Review What You Know

Lately writers have gotten two bits of advice on what to write about: write what you know—the old literary standard, and the new, write about those things that you’ve always wanted to know.

 Either piece of advice will put words on a page, but the question is: what kind of words are sticking to that page?

During the February Blog Challenge on my Wordpress blog, Claudy’s Blog, I’ve talked about my family. I haven’t given away the store, by any means. I’ve dived into those strong personal memories that surged to the surface of the memory pool. They were strong in personal meaning, not necessarily in perfect imagery. They were things I’ve known from the past.

Since beginning, I’ve spoken to a couple of family members who remember additional info about specific aspects of those I’ve written about. I learned things that were previously hidden from me. In doing this challenge, I started a process of looking at family about which some was known to me, as well as the people who carry those additional memories.

How to Learn About Memory Carriers?

People store memories in odd ways that even the experts haven’t unraveled completely. Associations made up of emotion, sensory triggers, and/or trauma link aspects of memories within the brain and the mind. Ever wonder why the scent of a favorite baked goodie makes you feel good and think of mom or grandma? What about that sharp pain in your shin? Didn’t that leg get whacked during a Little League game?

Those associate olfactory and pain triggers have kicked in to bring emotion and their accompanying memories to the surface. In fact, many believe the sense of smell triggers the strongest and most accurate memory links.

My theory is that people reveal themselves through what they remember and the sensory triggers that call up those memories as much as through how they behave.

Many writers use this knowledge to build characters that are believable, rounded out, and belong in anyone’s family or town. This ability to reveal a person’s internal truth shows a character’s motivations, personal history, aspirations, what-have-you.

When I talked of my Dad’s lessons in field and forest, I was standing beside him, listening to what I remembered of his words, his tone; watched his gestures and facial expressions. The memory movie ran until I stopped it to move on to another lesson memory.

Like most people, hearing a song on the radio puts me immediately back into the time and place where I heard the song for the first time or into the most personally important event of my life up to that point. Flip the record and I do a similar bit of time travel.

The sound of a particular word or phrase—especially if it’s in dialect—and my world will shift to that place and those whom I’ve known who use that word or phrase in the same manner.

Collecting and Using the Knowledge

Think back to people you know within the family. What do you know about their lives? Isn’t it true that you think you know only what they’ve told you about their earlier lives?

You can broaden your view of them by sifting through your own memories; sort out the conversation or trigger that brought about the telling of your family member’s recollections. When you talked to you grandmother, for instance, as she helped you make your first cookies, didn’t she reminisce about baking like this with one of her loved ones?

Body language exhibits unconscious cues to internal feelings and can’t be totally controlled. Do you recall what her face showed during that retelling of a past event? Was her tone lovingly gentle, filled with suppressed laughter, or tight-lipped with suppressed emotion? Did her eyes sparkle and her hands pause as she stared off into space for a moment, lost to that memory?

All of those tiny cues hold keys to a life lived before you existed. They speak of that person as you’ve never known them. You have only to take note of them and add the information and supposition to your working knowledge of this person who belongs in your family.

Watch a speaker’s body language as carefully as you listen to her words. Together, speech and physical cues can fill out your mental photo of that person. Use that information in ways that help your relationship, create a believable character, and expand family history and your understanding of it.

You can now write about something you know. You can also dive deeper into things unknown for the sake of knowledge about someone in your life. These are examples of what writers do, some of what this writer does, and why all writers need to use what they know and be able dig into what they don’t know.

Until later,

Claudsy

Winter’s Day Reflections

I often wonder if the overcast gloom of a wintry day is the mental trigger for reflections centered on personal failures, mistakes in relationships, and speculations about doing better in the future.

Scientists call extended periods of this mental depressive condition SAD (Seasonal Affective Disorder) and link it to a person’s mental response to the quality of sunlight present within the season pertinent to the individual.

This condition came to my attention back in the eighties when studies in Sweden indicated that higher winter suicide rates were linked to the reduction in overall sunlight. At that time specific light therapies were developed to deal with the thousands of cases of this condition. Later, deficiencies in Vitamin D were suspected to exacerbate the depression.

