by Jerry Waxler
Southeast Pennsylvania is a great place for writers. One reason for our collective interest in word craft is because we are in the extended ecosystem of New York City, the publishing capitol of the world. Or at least it used to be. Nowadays, I meet a surprising number of writers from New York City who have been downsized from the dwindling industry and are hoping to find a niche in the more loosely structured writing life of the twenty-first century.
The Philadelphia Writers Conference, held the second weekend of every June, is a natural place for such writers to network. That’s where I met Carla Odell, a former magazine editor. She is trying to reinvent herself as a personal historian, that is, someone who charges money to interview people and turn their lives into stories.
Because of my intense interest in memoirs, I’ve always been curious about personal histories, but I’ve never quite grasped how that would work. To me, memoir writing is an extraordinarily introspective process, involving years of delving into memory to reorganize and shape experience in a way that would make sense to a reader. How does a personal historian incorporate the introspective insights necessary for the interior shading and detail that I have come to expect from a good memoir?
My meeting with Carla at the Philadelphia Writers Conference turned out to be a perfect opportunity for me to learn more about the writing industry she is coming from, and the more entrepreneurial version of writing toward which she is attempting to move.
Jerry: Tell me more about your attempt to start a business to write people’s personal histories. How did you get interested in doing that?
Carla: I worked as an editor in the women’s market for almost 30 years. The majority of my work was telling tragedy-to-triumph-type tales.
Jerry: I love that you were being paid to find and shape tragedy-to-triumph stories. What a wonderful training for a memoir writer. What was that like? How did you tease out the information from an interview and shape it into a story?
Carla: I had terrific training as a reporter/editor. Because I was always on a deadline, I didn’t have time for extraneous stuff, and that helped condition me to get to the meat quicker. I did some celebrity reporting too, and you have to get in and out. Celebs are funny: You are their very best friend…for a half hour. I’m exaggerating; sometimes I had longer. But you have to be intentional. You can’t go in and say, “So, tell me about your childhood.” You can’t do that with a personal history either. That’s why “research” is important here too: spending time with their mementos, photos. Also, no matter how long a piece is going to be, while I’m researching or interviewing, I’m already writing it in my head. I jot down notes so I don’t lose my thoughts. I can’t say much more on how I do it, other than what I sent previously. It just happens. I have a good sense for symmetry.
Jerry: Most of the work of writing a memoir is about the introspective aspect of figuring out how all those events fit into the emotional dynamics of a person’s life. How did you capture this “vicarious introspection” – what did it feel like to search through another person’s memory and look for structure?
Carla: Yes, you really need to get into first person view point. For short pieces, I usually do this over the phone, just typing notes when something jumps out at me. These notes provide good compass points for when I go back and listen/transcribe. I also type notes to myself with ideas of where to start and place a turning point. Saves a lot of time especially with deadlines.
As for their voice, I do a pretty good job getting to the language nuances. I think it’s the unrealized actress in me. With magazine work, though, we often knew what the moment or turning point was before we even decided to write the article.
Jerry: Ooh. That’s really interesting. When someone sits down to write their own memoir, they often have to tease the turning points out and then see the way the story will work. For an article, you already know the main newsworthy aspect of the story before you begin. Could you give me an example of such a pre-assigned turning point for an article?
Carla: There were so many…. A mom who lost her daughter to a drunk driver and turned to politics so she could affect policy; a victim of domestic violence who, after that final episode, left and became an attorney specializing in prosecuting DV cases. This was part of a larger in-depth special issue on what was, at the time, the new Battered Women Defense in courtrooms coast to coast. Oh, I did an article on an American nurse in Somalia. It started as just a general overview of what her days were like, and it led to a series on women doing humanitarian work and the moment they knew their “old lives” were over and they were on their way to something more important.
Jerry: A big part of your work was interviewing. That’s a very cool skill in itself. What insights can you offer about how you interview?
Carla: I talk as little as possible. I ask no qualifying questions (but I take notes to go back) because a subject will often “go” somewhere unexpected if there’s nothing to remind her/him of the question at hand.
Of course, if the subject goes on in what seems to be a nonsensical tangent, I will bring the subject back. There’s an old reporter’s trick where you repeat the last part of the last thing they say, questioningly. For instance, if the subject says, “I got this ring for my 25th anniversary.” “Your twenty-fifth anniversary?” “Yes, it was a very special event at the Waldorf. Every one I loved was there. It was such a surprise.” “A surprise?” “Yes, my family went to great lengths…” So if a subject is going on and on, I will do that, and he or she will realize it might be time to get back to the story. Also, watching expressions gives you the tone.
Here’s an example: I did a short piece for a woman who was born in Germany right after the war. As a young adult, she lived in West Berlin but had a friend in the East, and traveled to see her regularly. She was very animated, telling the story of a particular night she was detained on her way home. While it was a frightening episode, I decided, after watching her, to make that part of her story…funny. And she loved it!
However, I don’t only rely on talking. We sat down with her photo albums and documents and I listened as she uncovered each item of memorabilia.
I’ve used recipes as chapters, maps with notations. With one woman we used excerpts of her annual holiday letters to friends as chapter heads. (She wanted to do it chronologically, so we made it fun.)
It’s strange to be sitting among other people’s stuff and listening to a lifetime in the course of what turns out to be about three workdays.
To read part 2 of this interview, click here.
Carla Merolla Odell’s home page
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