List of Memoirs that Show Various Aspects of Family

by Jerry Waxler

Writing your memoir? Memoir Revolution provides many examples and insights into how to authors are translating life into story.

In a previous post, Family Psychology Lessons in Memoirs, I showed how Sonia Marsh’s Freeways to Flipflops is an excellent example of a family in midlife crisis, and in another post The Many Roles of Family In Your Memoir, I showed how that book demonstrates a type of do-it-yourself family therapy.

Her memoir started me thinking about the complexities of adding families to life stories. Their influence on us is important, and yet it adds an additional layer of complexity to an already-complex task. To help you organize your ideas about how to include your family or group experience into your memoir here are a number of books that include the author’s involvement with this important group.

Beginnings of the Family
We must undergo many profound emotional adjustments on the journey from a single person, to a married one, to a married person with children. My favorite book for learning about the transition from single to married is the memoir Japan Took the JAP Out of Me by Lisa Feinberg Cook in which the author offers a terrific rendition of a young wife’s initial insights into the shift from free-agent to committed partner.

The transformation from a married guy to a married guy with a child is explored nicely in the quirky memoir Sound of No Hands Clapping by Toby Young and also in a memoir called Man Made by Joel Stein about his fear that he won’t be masculine enough to impress his new son. A less humorous book about a woman’s transition to motherhood is Down Came the Rain by Brooke Shields about her postpartum depression.

Another story about a young couple with a baby is Ten Points by Bill Strickland. As a young father, he attempts to overcome the anger and dark memories of his own abusive childhood. He uses his own desperation to outgrow the mistakes of his own father, in order to support the innocence of his tiny daughter. This echo of trauma from one generation to another offers powerful emotional themes that could help you awaken the internal power of your story.

Self-involved parents who forget to raise kids
The memoir She Got Up off the Couch by Haven Kimmel is about how her mother went back to school and her father had an affair. It’s a fascinating look at the way the innocence of a child is distorted by the adult dreams and confusions of parents who are trying to find themselves.

Another memoir about a child whose innocence was overlooked is In Spite of Everything by Susan Gregory Thomas, and another even more outrageous book in which self-involved parents forget to protect a child’s innocence is Running with Scissors by Augusten Burroughs.

At the extreme are memoirs of the dark side of families, for example the devastating sexual abuse of Sue William Silverman in Because I Remember Terror, Father I Remember You, and the horrific alcoholism and neglect of Frank McCourt’s father in Angela’s Ashes.

When two parents divorce and go their separate ways, their lack of grace often undermines the kids’ ability to grow up, In Dani Shapiro’s Slow Motion, the author has a horrific launching into adulthood. As she retraces her past she exposes the nightmare that results from her father’s family hating her mother. The influence of an angry split is evidenced also in the memoir Tweak by Nic Sheff whose parents lived hundreds of miles apart. He found his solace in crystal meth. In Live Through This: A Mother’s Memoir of Runaway Daughters and Reclaimed Love by Debra Gwartney, Mom hated Dad’s immaturity and decided she needed to get 1,000 miles away from him. Two of her young daughters took their upbringing into their own hands, running away and living on the street.

Changing Family after the Empty Nest
The family enters another phase when the kids move out. This back end of family life rarely makes it into adventure or hero stories. In the modern era, with longer life spans and more complex, varied goals, this later period turns up in many memoirs. How will the parents find fulfillment?

An extreme version of the empty nest is the death of a child. Madeline Sharples’ in Leaving the Hall Light On, struggles to keep her bipolar son sane and alive. After he commits suicide, she must keep her family together, for the sake of her own sanity, as well as for her husband and other son. She grieves and then must go on. Over the course of the following years, she relentlessly pursues creativity and self-healing.

