Showing posts with label Victoria Costello. Show all posts
Showing posts with label Victoria Costello. Show all posts

Tuesday, July 25, 2023

Back to Basics: If you’re discouraged, write “one sentence, one paragraph, and one vignette at a time”


If you’re already writing a memoir, you know the process can be mysterious, intimidating, and discouraging.

 

You have must-write stories for your kids, grandkids, and generations yet unborn.

 

You know those stories—

the ones they need to learn from, to cherish.

Stories that will teach them, nurture them,

give them hope, and strengthen their faith.

Stories that will mold them into good people

with intact hearts and minds.

 

But perhaps you’ve put off writing your memoir because it’s hard to find time, or motivation, or courage, or just the right words.

 

If so, I have good news for you:

 

Your stories could be taking shape

even though you might not realize it.

 

Think about this: A seed of your story,

already planted,

has been swelling and sprouting and growing

while you weren’t taking notice.

 

Stories can be like that.

They can live in hidden corners of your heart

where subconsciously (if not consciously)

you’ve already started assembling your memoir: 


  • You’ve been collecting—in your mind, or in writing, or on your computer—ideas,  relevant quotes, or Bible verses.
  • You’ve run across old photos or newspaper clippings.
  • You heard an old song that stirred up memories.
  • You ran into a relative or an old friend.
  • You discovered a loved one’s obituary tucked away in a file folder.
  • You’ve remembered key events that might have seemed unimportant at the time but that now hold significance.

 

All that has been marinating in the back of your mind and it’s starting to come together.

 

Perhaps you’re more ready

to start writing your memoir than you thought.

The time to write might be any day now.

 

Here’s good advice: Tell yourself you’re only writing a rough draft—which is for your eyes only—and then keep writing.

 

“Write with the door closed,” suggested Stephen King. “Your stuff starts out being just for you. . . ” (On Writing).

 

Your initial attempts

don’t need to be perfect.

Everyone starts with a rough draft.

 

“The first draft is the child’s draft,” writes Anne Lamott, “where you let it all pour out and then let it romp all over the place, knowing that no one is going to see it and you can fix it up later. . . ” (Bird by Bird: Some Instructions on Writing and Life).

 

Small steps are better than no steps,” says Victoria Costello.

 

“Writing memoir might be one of the hardest things you’ll ever do. . . . Feeling overwhelmed comes with the territory.

 

“When you feel that sinking feeling, remember that a memoir is simply a string of personal vignettes. Take small steps and focus on finishing one sentence, one paragraph, and one vignette at a time.”

 

Victoria continues: “Worry about threading the story together later.” (The Complete Idiot’s Guide to Writing a Memoir)

 

Yes, eventually you will spiff up your rough draft:

You will reorganize, revise, and rewrite.

Every writer does! It’s not punishment.

It’s polishing and shining and clarifying

for the sake of your readers.

 

But for now, don’t worry about all that.

Just take small steps, “one sentence,

one paragraph, and one vignette at a time.”

(Victoria Costello)



  

Tuesday, July 4, 2023

Back to Basics: Pinpoint the “So what?” of your memoir

 

“. . . Memoirs are much more than memories put to paper,” writes Amber Lea Starfire. “Without reflection, you do not have a memoir—you have a vignette or series of vignettes that describes events, but does not imbue the events with meaning and relevance. Meaning and relevance come from reflection.” 

 

The beauty of your memoir will shine brightest when you discern the greater significance of your experiences.

 

In other words, you’ll need to pinpoint the “So what?” of key happenings—the crises, victories, surprises, and discoveries.

 

Ponder this:

 

Your memoir is about happenings that impacted you: 

you lost your job

—or after overcoming obstacles, 

you landed the job of your dreams;

your house burned down; 

you made the college varsity team;

your child died; 

you survived cancer.

 

But those are on the surface of what happened.

Your story is higher and deeper and wider than that.

 

Promise yourself to avoid simplistic “and they lived happily ever after” fluff.

 

When writing about pivotal events in your life,

 step aside to write segments of reflection to share with readers.

 

Before you can write those parts, though, you must be willing to make time to examine, to decode, to scrutinize. Be willing to rethink, to question your assumptions and conclusions.

 

Probing and questioning and unraveling will help you discover significance you might have missed earlier.

