A helpful article from the Plot Whisperer:
Plot Whisperer for Writers and Readers: Backstory versus Front Story: "Watch your delivery of backstory ~ the story of what, in the past, made the character who they are today (in story time).
Writers want ..."
Copyright © 2011, Ruth Zaryski Jackson
Showing posts with label Martha Alderson. Show all posts
Showing posts with label Martha Alderson. Show all posts
Back at My Desk
The holidays are over and I'm back at my desk trying to figure out the next step in my memoir writing. I have decided to focus on 2 things in January:
The next thing I did was to print out all I have written of my book. Not read it, just print it! Sounds simple. To my surprise, even when I eliminated the double-spacing, I have about 100 pages. The sheer bulk of it had an emotional impact on me. I feel that I am going to succeed now in finishing this book. Some of it is garbage: notes to myself and a lot of question marks. But some of it is well-written and interesting. Though I still have a long way to go, I can't wait to see the final product.
- to finish my first draft. I have the last 1/4 to write.
- to follow in January, Martha Alderson's 2nd Annual International Plot Writing Month tips she wrote in the month of December on her blog: http://www.plotwhisperer.com/
The next thing I did was to print out all I have written of my book. Not read it, just print it! Sounds simple. To my surprise, even when I eliminated the double-spacing, I have about 100 pages. The sheer bulk of it had an emotional impact on me. I feel that I am going to succeed now in finishing this book. Some of it is garbage: notes to myself and a lot of question marks. But some of it is well-written and interesting. Though I still have a long way to go, I can't wait to see the final product.
Into the Middle
After reading Martha Alderson’s article Writers Travel Two Journeys a few days ago on her blog, I realize I’m now clearly in the middle of my memoir. I have finished my freewriting and searching about the transition between the end of the Beginning and the beginning of the Middle. Her tips about ‘the point of no return’ helped me to recognize what for me was the point of no return: moving to the suburbs at the age of nine. I had no control over the move and there was no going back. Much as I’d dream about returning to my home on Charles Street, I couldn’t go home again either metaphorically or realistically. Many things had changed.
I heard an interview recently on CBC with Salmon Rushdie in which he talks about two archetypes regarding home: the dream of going home again and the dream of leaving home or the spirit of adventure. An inherent conflict exists between the two, between the comfort of home and the journey of the traveler. This pull is at the heart of so many great stories.
The meaning for me in Rushdie’s comments was that my struggle was a universal struggle. If it hadn't occurred when I was forced to move at age nine, it might have naturally happened later in my life. But, then the effect would have been different. In that case, I might have put more energy on the opposite side of the coin, the leaving home for adventure side. My story and perhaps my character would have been different.
But this was my history and this is the story I have to tell. The trick is to make it engaging for others by telling the small personal details while tapping into universal archetypes and themes.
I heard an interview recently on CBC with Salmon Rushdie in which he talks about two archetypes regarding home: the dream of going home again and the dream of leaving home or the spirit of adventure. An inherent conflict exists between the two, between the comfort of home and the journey of the traveler. This pull is at the heart of so many great stories.
The meaning for me in Rushdie’s comments was that my struggle was a universal struggle. If it hadn't occurred when I was forced to move at age nine, it might have naturally happened later in my life. But, then the effect would have been different. In that case, I might have put more energy on the opposite side of the coin, the leaving home for adventure side. My story and perhaps my character would have been different.
But this was my history and this is the story I have to tell. The trick is to make it engaging for others by telling the small personal details while tapping into universal archetypes and themes.
Moving 'Fearward' in My Memoir Writing
The idea of moving not just forward but ‘fearward’ in writing is not mine. I first heard about it from a friend and read about it in Barbara Turner-Vesselago’s book. She says to go towards what holds the most energy for you. Even if something frightens or repels you, push through your fear and keep writing.
I try to apply this idea to my present search for a thread in myself, in my development. The thread around which I will tell my story. The thread of the plot i.e. the evolution of my character development in my memoir.
I examine my story and see that a shift in me, even my whole personality, occurs when I was nine, after we move from downtown to the suburbs. So I begin writing about that time, digging deeper into memories and feelings. Strangely, I don’t remember much, but I push on. I am still working on this.