In Robert Waxler’s first memoir Losing Jonathan, his eldest son loses the battle with addiction. The memoir, co-authored with his wife, is a book of grieving and healing. In his second memoir, Courage to Walk, Waxler’s younger son, by this time a professional with a vibrant independent life of his own, is stricken by a mysterious, crippling illness. The possible death of his second son awakens echoes of the loss of his first.

Trying to understand your parents
Memoir writers often return to their family of origin to try to make sense of growing up. Many of these memoirs concentrate only on one parent, reflecting the often slanted relationship we have with these powerful individuals in our lives.

Learning about mom’s younger years
Cherry Blossoms in Twilight by Linda Austen, is about a mother who grew up in pre-war Japan.

Caregiving for Alzheimer’s Moms
When our parents grow old, they often raise intense emotions. As caregivers for our parents we reverse our roles, and find ourselves in an impossible tug of war trying to care about others in our lives at the same time. Two excellent memoirs, Mothering Mother by Carol O’Dell and Dementia Epidemic by Martha Stettinius are especially poignant because of the extra complexity of Alzheimer’s, tearing apart not just the body but the mind. These two women, at the height of their capacity to give and provide, must turn toward the women who raised them in a profound, poignant new relationship.

Understanding Dad
Joel Stein’s humorous book Man Made makes a joke about a man who is afraid he won’t be masculine enough for his son. A less humorous question arises for many boys who don’t feel masculine enough for their dads. Here are a few memoirs about guys trying to make sense of their fathers.

Drama by John Lithgow, traces his own life in theater in relationship to his father’s. This is another one of my favorite celebrity memoirs. Andre Agassi’s Open covers similar ground, showing how his father imposed his obsessions on the boy, who as a result became a world champion. What a complex conflict! He must juggle resentment at his father’s manipulation with appreciation for the glamorous, complex life that resulted.

Chasing the Hawk: Looking for My Father, Finding Myself by Andrew Sheehan, a wonderful exploration not only of his father’s life but of the lifespan of the whole extended family. This is one of the best “extended family over time” stories I have read.

Where the Ashes Are: The Odyssey of a Vietnamese Family by Qui Duc Nguyen, reconstructing his father’s life during a brutal captivity by the Viet Cong

Eaves of Heaven by Andrew X. Pham, tells of his father’s life across war torn Vietnam.

The Tender Bar by J. R. Moehringer is a sort of ode to the absent dad. The star of his life is a placeholder for a guy who never shows up.

Women too, wonder what makes Dad tick. Here are memoirs about that search.

Breaking the Code by Karen Alaniz is about a father who experienced emotional trauma while fighting in the Pacific during WWII.

Thrumpton Hall by Miranda Seymour is about her father who inherited an English country manor. He felt so connected with the place his identity merged into it at around the same time as country manors throughout Great Britain were being demolished and dismantled.

Reading My Father by Alexandra Styron by the daughter of the famous novelist, William Styron

The Impact of Early Death of a Spouse
The whole span of a marriage, from courtship to the end is hastened by the untimely death of a husband. Adapting and finding one’s self anew is the subject of powerful memoirs.

Again in a Heartbeat by Susan Weidener, is about her courtship, young relationship, and early death of her husband, and her subsequent journey to find herself.

Here if you Need Me by Kate Braestrup. The death of her husband forces her to figure out her own career, and figure out how to overcome grief. The journey of an individual is actually the journey of a family.

Impact of Illness: Caregiving for a Spouse
100 Names for Love by Diane Ackerman, caregiving for a spouse after he suffers a severe stroke. Includes some of the best spouse-as-buddy writing I have seen.

Adopted children
When a child grows up with adopted parents, it raises the challenge: which one is my “real” family. Two memoirs handle this question with profound inquiry and insight. Lucky Girl by Mei-Ling Hopgood tells about a girl raised in the Midwest who goes to China to meet her biological family. Mistress’s Daughter by A.M. Homes investigates the mysteries of her biological parents, whose only relationship to each other was in a surreptitious affair.