You may be wondering why this comes up now. It’s because of the blogging challenge that I’m doing over on my Wordpress site. Diving into continual thoughts of family members, happenings, situations, etc. brings plenty of baggage with it. Reliving emotionally charged memories isn’t easy at the best of times.

Memoir writers probably suffer this roller-coaster ride every hour of the day while organizing, drafting, and writing a complete manuscript. When a writer opens that door to the past, she might as well brace herself for the tsunami of all those things tagged with highly conflicted emotions.

Psych therapists call this process “cathartic.” So far, I haven’t found it to be particularly therapeutic.

Certain images continue to bring tears, rage, sadness, or what-have-you. There’s no sense of closure about the event. There’s no feeling of resolution or healing surrounding this mulling over of people in one’s personal history.

Perhaps my problem stems from a fear that if any of that emotion is released to float away on the breeze, nothing will be left behind and all memory of those people, places, experiences will be lost forever, leaving behind only a gaping hole needing to be refilled with something else. Could that be it?

Or, could it be that I’m just too stubborn to give up those bits of myself that taught me, soothed me, made me into who I am today. Do you think that might be it?

Let me ask you. When it’s bright and sunny outside, regardless of season, do you feel more cheerful, perkier, more alive? Do gloomy skies put you in “reflection mode” and if so, would you let go of all those memories irrevocably so that you didn’t have to relive them periodically?

Leave your reply, comment, perspective here. Tell me how you deal with winter blues. Until later,

Claudsy

Saving Purpose for Later

For those who don’t belong to BlogHer with its millions of women bloggers and writers, take the time to investigate the network, or risk always wondering what you’ve missed.

Me? I’m taking the NaBloPoMo challenge for the month of February. Facebook followers probably already know that. This month’s challenge is themed “Relative,” encouraging all of us to blog each day about some member of our families. It’s an opportunity to blog about those well-loved, others dismissed, those who confuse, or whatever family member that strikes the writer’s fancy on that day.

Considering my perverse nature, I began at the end of my definition of family and am working my way forward to those who comprise my nuclear family.

This challenge is allowing me to take a good look at people that I’ve not brought to the foreground in a long time. It’s also giving me all sorts of ideas for stories, articles, and poems.

Through this exercise I realized not just how energizing memory fishing with such a purpose can be for me, but also how well it generates its own kind of creativity. Bits and pieces of long-buried memory float to the surface: nothing major, sometimes only a face, a voice, or an image of someone’s hands. Still, that’s enough to trigger another idea, a vision to be fleshed out later.

This exercise--this blog challenge--has become a creative tool for me, to serve up a purpose for later as a kind of dessert at my writer’s dining table.

First, I get to review all of those I’ve considered members of my family. I get to observe, at a distance, who these people were when I first knew them. I’m encouraged by my inner voice to compare that to who they are now in my life. I get to remember those who’ve left this world and how they were connected to me during their lives.

And, secondly, this mental review of people and animals creates a gallery of characters in a kind of mix and match way to provide all that I need for the rest of my years of writing, whether poetry or stories, if I so choose.

Do you realize how much power that is, how much material? Does any writer know this until the day arrives when the family memories are sifted for a purpose outside the writer’s own daydreams? I wonder.

As in so many other ways, we take our families for granted, I think, regarding how much writing material they provide simply by hanging out inside our heads. Now that I realize the extent of their contribution, I’m going to keep visiting that gallery to find more portraits to bring out into the light and show others.

Have you visited your family gallery lately? Have you done character studies on all of them for those masterpieces of prose and verse that wait to be penned? It’s never too late to start. Just look at how long I took. Don’t put it off. There’s a prize winner in there somewhere. 

If you don’t believe, ask the writers of memoir. They know.

Until later,

Claudsy

Making the Most of Memories

Memoir is making a comeback as most editors can tell you. It isn’t just the big publishers who’re trolling for good pages of memories. Magazines are just as interested in finding passages from one person’s memories that will resonate in another person’s mind.

