MEMOIRS

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MEMOIRS

• From the book, Writing Today by Richard
  Johnson-Sheehan and Charles Paine

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MEMOIRS

• The words memoir and memory come from the same
  root word. However, good memoirs explore and
  reflect on a central theme or question. They
  invite readers to explore and reflect with the
  narrator to try to unravel the deeper
  significance of the recounted events.

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MEMOIRS

• Introduction Sets the scene
• Description of a complication
• Evaluation of the complication
• Resolution of the complication
• Conclusion What the writer learned

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MEMOIR OVERVIEW

• An engaging title hints at the overall meaning
  or theme.
• An introduction with a lead captures the
  readers interest or sets a scene.
• A complication a tension or conflict that must
  be resolved in some way by the end of the story.
  This tension or conflict can be between peoples
  values, beliefs, desires, or needs. It could be
  a conflict within the author as he or she moves
  from one life stage to another or discovers
  something previously unknown. Or it could be
  something new, challenging, discomforting, or
  frightening.
• A plot draws the reader forward as the memoir
  moves through a series of scenes or stages.
• Intimacy between the narrator and the reader
  allowing the writer to speak with readers in a
  personal on-on-one way.
• Rich and vivid details are not announced or
  answered explicitly, but that the narrator
  explores and reflects on with the reader.

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MEMOIR OVERVIEW

• A central theme or question is rarely announced
  or answered explicitly, but that the narrator
  explores and reflects on with the reader.
• A new understanding or revelation presents a
  moment of growth, transformation, or clarity in
  the writer.

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INVENTING MEMOIRS CONTENT

• Find an interesting topic
• Experiences that were challenging, scary, fun,
  etc.
• Think about times when something important
  happened to you, helping you make a discovery
  about yourself or someone else.
• Think about the times when you felt pain or great
  happiness.
• Possible topics breaking a leg skiing, winning
  a competition, failing algebra class, traveling
  to Mexico, leaving home to go to college, the
  death of a loved one, discovering Aunt Betsy is a
  lesbian, meeting Brad Pitt, experiencing an
  earthquake, not making the cheerleading team, a
  car breakdown in Idaho, running for office.

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ORGANIZING DRAFTING YOUR MEMOIR

• You might have to go through a series of drafts
  in order to discover your theme, and how you want
  to recount events. Think about your tone, and
  dont worry about writing correctly with the
  first draft.
• Set the scene if detail You might just describe
  what happened. The, once you have the basic
  series of events written down, start adding in as
  much detail as you can. Give descriptions of
  people, places, things.
• The People What did your characters do that
  hints at who they are? What did they say? How
  did they behave? What were their blind spots?
  What did they care about, and what were they
  ambivalent about?
• The Scenes What did each scene look like? How
  did it feel or smell? What did you taste or
  hear? What is the history of this placeboth its
  public history and your personal history?
• Dialogue What was said before and after the
  event? Who said what to whom? How did they say
  it? Were they angry? Excited? Thrilled? Scared?

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DESCRIBING THE COMPLICATION

• This is the problem or challenge that your or
  others needed to resolve. Pay attention to
  figuring out how this complication came about and
  why people reacted to it in a particular way.
• The Event What exactly happened? Who did it
  and what did they do? Was the event sudden or
  did it take a long time to develop?
• The Complication What was really at stake here?
  What was the essential conflict or complication
  that caused this story to be something more than
  an everyday event? How did you or the other
  people in the story feel about that tension?
• The Immediate Reaction How did people react to
  the event? What were their emotions? What id
  their reaction look like? Did they do anything
  that they later regretted?

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EVALUATING AND RESOLVING THE COMPLICATION

• After the initial reaction, you should show how
  you and others evaluated and resolved the
  complication. The complication isnt necessarily
  a problem that needs to be fixed. Instead, you
  should show how the people involved tried to make
  sense of the complication, reacted to the change,
  and moved forward.
• The Evaluation What did you and other people
  think was happening? Were there any
  misunderstandings? Did you talk about the
  appropriate ways to respond? Did you or others
  come up with a plan?
• The Resolution What did you decide to do? Were
  you successful in resolving the complication, or
  partially successful? If so, how did you handle
  it? If you werent successful, how did you make
  changes to adjust to the new situation? How did
  other people make adjustments?

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CONCLUDING WITH A POINT

• Your conclusion describes, directly or
  indirectly, not only what your learned but also
  what your reader should have learned from your
  experiences. You should avoid writing a and the
  moral of the story is or a they lived happily
  ever after ending, but you should strive for
  something that feels like the events or people
  reached some kind of closure.
• If you think your point is obvious to readers,
  you can leave the conclusion unstated. In these
  situations, you can give readers a glimpse into
  the future. Or you can provide a final sentence
  or passage that hints at your memoirs meaning.
• Whether your main point/conclusion is stated
  directly or unstated, your readers should come
  away from your memoir with a clear sense of what
  you wanted them to learn from your experience.

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CHOOSING AN APPROPRIATE STYLE

• The style and tone depends on how you want to
  portray yourself as the narrator of the story.
  Choose a style that works for you, your story,
  and your reader. If you want your narrator (you)
  to have a casual attitude, thats the style and
  tone you want to strive for.
• Think of a key word that describes the tone you
  want to set. Put that word in the middle of your
  screen/paper. Now create a concept map around
  that key word. Write down any words that you
  tend to associate with this tone. As you put
  words on these screen, try to come up with more
  words that are associated with these new words.
  Eventually you will fill the screen.
• In the draft look for places where you can use
  these words. If you use them strategically
  throughout your piece, your readers will sense
  the tone or attitude. This will help you develop
  your central theme. Dont overdue the words or
  your tone will be too strong.

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USING DIALOGUE

• Allow the characters to reveal key details about
  themselves through dialogue rather than your
  constant narration. Use dialogue occasionally to
  reveal themes and ideas that are key to
  understanding your piece.
• Use dialogue to further the story Anytime you
  use dialogue, the story should move forward.
  Dialogues between characters are key moments that
  should change the flow of the story in an
  important way.
• Write the way your characters speak People
  often dont speak in proper English, or in full
  thoughts.
• Trim the extra words In real dialogue, people
  often say more than they need to say. You can
  trim out the unnecessary details.
• Identify who is talking The readers should know
  who is talking, so make sure your use dialogue
  tags.
• Be careful not to overuse dialogue.

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REVISING

• Cut out anything that does not advance the story
  or help you develop your characters or message.
• Make it lean, with little or no fat.
• Make your title enticing.
• Craft the perfect lead A compelling lead casts
  your readers into the drama of your memoir and
  makes them lean forward with questions they hope
  your memoir will answer.
• Does it introduce some idea or question that is
  important to the memoirs point?
• Does it focus down to an important image, idea,
  or point?
• Does it set the right tone for the rest of the
  memoir?

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REVISING

• Reevaluate the details and cut the fat.
• Look at every aspect of your piece the
  narrative, the dialogue, the settingtake out
  what is not absolutely necessary.
• Long stories are boring.
• When it comes to storytelling, less if more.
  Provide your readers with just enough detail and
  character development to make them want to keep
  reading.