Akin to the Truth by Paige Strickland
Twice Born by Betty Jean Lifton

Additional mentions of family
In Tim Elhajj’s Dope Fiend, as a recovering addict he makes desperate attempts to repair the damage his drug use had created in his relationship to his mother.

Family that Includes a Dog
Marley and Me by John Grogan and Oogy, the Dog Only a Family Could Love, by Larry Levin, two excellent stories about how the love for a dog becomes part of the fabric of the family.

Couple as Buddies
Some famous buddy stories in movies, like Thelma and Louise, or Bonnie and Clyde, show how two people bounce off each other in friendship and enterprise. Couples in real life sometimes do the same. I have read a few memoirs that highlight the delightful partnership of the partners.

When Sonia Marsh and her husband moved to Belize, the two adults had become partners in the family adventure. In Freeways to Flipflops, they fight, they work together, in an excellent story of a partnership under duress.

Queen of the Road, Doreen Orion about her taking a year off to travel in an RV. Her interaction with her husband provides humor, mutual respect and support. When I visualize them riding together in the front two seats of their decked-out RV, I think it would make an excellent movie about a couple with an empty nest.

Cancer, fading away of a parent
Kids are All Right by Diana Welch about siblings who gather like a flock, as their mother suffers the wasting of cancer.

Chasing the Hawk: Looking for My Father, Finding Myself by Andrew Sheehan, already mentioned for its portraiture of Dad, also recounts the ending of his father’s life due to cancer.

Chosen Families
In some memoirs, a group of people form an ensemble cast that resembles a chosen family, people who turn toward each other for companionship, understanding, and support.

An Unquenchable Thirst, by Mary Johnson, about a young woman who chooses to join Mother Theresa’s Missionaries of Charity.

The Path by Donald Walters (Swami Kyriyananda), about a member of a group of devotees of Paramahansa Yogananda

Father Joe: The Man Who Saved my Soul by Tony Hendra, about his relationship to his mentor, a sort of chosen father.

In Fugitive Days, Bill Ayers portrays the members of his fellow war protestors as a chosen family.

In the combat memoir House to House by David Bellavia, the author chooses his life-and-death responsibility to his fellow soldiers over a commitment he made to his wife.

In Mentor by Tom Grimes, the author’s relationship to the Iowa Writer’s Workshop resembles a loosely knit chosen family.

In Orange is the New Black by Piper Kerman, the women with whom she shared her year in prison became like family to each other.

Writing Prompt
How will your family figure in as a “character” in your memoir? List and describe the members of the group. Write a scene that demonstrates the way they interact with each other. Write a scene that demonstrates the way they supported you. Write another one that shows you wanting to hide from them or break out of their influence.

Notes
Sonia Marsh’s Home Page Author of Freeways to Flipflops

For brief descriptions and links to all the posts on Memory Writers Network, click here.

To order Memoir Revolution about the powerful trend to create, connect, and learn, see the Amazon page for eBook or Paperback.

To order my how-to-get-started guide to write your memoir, click here.

Telling a Memoir’s Backstory by Seesawing in Time

by Jerry Waxler

Read Memoir Revolution to learn why now is the perfect time to write your memoir.

In previous essays in this series, I’ve attempted to explain the way memoir writers structure their stories. In one sense, this could be a simple question. We lived it chronologically, so we ought to tell it chronologically. And yet, one of the memoir writer’s goals is to keep it interesting, and that means learning the storyteller’s craft. Storytellers since the beginning of time have been looking for the best way to weave in various aspects of a story to keep it interesting and engage the mind of a reader. This series has offered some insights that I hope will help you on that quest.

The final method to consider is a sort of pinnacle of the attempt to tell the backstory. I’ll start out with three examples. Each one starts with the intense dramatic conflict of adulthood. Then once they hook the reader, they jump to a chapter about childhood. Then in the next chapter they return to the adult story. Each timeframe is clearly established so you always know exactly where you are in time. It’s as if you’re reading two interwoven memoirs, one of earlier life interspersed with the later one.

