By Jerry Waxler
I recently reviewed Bill Strickland’s memoir Ten Points. It strikes me as being a “perfect memoir” – it’s a great read, it has a powerful sense of love and redemption, and the author opens up generously into his inner process. In order to delve even deeper, I asked him answer a few questions. Just as he was generous in his memoir, he was also generous in sharing his insights about writing it. This is the first of a two part interview.
(To read my review of the memoir, click here.)
Jerry: When did you realize you were going to write your life experience in a memoir?
Bill: As I started training for that season, I was taking notes and writing about the races, because that’s generally what I do ? try to make sense of my life by writing about it. But at that time, the writing was strictly for me. One of my training friends, Jeremy, who makes a few appearances in the book, rode many early 5 a.m. morning rides with me, during which we talked and talked, as cyclists do to fill the miles. He was a book editor (now an agent) and he kept telling me, “You have a book. This is a book. Write this book.” But I kept hesitating, because Jeremy, along with everyone else, didn’t know the full story. He only knew what I’d told everyone: That I was trying to score ten points to show my five-year-old daughter, Natalie, that any of could achieve something impossible, and to show her that we should ask much, and expect much, of those we love. Jeremy, like other people, that I’d had a tough life; I’d never been shy about spinning yarns about my white-trash family, turning us into comic-heroic misfits.
I didn’t tell anyone though, in detail, about the horrors of my life and what I really hoped to accomplish by scoring ten points ? destroying the monster I believed lived in me. I knew if I wrote a book, it would only be if I told the full, true story.
As the season wore on, and I wrote more, some of the stories of my past began to lay over the stories of the bike races in ways that seemed natural. And the act of racing itself, the suffering and the survival and the triumph and tragedies, was like opening a pipeline to my childhood. After the racing season was over and I’d had that final epiphany about shame, telling the story was not only okay to me, but almost mandatory.
Jerry: How long did it take you from the time you started to the time you finished writing?
Bill: From the end of the racing season through the rest of 2004, from October to Dececember, I kept writing scenes and what felt like chapters. At my agent’s urging, in 2005 I began working on a proposal, and we submitted a 50-page proposal that spring. It had a long chapter that also worked as a kind of introduction; a summary; and a summary of every chapter I’d planned.
Hyperion bought the book in the spring 2005 and I began writing for a May 2006 deadline. I mostly hit that deadline, with an 80,000-word manuscrpt. My editor, Leslie Wells, asked me what the book might look like with less cycling, more present day family stories, and a little tighter. She made some suggestions about which parts worked and where her interest flagged, and I ended up liking her ideas so much that I cut about 12,000 words and tried to focus on the most compelling race action rather than document each race. That, in turn, made the connections to my past even sharper. I turned in a final draft in August of 2006, and it was published July of 2007.
Jerry: What can you share about persisting, overcoming slumps, and making it to the end?
Bill: There was never a slump for me. Rather, in the spring of 2006, in the middle chapters, I could sometimes forget I was writing a book and that there was an end. The process seemed to exist only for itself, which I found sort of satisfying but also mystifying; I could get lost in the writing for days. Each week I tried to look at the book as a whole and see where I was, in a way kind of reminding myself that I was trying to complete this big, long thing.
I never had periods where I felt blocked or stumped. There were definitely times when I went off-track, or when I felt drained. I simply took a few days off, tried not to think about the book, then came back to it. I get great joy from the act of writing, even when it’s hard, maybe especially when it’s hard. To me it’s less about persistence than the incredible good luck that I am able to do this. When I get a chance to write, it’s a gift.
Jerry: What were your writing habits?
Bill: I don’t keep track of words or hours or consecutive days. I would guess that I write something, whether it’s fresh copy or playing with something already written down, just about every day. But I don’t know for sure. I write until I know I should stop for any of three reasons – I am exhausted or I can sense the next sentence and know I’ll be able to pick up the flow, or I have reached what I think of as a “turn,” in the story, which I define to myself as the end of a section that moves in a certain direction or with a certain rhythm. Or, sometimes, I need to take out the garbage or let the cat in or something, too – life’s mundanities rule us as much as our passions.
I’m also a fan of revision, so I like to just get something on paper and then tune it.
I write on computer, edit on paper, and like to move about the house with my laptop. I also wrote a fair bit of the book in our local bike shop, South Mountain Cycles.
Jerry: I am stunned by the brilliance of the story telling and phrasing. How much of this skill was learned before you decided to write a memoir, and how much after?
Bill: I have to say that I was surprised to hear myself called a good storyteller (by my agent, readers and editors). It’s not that I thought of myself as a bad storyteller but I’d never tried to tell a long story and didn’t know if I could, whereas I’ve always more or less known I can write some striking sentences.
In a strange way that is almost embarrassing to discuss, I think that deciding to be honest about who I am, for the first time in my life, opened up my writing in a way that changed it. I realize this sounds precious or maybe makes me sound like a sophomore in a creative writing class, but I now believe that I was always holding something back in my writing, what I gave to my writing, or the chances I was willing to take with language and sound and rhythm and image.
Jerry: What memoirs did you read to learn the art of memoir writing?
Bill: I didn’t want to read other memoirs as I wrote mine, especially those that dealt with abuse. I wanted to prevent anything from the abuse canon from slipping into my story; I wanted the details and whatever patterns or connections there might be in that area to come to the story strictly from my experience, even if they are part of a common experience . . . if that makes any sense. I guess you could say I don’t mind being derivative as long as I’m original.
I did have some reference points. I’d read Bill McKibben’s book, Long Distance, which is about a year he spent trying to become a world-class cross-country skiier. I still think Tim Krabbe’s book, The Rider, captures the entire feeling of a bike race better than any other book (or movie). A book about swimming, of all things, Water Dancer, by Jenifer Levin, showed me something important about language in its cadences; I realized that I wanted the writing about the racing to be extremely physical – to feel harsh or hard or as if it were slipping away from the reader, or hitting them in the face, and I worked hard to try to accomplish that through word choice and rhythm. I kept reading Worstword Ho, by Samuel Beckett, because I thought the pacing was a good model, and because some phrasing in it became important to me: “Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.” In fact, as I raced I used to repeat, like a mantra, “fail better,” and I had that in the book for a bit but the idea of a racer quoting Beckett seemed too outlandish to be accepted as real. I used it as the epigram, at least.
Jerry: Tell me more about your approach to finding the story amidst your memories.
Bill: I found that, to be effective as a storyteller, I had to quickly get to a point where I was able to view the story as a story rather than as therapy. I don’t think I could create tension, character, setting within the confines of a therapeutic recounting. A story, even the ones that feel loose, are structured. I was writing certain ways, introducing certain things at certain points, ending things at certain times, revisiting at certain times, for storytelling effect. I talk about the people in the book as characters, which I think can be disorienting for people who want to talk about me, or Natalie as people. We’re both, but those people inside that book are more characters to me. I mean, I counted up once and Natalie has less than 300 lines of dialog in the book — a fraction of a fraction of everything she said to me over the course of that year. Her dialog in that book is the dialog of that particular character, whereas Nat and I have this whole, nearly boundless yearlong mess of our life together.
This is Part 1 of a Two Part Interview. To read part 2, click here.
To see the Amazon page for this book, click here.
To read more about Bill Strickland and Ten Points, click here