 

Discovering that can be life-changing for you

as well as for your readers.

 

And so, for the benefit of (1) yourself and (2) your readers, take plenty of time to discover the heart and soul and richness of the events in your story.

 

But keep in mind that

you might not know the real significance

until you’ve written your story

and have taken time to mull it over.

The process can take days, months, or even years.

 

For example, when I wrote my second memoir, Please, God, Don’t Make Me Go: A Foot-Dragger’s Memoir, after penning one specific event, I wrote a couple of my observations and lessons about that incident.

 

After writing other sections of my memoir, I came back to that story and, to my surprise, I noticed something I’d overlooked beforea pattern in my life. I discovered additional insights that shed light on my habit of fearing God was untrustworthy.

 

That discovery was a turning point in my life with God.

 

That’s what I meant at the beginning of today’s post: The beauty and value of memoir shine brightest when the author seriously reflects on the relevance of his or her experiences—and shares that with readers.

 

After you’ve written a vignette, pinpoint its “So what?” Peel off layers until you can answer these questions:

  • Why was that event so important to me?
  • Why does this memory stand out when I’ve forgotten so many others?
  • What was going on beneath the surface?
  • What patterns did I discover about myself—patterns I hadn’t noticed before?
  • How did the experience lead me to change my life?
  • How would my values, goals, perspectives, and relationships, be different if the event had not happened?

 

But wait! It gets even better!

 

Recognizing God’s involvement in your life

transforms you and your faith for the future.

 

And God also uses your stories to bless, heal,

teach, and encourage your readers.

 

Looking back now, what did you learn about God? Write about how He was:

  • working behind the scenes,
  • managing,
  • directing,
  • choreographing,
  • and arranging the details to carry out His best plans for your life.

 

Do you now have a better understanding of His active presence in your life?

 

How did the experience strengthen your faith for future challenges?

 

To what new place did God lead you?

 

How did He shake you up, change your mind, melt your heart, revise your goals, and make a new person of you?

 

So, get out your rough drafts:

  • unravel,
  • examine,
  • untangle,
  • pore over,
  • analyze,
  • sort out,
  • discover.

 

You might be asking, “Once I pinpoint my “So what,” how do I write about it?

 

Victoria Costello and I offer you the following tips:

 

“Many memoir writers in workshops I’ve taught,” writes Victoria, “encounter trouble with the reflective voice. . . . If it’s a stumbling block for you, here are some phrases that can help you into a reflective voice:

 

“There must have been. . . . Only later did I realize. . . . There was no way to know then. . . . The way I see it now. . . . It has taken me 10, 20, 30 years to understand that. . . .” (The Idiot’s Guide to Writing a Memoir)

 

Below I’ve listed additional reflective phrases you can use:

 

I couldn’t have put it into words back then, but now. . . .

It would be years before I understood that. . . .

I didn’t understand it at the time, but. . . .

When I remember those events, I. . . .

If only I’d known back then that. . . .

Ten years later I would ask myself. . . .

 

Search your heart for the deeper lessons

within your stories.

Only then can you pass on those treasures

to your readers.

 

They’re looking for them, you know.



 

Tuesday, June 26, 2018

Tuesday Tidbit: Use setting to ground your memoir and keep readers reading


If the reader cannot visualize where and when your story took placeyour memoir will suffer,” writes Victoria Costello in The Complete Idiot’s Guide to Writing a Memoir.

And I add to that: Your readers will suffer, too.

“A well-rendered setting,” Victoria says, “grounds your memoir in a specific reality that the reader can see in his mind’s eye.

“With vivid descriptions and sense imagery, a writer creates authenticity and immediacy, which make a story more compelling…. Even if it’s a familiar location, readers see it anew through your eyes, filtered by your experiences.”

Victoria continues, “… Your top priority is to put your personality into the perspective you take. Your experience of the place is inherently different from others’. Tell us why. Be original….”

“Don’t be vague in your rendering of place.
Concrete nouns and specific details convey a place
more vividly than abstract nouns.
Compare ‘honeybees hopping across a bed of violet petals
to ‘a beautiful garden.’”





So then, strive for honeybees and violet petals!

In her book, Victoria offers more tips on settings. I highly recommend The Complete Idiot’s Guide to Writing a Memoir. Your local independent bookstore will be happy to order it for you.