Alternating back and forth between the past and present, these authors achieve the best of both extremes, providing psychological background of the author’s formation, and also providing a direct, compelling tension in the adult situation.

The Orchard by Theresa Weir

The book starts just as the main conflict of the story is about to begin. Theresa Weir is working in a bar, about to meet her husband-to-be. Marrying into a farm family seems wrong in every possible way, and so, we are swept along by the conflict inherent as the couple falls for each other, obviously for all the wrong reasons. It’s nonsense. A mistake. It will never work. Then, as the present-day conflict amps up to the boiling point, she returns to her dysfunctional childhood, and inserts entire chapters from early in her life when her parents essentially abandoned her. This material from childhood adds psychological depth to her character and helps her reveal the whole person, not just a small slice of one.

By starting with adulthood, she lets us understand where we’re going. Then when she weaves in the childhood, we’re already invested in this complex person. So where did all this complexity come from? She lets us live those younger years with her as well.

Catfish and Mandala by Andrew X. Pham

A young man, pursuing an engineering career, leaves it all behind so he can ride his bicycle around Vietnam to try to understand his roots. His adult life is intense, with confusion about his identity as a Vietnamese in America and his relationship with his edgy father. As he cycles around Vietnam, we realize the danger he has placed himself in. It turns out that many Vietnamese hate those who have moved to America. They have a scornful name for these hated betrayers, viet-kieu. In the thick of this adult story, he alternates chapters that show his childhood life leading up to the war, and the family’s escape from the communist takeover.

In his next book, Pham extends his inquiry across more generations. In Eaves of Heaven, A Life in Three Wars he tells the family history through the eyes of his father, a ghost-written memoir of his father. This other memoir also repeats the two-time frame method, showing his father’s early years growing up in the French version of the Vietnam War and then later years coming up to the American invasion. Taken together, the two memoirs Catfish and Eaves, describe the escape from Vietnam and entry into the U.S. from the point of view of three generations, a fascinating journey through the history of a family and a country.

Riding the Bus With My Sister, by Rachel Simon

The book is woven from two fascinating stories. The headline story is about her attempt as an adult to become close to her mentally disabled (what used to be called retarded) sister, Beth. Beth’s main activity is riding buses all day every day, and Rachel decides that if she is going to get to know her sister, she will have to ride the buses too.

Interwoven with this excellent story of love between two adult sisters is a second time frame, about growing up with an abandoning mother, who was unable to cope with the stresses of motherhood and finally ran away from the family. The two stories meet up, as the young sisters grow into adulthood.

Why interspersed backstory works so well in these three cases

All three had serious dramatic conflict in both time frames. With enormous dramatic tension in childhood. In Riding the Bus as well as Orchard, the family was under pressure from parental dysfunction. In Catfish and Mandala, the author was in a war.

And in the later time frame, each author was also under major conflict. In Riding the Bus, Rachel Simon was a high-functioning journalist who was trying to make sense of her responsibility to her sister, and also a secondary story pressure that she was also lonely and seeking. In Orchard, Theresa Weir was a misfit, with absolutely no direction in life, who married into a farm family, and had to make the leap from a drifter to a family that literally had roots in the soil. In Catfish and Mandala, the author went on a dangerous cycling tour, with native Vietnamese hating him for being an American, which was cruelly ironic because earlier he showed how some Americans hated him for being Vietnamese.

All three of these books stand out as exceptionally successful. The Orchard was an Oprah pick. Catfish and Mandala was a New York Times Notable Book of the Year and Riding the Bus with My Sister was made famous by a movie adaptation.

Does that mean that it’s a surefire winner and that you should copy it and use it? It’s not that easy. Finding a working structure for your memoir is going to require an organic evaluation of the way your own life experience unfolds and the story you want to tell.

