up your language.

Keep an eye out for was, were, and related forms that link to subject modifiers, and replace them with stronger verbs and additional details when appropriate.

Write now: Review a story you wrote and underline each place you use a verb that links to an adjective or other subject modifier. Circle each active linking verb (smells, feels, proves …). Rewrite the other sentences to include some motion or sense of action.

*Standard usage puts foreign words in italics. Adding the English translation immediately after the italicized term is optional. Whichever form you choose, be consistent throughout your story.

Writerly Resolutions for 2013

Writers benefit from New Year Resolutions as much or more than anyone. I realize we are already four days into the year, and for many, thoughts of resolutions last about as long as ice cubes in New Year’s Eve drinks.

But it's not too late. Durable, productive resolutions take time to craft. Besides, you need to do more than write two or five words about an outcome. You need to use your writerly skills to flesh out that description. Tell yourself or the world what it will look like, taste like, feel like (both tactile feel and emotional), and so forth. Then draft at least a rudimentary plan of getting from here to there, so you can track your progress.

I have two goals I’ll mention here. One is relatively new. In November I featured a guest post by Elizabeth Kim, who wrote about her experience publishing two Kindle Short eBooks, Dancing In the Rain and What My Mother Didn’t Know. Each of her books is what I refer to as a story album. Each is comprised of six or seven poignant and touching short stories that focus on a common theme.

This was not a new idea to me – I include instructions for compiling story albums in The Heart and Craft of Lifestory Writing – but I have not, to date, published one of my own. Now that it’s become easy to do this in eBook format, it’s time to get the show on the road. I already had four stories about my adventures as a chilihead (someone addicted to the endorphin rush that follows hot chili intake and considers a day without chili rather like a day without sunshine). I have resolved to finish three more and publish this eBook story album by … April?

Process: finish drafting one story, then draft the other two on the list. Edit all three. Compile all seven stories into a single document, format, upload to Kindle and Smashwords. Celebrate.

I’d be more specific about dates, but my second goal may nudge this one aside. I have firmly resolved that this is the year I will finally finish the book on sensory description that I began a couple of years ago. Delays have made the content richer, and now it’s time to finish it and send it out to the world.

Surely you’re curious about this second project. I hope so! I’m working on finalizing the content, and will be announcing the title shortly with the advent of a Facebook page for it. You’ll be hearing more about it here, and I’ll be having book-related events. Stay tuned for details and excerpts! Subscribe to the blog if you haven’t already so you won’t  miss a post about it.

Write Now: Set at least one writerly goal you want to accomplish by the end of 2013. This may be a goal to write twelve stories, one a month. It might be to finish the draft of a memoir. It might be to journal at least five times a week through the year, or complete a story album of two dozen stories. Whatever it is, be sure you do believe you can complete it. Then write a description of the completed project, as discussed above, and create a simple outline of steps to get from here to there.

Ditch the Dummy Subjects

It was a dark and stormy night. That sentence surely takes the prize as the most clichéd and often cited example of bad writing. Do you know the reason? It lies in the first two words, “it was”. This construction and its variants are ubiquitous in our speech and much of our writing. For example,

It’s snowing hard as I write this post. There are several people sitting near me who look worried. It’ll be hard to get up the slippery driveway when I get home if this continues.

In sentences like the ones above, “it” and “there” are dummy pronouns because they refer to nothing specific, thus functioning as dummy subjects. Simply put, they are a form of passive voice, which generally weakens your sentence and slows the story.

The fix is simple. Reword your sentence to ditch the dummy subject. For example, here’s a possible revision of that initial dark and stormy night intro:

The heavy scent of rain filled my lungs, and my scalp tingled with anxiety as I peered through the window. Nearly constant lightning showed trees bowing like ballerinas before the gale. I imagined the gods bowling up above, and the stakes were high.

Moving on to the next example:

I look up from my keyboard and see snowflakes the size of nickels rapidly coating the ground. Worry etches the faces of people peering out the window at nearby tables. A woman at the next table looks my way. “Wow, I dread the trip home on these roads, and my uphill drive is going to be impossible if this keeps up,” I say. “How far do you have to go?”

These revisions switch from telling to showing. They add sensory detail to pull readers into the scene and create connection.

Don’t worry about simple dummy subjects as you write your initial draft. They are easy to spot and easy to toss, so think of them as  your friends, giving you a springboard for going on to greatness. Use your imagination to flesh out the thoughts and add life to those dummy subject.

As with much writing advice, there is an exception to this rule has an exception for dialogue. Real people use dummy subjects and other grammar shortcuts all the time in casual conversation. Sanitizing these elements out off written conversation will result in stiff, plastic-sounding characters, so let them keep the occasional “there are” or “It is.”