What have I found, so far? I quote from my freewriting:
“The things that I brought with me were only my dolls, my clothes and maybe a few books. But so much was left behind: all the furniture, Dad’s courting letters to Mom in the basement, so many intangibles, the warp and woof of my life on Charles Street that I never knew I would miss. The urbanness of it all. The sounds and smells of downtown and the inside of the rooming house e.g., Miss Tweedie’s toast, Mr. Taylor’s oil paints, the sound of coal falling into the bin, the clop clop sound of the horse hooves, the taste of the ice chips, the street call of the rag ‘n bone man, the sound of the street cars in the distance, the sound of the dishes clattering in the kitchen behind a small restaurant around the corner on Yonge Street when they had their back door open, the Scottish accents of Sadie and Miss Tweedie, the Irish accents of the Keenan brothers. The feel of Sadie’s lap though I‘d long outgrown it. The feel of the rough wooden steps on the back porch, the feel of the morning sun on my face, the sound of the birds chirping. The sounds of the other people in the house. How do you know you’re going to miss all of that? You don’t. You take it for granted as the texture of your life. But it is more than that. It is the scaffolding of your life, without which you falter maybe even fall. It’s the comfort of knowing your place in the world. Of feeling powerful in your place. Of having a predictability in your place in the world. I hadn’t tired of it. I hadn’t felt bored. I got up in the morning anticipating the day with eagerness if not always joy.”
What this piece reveals is that I lost everything when we moved. I lost myself.
I try to apply this idea to my present search for a thread in myself, in my development. The thread around which I will tell my story. The thread of the plot i.e. the evolution of my character development in my memoir.
I examine my story and see that a shift in me, even my whole personality, occurs when I was nine, after we move from downtown to the suburbs. So I begin writing about that time, digging deeper into memories and feelings. Strangely, I don’t remember much, but I push on. I am still working on this.
What have I found, so far? I quote from my freewriting:
“The things that I brought with me were only my dolls, my clothes and maybe a few books. But so much was left behind: all the furniture, Dad’s courting letters to Mom in the basement, so many intangibles, the warp and woof of my life on Charles Street that I never knew I would miss. The urbanness of it all. The sounds and smells of downtown and the inside of the rooming house e.g., Miss Tweedie’s toast, Mr. Taylor’s oil paints, the sound of coal falling into the bin, the clop clop sound of the horse hooves, the taste of the ice chips, the street call of the rag ‘n bone man, the sound of the street cars in the distance, the sound of the dishes clattering in the kitchen behind a small restaurant around the corner on Yonge Street when they had their back door open, the Scottish accents of Sadie and Miss Tweedie, the Irish accents of the Keenan brothers. The feel of Sadie’s lap though I‘d long outgrown it. The feel of the rough wooden steps on the back porch, the feel of the morning sun on my face, the sound of the birds chirping. The sounds of the other people in the house. How do you know you’re going to miss all of that? You don’t. You take it for granted as the texture of your life. But it is more than that. It is the scaffolding of your life, without which you falter maybe even fall. It’s the comfort of knowing your place in the world. Of feeling powerful in your place. Of having a predictability in your place in the world. I hadn’t tired of it. I hadn’t felt bored. I got up in the morning anticipating the day with eagerness if not always joy.”
What this piece reveals is that I lost everything when we moved. I lost myself.
Plot in Memoir
When I first heard Martha Alderson in an NAMW Teleseminar talking about plot in memoir writing, I was confused. How could a memoir have a plot? Wasn’t that for mystery or romance fiction? I checked her website and blog and forgot about it until recently, when I was trying to figure out how to structure my memoir.
What was unique about my story, in our family at least, was that we lived in a rooming house for the first 9 years of my life. I was the first born and the roomers were my extended family until we moved to the suburbs. A huge area of downtown – 20 square blocks - was my backyard. At first I wondered if I should just concentrate on the Charles Street stories and try to publish that part on its own.
Then I went back and had another look at the concept of plot. If I only did the Charles Street stories, there wasn’t much plot. “Girl grows up: first 9 years in downtown rooming house.” I examined all the readings and plotting tools Martha has on her blog especially The Plot Planner and the Scene Planner. I read all her tips about plot and memoir. I thought long and hard about the boundaries of my story and how much of my life story I wanted to tell.