Consider two combat memoirs which took very different approaches. In A Temporary Sort of Peace, Jim McGarrah’s gut-wrenching Vietnam War combat memoir, he stayed in one time frame. William Manchester’s equally gut-wrenching combat memoir Goodbye Darkness shows him returning to the scenes of his battles in the Pacific in WWII and attempting to quiet his demons. The two authors made their own very different choices.

As you continue researching your own memoir, step back out of the details and try to visualize the way your chapters and sections are coming together. Can you picture your earlier formative years as a separate story from the later one?

Writing Exercise
Write a description of each of your two stories, the backstory, in which your younger self undergoes formative experiences. Then write a description of the second time frame.

Now think about these two stories. Does each story have a good beginning, middle and end? Does the first one naturally provide background for the second? Do they flow from one to the other in time, or is there a big gap between two main stories?

Might they work as a series? Consider the way Frank McCourt wrote Angela’s Ashes about his youth, and then wrote two more books, ‘Tis and Teacher Man as a sort of de facto trilogy. Or how Carlos Eire’s two memoirs, Waiting for Snow in Havana and Learning to Die in Miami tells a long story in two parts.

Are they equally balanced or is one more important than the other? Consider the example of Ruby Slippers by Tracy Seeley. So much of the book was about an adult investigating her childhood, that the child’s life faded into the background and the adult’s inquisitiveness took center stage. Glass Castle by Jeannette Walls had the opposite effect. The book seemed to be all about a child growing up, and yet, one of its greatest strengths was the tiny sliver at the end about her later rapprochement with her parents.

How the story falls together in the reader’s mind will depend on these questions of structure. Take your time. It’s your life, and if you want to turn it into a great story, don’t be surprised if you have to work at it with the same creative obsession that you expect from the authors of the books you read. And even if you started your project simply trying to tell a good story, you may find that by peering closely and with great creative passion at the structure of your memoir, you will come to understand, at a much deeper level than you ever thought possible, the structure of your life.

This is the seventh and final essay in a series about how to structure a memoir. Here are links to the whole series:

How Should I Begin My Memoir?
One of the most puzzling questions about how to structure a memoir is “Where do I begin?”

How Much Childhood Should I Include in My Memoir?
Since memoirs are a psychologically oriented genre, we want to include enough background to show how it all began. But how much is the right amount?

Should You Use Flashbacks in Your Memoir?
Flashbacks provide important background information, but you need to use them carefully so you don’t confuse your reader.

More Tips about Constructing the Timeline of a Memoir
The timeline of a memoir contains the forward momentum, and the laying out of cause and effect, so it’s important to learn the best techniques for laying it out.

Beware of Casual Flashforwards in Your Memoir
In real life, we can’t know the future, so to keep your memoir authentic, try to avoid sounding like a prophet.

How a Wrapper Story Helps You Structure Your Memoir
When you try to tell your own unique story, you might find that you need an additional layer of narration to make it work. Here are a few examples of writers who used wrapper stories.

Telling a Memoir’s Backstory by Seesawing in Time
If you want to tell about the childhood roots of your adult dilemmas, you could follow the example of these authors who wove the two timeframes together.

 

For brief descriptions and links to all the posts on Memory Writers Network, click here.

To order my book Memoir Revolution about the powerful trend to create, connect, and learn, see the Amazon page for eBook or Paperback.

Order my step-by-step how-to guide to write your memoir, click here.

How a Wrapper Story Helps You Structure Your Memoir

by Jerry Waxler

Read Memoir Revolution to learn why now is the perfect time to write your memoir.

Many memoirs are contained within a wrapper story. The device is familiar from a number of stories. For example, Herman Melville’s Moby Dick is told by Ishmael who chronicles the whole thing. In Joseph Conrad’s Heart of Darkness, a sailor tells his story to a group of travelers. In the Odyssey, Ulysses tells his story to Nausicaa when he lands among the Phaeacians. And in the movie Titanic, the entire story is supposedly narrated by an elderly survivor.