Literary magazines seek memoir in a variety of genres. Everything from a boy’s first soapbox race experience to a girl’s first brush with love fascinates readers when delivered with finesse, humor and/or poignancy. Editors know this and sit on the river bank of possibility, fishing for the perfect submission to float by, ready to be reeled in.

Plucking the perfect memory to expand into an essay can happen quickly. You only have to hear someone tell about a recent event or see a commercial on television. A similar memory flashes through your mind that is vivid, exciting, and filled with details to entice a listener. Within an eye blink you’re inside that memory, breathing in the sensations that riveted you back then.

If you believe that others have had similar experiences or that they have felt as you did, you have the makings for a memoir subject. The trick is finding its length of memory strength and subject direction.

Memory and Subject Usage

Just because you have decided on the memory doesn’t mean that the heavy work is done. Once a specific recollection is chosen, what aspect of it are you going to use for your essay or story?

This choice can make or break the impact of the finished work. Everything else hinges on this choice. If you have a specific market in mind to approach, the subject will have to be something they will appeal to that market.

If your memory concerns how long it took you to choose your wedding gown from all the available dresses at the local shop, it wouldn’t appeal to a magazine which specializes in disabilities. If, on the other hand, it reveals your wedding dress selection as based on the fact that you happened to be on crutches due to a recent injury, that disabilities magazine might leap on such an unusual slant to the question of disability and everyday life.

You could take that same memory and use it for a memoir piece from a sports slant, especially if said injury came on the ski slopes. In this one, you don’t have to mention the dress selection, but rather, concentrate on the injury and the mental upheaval that occurred when facing your wedding on crutches. It could end with admiration for those who function each day knowing that the inconvenience of crutches is a permanent thing.

In the end, whichever richly detailed memory is chosen, the subject for a memoir drawn from it can vary in emphasis and direction. Much depends on what use you wish to make of it and the medium you’ve selected to receive your manuscript.

Length of Memory Strength

This expression denotes the strength of memory being relived coupled with the calculated length of written piece sparked by this memory.

Here’s an example.

A memory of swimming with friends at the local creek sparks many memories that can tie into it. There is a memory of having dear old Dad through you into the deeper water to “teach you to swim” and how your terror kept you from taking to the water for another ten years. That memory ties to one with your first “official” swim instructor and the crush you had on him until you learned that he only liked redheads.

This line of memory (and we all have ones like it) creates a timeline for either an article or a story. For an article, the writer can flesh out each strong mental impression and create a piece on the consequences of mile-marker events in a person’s life. On the other hand, the article could revolve around only the fear-driven experience and the scars that ensued, or how the father’s action changed the relationship between child and parent. The permutations are endless, depending on how many memories were sparked and their quality or importance.

Once the decision is made regarding how the memory is going to be used, the critical factor is how long the article or story will run. Consider it the petal vs. blossom question. It could run very short (under 400-600 words) as a personal experience piece for a children’s magazine. It could go between 1500-2000 words for a popular magazine as personal experience, as well. Two thousand to 5000 words could take the memoir to literary magazines that are looking for more detail, critical thinking, and expertise.

Standing above the rest is the book-length manuscript. Many book publishers are looking for well-written memoirs of varying types for their lines. Some want manuscripts from celebrities or public figures. Others snag those from people who know people (the starlet’s personal assistant, for instance.) Still others will consider superbly written manuscripts from the ordinary man or woman.

Some of the time humor is selected over other considerations. Geographical or historical relevance can also help trigger interest from publishers. Every book deal has its own deciding factors.

One Way for Making Memoir Work

My writing for the next year or so will utilize huge amounts of travel memory and its central role in articles. After so many months on the road, I have more material than I can ever use on just about every subject imaginable.

Much of it I’ll use for literary. There are tons of bits for children’s magazines. Still more can go to trade magazines and travel markets.