Write now: Read through a story you’ve written, keeping an eye open for dummy subjects, then edit them out. Then read a published story by an acclaimed writer and reverse this process. See how many sentences you can deconstruct, adding dummy subjects. Analyze the effect.

Challenge yourself to write at least twenty pages without using a single dummy subject, other than in dialogue. Then, if you feel their absence has ruined your writer’s voice, of course you can add a few back in, but you’ll do so with the power of purpose and awareness, not because you don’t know better.

Entering the Next Age

A few hours ago the Mayan calendar reset. We are officially in a new “age”, at least according to the Mayans.

Nobody I know was surprised to wake up this morning to find the world unchanged in any discernible way. I heard reports that some were stockpiling Doomsday kits of food and survival gear, just as they did for Y2K thirteen years ago, but this event has had far less hoopla in the media or public attention.

I’ve been contemplating its possible significance for at least four years, never expecting anything dramatic to happen, but watching trends and listening to thought leaders who point out that change has become dramatic and global since about the end of World War II. They also point out, for whatever it may be worth, that the Women’s Movement has occurred in waves of about forty years from the first Suffragette efforts, to the Consciousness Raising of the 60s and 70s to now.

These gurus opine that the trends they discuss have brought us to a tipping point where change must and will occur. They express no doubt that this change will be positive, escalating mankind to new levels of awareness and collaboration, but they don’t promise it will come about smoothly, without a certain degree of pain and suffering in the interim.

Their intriguing theories boil down to one thing: Stories are changing. Stories shape collective awareness, collective perceptions and judgments. On one level, our individual stories have become so fragmented that at least in the USA, even those who claim strong allegiance to ethnic, religious, professional or other groups tend to feel isolated within those groups.

On the other hand, collective stories about things like political correctness, individual rights, and such things abound. The challenge is that we have numerous collective stories at work that compete with each other. Which is right, my story or yours?

Anyone writing life stories and memoir is well aware of perceptual and conceptual differences on a small scale, for example within families. It’s only a matter of degree to see it on the level of an entire society, even globally.

How does collective Story change? Just as personal stories are an accumulation of memories and scenes that may change as we explore, question and examine them, scenes that may be linked together in an infinite variety of ways, collective Story is a compilation of individual stories. Thus collective Story evolves as personal ones do.

My part in bringing about the change I hope to see in global Story is to continue writing and revising my own story, seeking ever increasing transformation from fear, resentment and worry to one of loving acceptance, peace, and gratitude.

While this may seem a small, perhaps insignificant contribution, reports continue to pour from the media indicating that “writing peace” into our lives is a skyrocketing trend. I’m part of this trend, part of what Jerry Waxler calls “The Memoir Revolution.” Watch for his forthcoming book on this topic.

In prophesies about the turn of this age, the ancient Mayans never predicted Doomsday. They pointed to this pivotal point as a time of decision for mankind. Depending on our decisions, we may plunge into chaos and possible annihilation, or we may shift into that promised age of universal peace and prosperity.

That decision rests on the stories underlying decisions at every level. My story and yours can help spread healing and peace or perpetuate violence. My hope is that you will join me and keep working on your contribution as we transform to a new Story of love and peace, worldwide.

Write now: write a story about change in your life. For example, has your thinking changed over time about volatile topics like same sex marriage or gun control? How has your understanding of your own relationships changed? Be brave. Be brutally honest with yourself and burn your writing if you don’t want anyone to read it. And be open to new ways of looking at what you find.

Unimaginable Story

“A gunman went into an elementary school and killed 18 children and 9 adults!” My husband’s voice cracked as he told me this, and I looked up to see his face contorting.

It took a minute or two for the full implication of what he had told me to sink in. I immediately grabbed my laptop – I wanted to know the story, right that minute! It took only two clicks to find it. The more I read, the more stricken I felt.

“Students were told to close their eyes by police as they were led from the building.” I read. The story went on to say that children were led out in a line, with each child placing a hand on the shoulder of the one ahead.

I had to stop and catch my breath. How can we possibly fathom or make sense of such unimaginable horror? That someone could be so deranged, so tormented, that he could gun down children at their desks?

I want to know the story. All of it. Why did this person do this? How did he come to this state? What were the children thinking as this occurred, and how will their families handle the situation to keep it from scarring these kids for life? How will the community cope and heal?

Some of the back story, especially about the perpetrator, will fill the pages of papers and the web for some time to come. Much of the story I want to know is written on the pages of the future just now, but I hunger to know.