By developing the narrator as a visible presence in the story, you can help the reader gracefully move back and forth between the time frame of the person writing the book and the time frame of the character who lived through the earlier events. Here are examples of the way the wrapper story has been used in memoirs.

Scene in the Present that Shows Why You Need to Tell the Story

In Colored People, Henry Louis Gates tells his children about the old days in order to help them understand where their ancestors have been.

Story of Waiting

In Tony Cohan’s memoir Native State, his father lies dying, and while he is stuck in California, he reminisces about his childhood and about his experience as an expat in north Africa. It is an unusual, complex coming of age story and reflects Cohan’s interest in the multiple streams of jazz.

Investigation into the Past

Some authors start from the present and then, following their curiosity about the past,  they write a memoir about exploring their earlier lives.

Mistress’s Daughter by AM Homes: Her birth mother contacts her and the author must go hunting for her biological family.

My Ruby Slippers by Tracy Seeley: She has cancer and takes time away from work to go back to Kansas to investigate her family roots.

Color of Water by James McBride: His mother is near death, and he realizes that unless he pries her history out of her, her childhood will be lost forever. The book is his search for her past.

Breaking the Code by Karen Fisher-Alaniz: Her father hands her a bundle of letters he wrote as a soldier in WWII. She painstakingly investigates the untold story of his years during the war.

Digging Deep by Boyd Lemon: He is retired, looking for the meaning in his life, and he decides to try to make sense of his three marriages, looking for the common thread within himself that sabotaged each one.

Travel as a Wrapper Story

The current events in a travel memoir tell a story in their own right. In addition, some travel memoirs are used as containers in which the author spends so much time exploring the past, or reminiscing about it, you begin to wonder if the story is about the journey or the memories. This dual use of a travel memoir, as both a story of a journey and a wrapper story of a previous time, is especially noteworthy in:

Zen and Now by Mark Richardson: As the author follows the path of Robert Pirsig’s original motorcycle ride, there is plenty of time for reflection about his past.

Wild by Cheryl Strayed: To sort out her life, the author walks along a wilderness trail, again providing a blank slate on which to paint the story of her earlier life.

Writing Prompt
Review these methods and write a synopsis of wrapper story you might use to help you structure your memoir. For example, imagine telling your story to an interested listener, (a therapist, a lover, or a child, for example). Imagine going on a journey back to your roots and reminiscing. Or imagine investigating your past and revealing the pieces as you find them.

Two Alternating Time Frames

The travel memoir as a wrapper story introduces the potential for telling a story in two time frames at once. Another technique jumps all the way into the two-frame concept and weaves two parallel stories, one from earlier in life and one later. By going back and forth between the two timeframes, these authors have managed to start the story right in the thick of it, and then go back to give the backstory without diffusing the power of the book. I’ll describe this method and give examples in the next post.

This is the sixth essay in a series about how to structure a memoir.
How Should I Begin My Memoir?
One of the most puzzling questions about how to structure a memoir is “Where do I begin?”

How Much Childhood Should I Include in My Memoir?
Since memoirs are a psychologically oriented genre, we want to include enough background to show how it all began. But how much is the right amount?

Should You Use Flashbacks in Your Memoir?
Flashbacks provide important background information, but you need to use them carefully so you don’t confuse your reader.

More Tips about Constructing the Timeline of a Memoir
The timeline of a memoir contains the forward momentum, and the laying out of cause and effect, so it’s important to learn the best techniques for laying it out.

Beware of Casual Flashforwards in Your Memoir
In real life, we can’t know the future, so to keep your memoir authentic, try to avoid sounding like a prophet.

How a Wrapper Story Helps You Structure Your Memoir
When you try to tell your own unique story, you might find that you need an additional layer of narration to make it work. Here are a few examples of writers who used wrapper stories.