The Plot Planner helped me to define the time frame and helped me realize that the Charles Street Stories were only The Beginning of my story. Moving to the suburbs was only the end of The Beginning ¼ of my book. The Crisis came later, in The Middle, and the Climax and Resolution, in The End.
I had to keep my eye on this ball and make sure the stories I include follow the plot of my character development and growth to adulthood. Otherwise, my story will just be a rambling mess of little stories that will fail to engage the reader, even my own children.
What was unique about my story, in our family at least, was that we lived in a rooming house for the first 9 years of my life. I was the first born and the roomers were my extended family until we moved to the suburbs. A huge area of downtown – 20 square blocks - was my backyard. At first I wondered if I should just concentrate on the Charles Street stories and try to publish that part on its own.
Then I went back and had another look at the concept of plot. If I only did the Charles Street stories, there wasn’t much plot. “Girl grows up: first 9 years in downtown rooming house.” I examined all the readings and plotting tools Martha has on her blog especially The Plot Planner and the Scene Planner. I read all her tips about plot and memoir. I thought long and hard about the boundaries of my story and how much of my life story I wanted to tell.
The Plot Planner helped me to define the time frame and helped me realize that the Charles Street Stories were only The Beginning of my story. Moving to the suburbs was only the end of The Beginning ¼ of my book. The Crisis came later, in The Middle, and the Climax and Resolution, in The End.
I had to keep my eye on this ball and make sure the stories I include follow the plot of my character development and growth to adulthood. Otherwise, my story will just be a rambling mess of little stories that will fail to engage the reader, even my own children.
Photo: My house on Charles Street, 2009
"Butt in the Chair"
Today I begin my fourth consecutive day of putting my “butt in the chair” to draft my memoir. After 3 years of writing stories, taking courses, worrying about other people reading my work, I have finally decided to settle down and write a garbage draft of my book, warts and all.
After so much procrastinating, I have shifted to a new resolve: just get it out. As Martha Alderson says: “Can’t finesse that which isn’t written”. Besides the first draft is only a first draft. The job is by no means over; in fact it may be just beginning.
The hardest part for me about getting down to it is blocking out distractions in my life and making my book the number one priority. It required giving my husband a clear heads-up: “I will be writing my book in August”. I had to clear my schedule of any frivolous activities: the chiropractor is ok but no unnecessary shopping. Meeting with my writing group is ok but not socializing with my friends unless it’s “after work hours” or on the weekend. Helping out my kids during a crisis is ok but lengthly chatting and hanging out is not.
Getting into a daily routine was another challenge. I like to arise slowly and putter around before getting down to work. I like to sleep in and work at night. For this month I am trying to follow a plan to get up early, work in the mornings until around 1 pm then read or do something mindless like gardening in the afternoon when I can let my mind drift and let things percolate.
So far I have written and sorted out stories in the beginning ¼ of my book. Sixty pages double spaced, about 12,000 words. Not bad for a start.
After so much procrastinating, I have shifted to a new resolve: just get it out. As Martha Alderson says: “Can’t finesse that which isn’t written”. Besides the first draft is only a first draft. The job is by no means over; in fact it may be just beginning.
The hardest part for me about getting down to it is blocking out distractions in my life and making my book the number one priority. It required giving my husband a clear heads-up: “I will be writing my book in August”. I had to clear my schedule of any frivolous activities: the chiropractor is ok but no unnecessary shopping. Meeting with my writing group is ok but not socializing with my friends unless it’s “after work hours” or on the weekend. Helping out my kids during a crisis is ok but lengthly chatting and hanging out is not.
Getting into a daily routine was another challenge. I like to arise slowly and putter around before getting down to work. I like to sleep in and work at night. For this month I am trying to follow a plan to get up early, work in the mornings until around 1 pm then read or do something mindless like gardening in the afternoon when I can let my mind drift and let things percolate.
So far I have written and sorted out stories in the beginning ¼ of my book. Sixty pages double spaced, about 12,000 words. Not bad for a start.
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