What more powerful example that Story is the operating system of the human brain? Story is the way we make sense of life and all that transpires. I’m writing my thoughts and reaction to this event in my journal, and writing this post about it as part of my attempt to come to grips with it. Will this click it into perspective right away? Probably not, but I feel better for trying, and my awareness of the ubiquity of Story is sharpened to a finer edge.

Right now this story stands on its own, but as time passes and I think about it more, I fully expect that it will link with other stories I remember, stories about school, about guns and violence, grief, tragedy and loss. Seeking more about this story helps me feel connection with that community and the people involved. Hopefully the story will ignite compassion in hearts all around the world, not just for the victims’ families, and those traumatized by today’s event’s, but also for the tormented soul who was driven to this abominable act. Story explains. Story sows seeds of healing.

Write now: pull out paper and pen – or use a keyboard – and do some freewriting about this incident and your thoughts about it. How does it affect you? How do you feel about it? What does it mean to you? How does it change your point of view about anything? Does it remind you of anything? If it does, write a story about that.

Image: “Maternal Grief”, sculpture by Carl Johan Eldh. Exhibit in the Ny Carlsberg Glyptotek, Dantes Plads 7, Copenhagen, Denmark

Purple Crayon People

Who doesn’t appreciate people who come along with a purple crayon and draw a door in the wall you’ve been beating your head against? Or points out the image you hadn’t noticed in the clouds overhead? Mentors wield purple crayons for us as they help us stretch and grow and see the world in fresh, new ways, and that’s especially valuable to writers.

Kathleen Pooler celebrated her third blogaversary with a post on The Magic of Mentors. The post includes a short video in which she interviews three of her own mentors, and I’m honored to be included, along with Linda Joy Myers and Jerry Waxler. Kathleen’s post includes a transcript of the highlights of the video.

One of the points I made in the interview is that many of the mentors who have had the most profound influence on the way I view the world and the way I write are people I’ve met only between the covers of an endless parade of books. I’d like to celebrate a few recent finds:

Angela Ackerman and Becca Puglisi take top billing with their amazing volume, The  Emotion Thesaurus: A Writer’s Guide to Character Expression. These brilliant women convincingly demonstrate that emotions play a crucial role in moving a story along and fleshing out characters. After covering basic concepts and tools, they explore 75 leading emotions in exhaustive detail, explaining how people experiencing each one looks, feels, behaves, moves, and more. Even if you never write a word, this book will increase your awareness of emotion in yourself and others.

 Lisa Cron lights my brain with findings in her recent volume, Wired for Story: the Writer’s Guide to Using Neuroscience to Hook Readers from the Very First Sentence. Although Cron cites second party reports more often than technical ones, her findings seem intuitively obvious, reinforcing the importance of Story as the operating system of the human brain. Even without the neuroscience label, her thoughts on story structure ring true and inspire a few reaches and edits.

In Vex, Hex, Smash, Smooch: Let Verbs Power Your Writing, Constance Hale does for verbs what Ackerman and Puglisi do for emotions. You don’t have to be a writer to appreciate this book. Hale includes a linguistic survey of the history of language and how English in the USA came to its present form. You don’t need to read this book in order, or all at once to enjoy its benefits. You don’t need to read all of it. Skip the academic portions if they seem ponderous and stick with the milk of her simpler explanations and exercises.

Roger Rosenblatt is my latest mentor, and he covers two bases in Unless It Moves the Human Heart: The Craft and Art of Writing. In this remarkable volume he uses the memoir form to take readers inside his mind as he teaches an class (actually a composite from his experience), pointing out to the class what makes a story vital and compelling. As both a writer and a teacher myself, I derived double benefit from the book.

Perhaps most interesting is the fact that although Rosenblatt’s writing in the first chapter is definitely substandard (what are “French eyes?”), the value of subsequent material redeemed the weak beginning, and reviews show that at least some readers are willing to make allowances. Still, the fact that the intro wasn’t smoothed out makes me wonder if perhaps HarperCollins can no longer afford editors and shows that even renowned veteran writers need them.

I’ve often pointed out that reading the work of other writers can make your own stronger. While it’s important to read memoir and novels, it’s doubly valuable to include inspiring instruction such as that provided by these gifted and insightful mentors-in-print who wield mighty purple crayons and show you how to use your own.

Write now: leave a comment to tell us about one or more of your favorite mentors-in-print. This doesn’t have to be an instructional book such as ones above. I could have included Janet Fitch’s remarkable novel, White Oleander. Fitch continues to serves an an inspiration and example of remarkable writing for both voice and structure.