Telling a Memoir’s Backstory by Seesawing in Time
If you want to tell about the childhood roots of your adult dilemmas, you could follow the example of these authors who wove the two timeframes together.

For brief descriptions and links to all the posts on Memory Writers Network, click here.

To order my book Memoir Revolution about the powerful trend to create, connect, and learn, see the Amazon page for eBook or Paperback.

Order my step-by-step how-to guide to write your memoir, click here.

More Tips about Constructing the Timeline of a Memoir

by Jerry Waxler

Read Memoir Revolution to learn why now is the perfect time to write your memoir.

Real life happens in sequence, first one thing and then another. However, when we store those events in memory, they tangle together in chaotic piles. To construct a story, we must extract snips from memory and arrange them into chronological order. We also must find their “psychological order” to convey the dramatic tension that drags the reader as well as the author through a chain of causes and their effects.

As readers and viewers, we expect protagonists to travel along a compelling arc. Now, to write a memoir, we must “go back to school” to learn how to reframe life events. Where do we get such training? In addition to instructional books and classes, we can learn from reading memoirs to see how the author shuffled events into chronological and psychological order.

Take for example, the way Jon Reiner creatively weaves events in both time and importance. His memoir, The Man Who Couldn’t Eat, describes the year during which he suffers and recovers from an acute attack of Crohn’s disease. To understand his predicament we need to know how he arrived here. The book starts with a bang when Reiner collapses from crushing intestinal pain. As he struggles to maintain consciousness, scenes from the past drift in and out of his delirious mind, adding backstory right there in the urgent startup.

Elegant techniques such as this one, and Cheryl Strayed’s memories as she hikes on the Pacific Crest Trail in Wild, rely on convincing us that the character has a powerful reason for doing a lot of thinking. Like James Thurber’s brilliant device of setting stories inside Walter Mitty’s imagination, when we successfully keep the reader inside the character’s mind, we maintain suspension of disbelief.

Remembering a scene is only one way to portray the past. You could do something in the present that brings the past into focus. For example, you could return to your childhood home the way Tracy Seeley does in My Ruby Slippers. As she walks around her old neighborhood, naturally she thinks about the past. Or you could dig up old letters your father wrote home from the war the way Karen Alaniz does in Breaking the Code. Jon Reiner uses another clever variation of this technique. He meets an old high-school flame for a lunch date. Since he can’t eat, and maybe they weren’t such great friends after all, their encounter is conflicted and interesting, and it doubles as link between the past and the present.

Backstory does not always require entire scenes. Sometimes the narrator simply tells us about something from the past. For example, Jon Reiner indicates that he is on a first-name basis with his doctors because his chronic disease has forced him into an intimate relationship with them over the years. He provides this information, at least in part, by simply informing us, rather than going back in time and showing how the relationships evolved.

Such information can seem perfectly natural to the reader, and yet, it touches on an important stylistic issue in memoir writing. Information you supply to the reader can straddle two timeframes, the one in the character’s mind, and knowledge offered by the narrator years later. If the reader thinks the information is being delivered by the narrator, it could break them out of the time of the story and yank them into the time of the narrator To become more aware of the tension between character and narrator, pay attention to the timeframe of every sentence. I’ll say more about this tension between the character and narrator in another blog post.

Move it back into Chronological order

You may be seduced into using flashbacks because when you wrote your first draft, a scene from an earlier period jumped into your mind and you let it flow into your narrative. Later, when you reread it, you think, “nice touch.” After all, your unconscious mind dished it up right there, so perhaps that’s where it belongs. But another interpretation is that your unconscious mind is reminding you of an event important enough to deserve its own scene.

Writing Prompt

Review your manuscript or free-written draft, and when you spot a mention of an earlier event, zoom in on it. Instead of simply mentioning it in passing, pull it out into its own paragraph or more and try writing it as a full scene. Then insert it into the appropriate chronological sequence elsewhere in your story. This exercise can help you share important scenes organically within the storyline.