The book, at least for now, will center on the changes that took place within Sister Jo and me as a result of the places we visited and what we experienced. That subject has distinctly personal reverberations. As well, the manner in which we chose to approach the project makes it more unique. Once that one’s finished, we can discuss others with different slants.

 We have a few more days to explore before settling down again. I hope your memoirs are as rich as ours. It’s never too early to begin thinking about the past and how it can be used.

Until later,

Claudsy

Memoir--We All Do It

In Lee Gutkind’s book, “Keep It Real,” he discusses the many aspects of creative non-fiction. (For those who don’t know, Lee Gutkind is the founder and editor of Creative Non-Fiction, the journal.) In one section he talks about The Memoir Craze.

The section isn’t long as descriptions go, but it has everything one needs to consider when thinking of writing any piece of memoir. Of course, the reason for that is because he’s so thoroughly covered the other aspects of the technical considerations of writing non-fiction—creative or otherwise.

One of the best, and for me most telling paragraphs, says this of memoir…

“When you look at our tendency these days to interface with technology rather than one another, perhaps the surprise is not that memoirs are flourishing but that anyone questions the trend. Neuropsychologists are discovering that the impulse for story is likely hard-wired into our brains. The less we talk to one another, the more our personal  narratives—our confessions, our dark sides, our recitations of the things we do in secret—with seek other ways to emerge, finding voice in the genre of memory.”

Reading this paragraph begs any storyteller to delve back into personal memory just to prove the assumption of brain hard-wiring as it pertains to them. The question arises as to how long the writer has personally lived inside a storyline that pleads to be told to someone else. The storyteller also learns that the affliction of ever-present swirling plot ideas and character profiles is something to be endured whether they make it to print or not.

For bloggers, professional or not, the memoir is a mainstay of posting something for whoever drops by to read it. Trolling for new opportunities to learn about a person nets the surfer a load of disparate choices.

When people socialize face-to-face, they discuss the day’s events, philosophy, experiences, etc. Much of that interaction is pure memoir. Humans emphasize their political views by sharing memories. They use personal experience to declare their life’s philosophies and attitudes. All of a personal’s experiential history gets filtered in micro-seconds for the perfect—or not-so perfect—example to wedge into conversation.

If you listen to children when they’re “talking things over,” they often refer back to past experience to make their points. Do they learn that technique by modeling their parents, or do they come by it naturally? According to Gutkind’s book, experts believe it’s a natural tendency.

The cliché example of the memoir storyteller involves the hunter/fisherman. Fishermen gathered around any stationary object, such as dining table or campfire, use memoir use discourse for opinion pieces on everything from travel recommendations and “factual” reporting of fish population conditions to forecasting conditions five years hence.

Hunters talk about game population conditions, both physiological and habitat, and go on to a complete consumer report on ammunition and arms power. The gamut of subject matter also includes family related information about preparations to marital relations. Personal history and future aspirations are all brought out and aired before the council of game experts gathered for the purpose.

Let’s face it. Humans can’t go one day without referring to one memory or another. We use time-line reference for everything from clock time to calendar time. We rear our children based on memory, work according to past experiences with the activity and expectations, and even worship as we’ve learned to do so.

The very act of learning requires that memory be used each and every minute of the day. Otherwise, each moment would be as fresh and new as the one that came before it. We wouldn’t be able to learn at all.

What astounds me is that it’s taken neuropsychologists so long to come to their conclusion. Every writer knows that without memory there is no story. The writer, whether working in non-fiction or fiction, recognizes the invaluable benefit of memory and memoir to the written word.

It’s not every day that experts validate the truth of what writers take for granted. And Gutkind was gracious enough to put that nugget of official validation out into the world for us all to see. For that, and ever so much more, I applaud him.

Anyone who would like to know what other gems of insight Lee sprinkles into literature should drop by his website: www.creativenonfiction.org/ You’ll find more than you thought possible in that compact website. Creative Non-Fiction journal is also a must for the non-fiction specialist or dabbler.

On that note, I’ll leave you for today. Have a great week, whatever your activity.

Until later,

Claudsy