Unabashedly Tell Some History

At the opposite extreme, instead of avoiding flashbacks, jump all the way in and tell the whole thing the way Helene Cooper does. Her memoir House on Sugar Beach is about growing up wealthy amid poverty in Liberia. The book shows the class tension that she experienced as a child in the African nation, which is then torn apart by violent upheaval. In order to help readers make sense of those events, she inserts a history lesson about Liberia, filling in important background information that most American readers have never heard.

The technique of inserting a history or biography lesson into the flow of a memoir is especially common in stories about the lives of parents. These inserted stories-within-stories provide background that occurred before the author was born.

In Breaking the Code, Karen Alaniz Fisher provides background about her father’s life during World War II.

In My Beloved World, Sonia Sotomayor provides a biographical sketch of her parents, neatly inserted into her own early childhood.

Cherry Blossoms in Twilight  by Linda Austin takes a different approach, reconstructing the story of her mother’s early life, based on interviews. Andrew X. Pham does something similar. In Eaves of Heaven, he describes his father’s life in Vietnam, providing a fascinating view of the wars that tore apart his family and country.

Lucky Girl by Mei-ling Hopgood is about an adopted Chinese girl growing up in the Midwest. When she meets her biological family, she tells their history and what led to giving her up for adoption.

In Color of Water, James McBride spends considerable time reconstructing his white mother’s childhood, based on interviews with her and others in her earlier life.

Writing Prompt

If you are wondering how to gracefully insert backstory, consider turning it into unabashed history. Write it as clearly as possible, and take special care to craft the transitions from your main story to this inserted one, and then back out again. Insert this snip and try it out on readers.

Just How Much History Should You Include?

Martha Stettinius’ memoir, Inside the Dementia Epidemic is about caregiving for the author’s mother who is losing her cognitive ability. While writing the book, Stettinius’ desire to include her mother’s history took her directly into the conflict about how much backstory to include. Advocates for concision told her to cut straight to the matter at hand, and at the same time, she intuitively felt that a story about her mother’s deteriorating mind needed to include a synopsis of her previous life.

In the final analysis, Stettinius, like every memoir writer, had to steer through these decisions, to determine not only how much to include, but also how to do it gracefully. Stettinius succeeded, as did all the authors I’ve mentioned. By working out their challenges with time, character development and suspense, they successfully set the reader’s expectation and then fulfill those expectations. These memoirs and the hundreds of others I have read demonstrate over and over that Story is a form that is flexible and expansive enough to allow us to convert the events of our lives into compelling, inspiring, and informative drama.

Notes

This is the fourth essay in a series about how to structure a memoir.
How Should I Begin My Memoir?
One of the most puzzling questions about how to structure a memoir is “Where do I begin?”

How Much Childhood Should I Include in My Memoir?
Since memoirs are a psychologically oriented genre, we want to include enough background to show how it all began. But how much is the right amount?

Should You Use Flashbacks in Your Memoir?
Flashbacks provide important background information, but you need to use them carefully so you don’t confuse your reader.

More Tips about Constructing the Timeline of a Memoir
The timeline of a memoir contains the forward momentum, and the laying out of cause and effect, so it’s important to learn the best techniques for laying it out.

Beware of Casual Flashforwards in Your Memoir
In real life, we can’t know the future, so to keep your memoir authentic, try to avoid sounding like a prophet.

How a Wrapper Story Helps You Structure Your Memoir
When you try to tell your own unique story, you might find that you need an additional layer of narration to make it work. Here are a few examples of writers who used wrapper stories.

Telling a Memoir’s Backstory by Seesawing in Time
If you want to tell about the childhood roots of your adult dilemmas, you could follow the example of these authors who wove the two timeframes together.

For brief descriptions and links to all the posts on Memory Writers Network, click here.

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