And if you missed recent posts about creating a sense of place, click on these below:



So, there you have it, your Tuesday Tidbit.

Be sure to come back Thursday 
when we'll look at a different kind of setting for your memoir.


Thursday, February 9, 2017

Pinpoint the “So what?” in your memoir


In writing your memoir, pinpoint the “So what?” of key events—the crises, victories, surprises, and discoveries.

Ponder this: Your memoir is about happenings that impacted you: you lost your job—or after overcoming obstacles, you landed the job of your dreams; your house burned down; you made the college varsity team; your child died; you survived cancer.

After you’ve written a rough draft of a vignette, ask yourself: 
  • Why was that event so important to me?
  • Why does this memory stand out when I’ve forgotten so many others?
  • How did the event change me?

In other words, So what?

Memoir involves: 
  • pondering,
  • exploring,
  • unraveling,
  • reflecting,
  • examining,
  • untangling,
  • mulling over,
  • analyzing,
  • musing,
  • sorting out.

Peel off layers one by one until you can answer these questions:

How do you see the experience now, in retrospect?

What was going on beneath the surface?

If the event had not happened, how would your values, goals, perspectives, and relationships be different?

And, if your memoir has a spiritual dimension, how was God:
  • orchestrating,
  • managing,
  • directing,
  • holding the reins,
  • choreographing,
  • and arranging the details,
  • to carry out His best plans for your life?

Connect the dots: To what new place did God lead you? How did He shake you up, change your mind, melt your heart, revise your goals, and make a new person of you?

“Many memoir writers in workshops I’ve taught,” writes Victoria Costello, “encounter trouble with the reflective voice.… If this is a stumbling block for you, here are some phrases that can help ease you into a reflective voice: 

Here are additional reflective phrases you can use:
  • I couldn't have put it into words back then, but now...
  • It would be years before I understood that...
  • I didn't understand it at the time, but...
  • When I remember those events, I...
  • If only I'd known back then that...
  • Ten years later I would ask myself...

Search your heart
for the deeper lessons
within your stories.
Only then can you pass on
those treasures
to your readers.





Thursday, January 26, 2017

Maximize your stories’ power by including reflection


“…Memoirs are much more than memories put to paper….
Memoirs are comprised of two important elements:
scene (narrative) and reflection.
Without reflection, you do not have a memoir—
you have a vignette or series of vignettes
that describes events,
but does not imbue the events with meaning and relevance.
Meaning and relevance come from reflection.” 

The beauty of memoir shines brightest when the author reflects on the meaning and relevance of his or her experiences.

I’m talking about a willingness to make time to return to your story’s key events, to decode, to analyze, to rethink: What did you learn about yourself? How did the experience change your life? What new person did you become?

Your life’s story is much deeper and higher and wider than the story that’s on the surface. Probing and questioning and unraveling will help you discover significance you probably missed earlier, and discovering that can be life-changing for you as well as for your readers.

In writing their books, at key points in the story memoirists step aside to write segments of reflection. Good writers avoid simplistic “and they lived happily ever after” fluff.

For the benefit of (a) your readers and (b) yourself, take plenty of time to discover the core—the heart, the soul—of the significant events in your story.

Keep this in mind, however: You might not know the real significance until you’ve written your story and have taken time to mull it over. That process could take days, or months, or even years.

Let me show you what I mean. Below are excerpts (for brevity’s sake) from a piece I wrote several years ago (for my memoir-in-progress with the working title, Oh, God, Don’t Make Me Go, Don’t Make Me Go!) I’ll stop along the way to make important points:


Rural South America

February, 1978

I trudged up the steep hill, dusty red. It was only 7:45 in the morning and already sweat ran down my forehead and back. I looked forward to reaching level ground at the top and turning left toward my office, but first I would stop at the post office.

Every day I delighted in peeking into our cubbyhole and finding mail from loved ones in the U.S. That had always been the best part of my day.

But today, like so many days recently, my stomach knotted at the thought of what I might find in our mail slot. Would today be the day? Would we get our financial statement from two months ago and learn the bad news?
           
I rounded the corner at the top of the hill and stepped into the cool shade of the post office. I reached into our cubbyhole. Yes, this was the day. My throat went dry as I unfolded our financial statement.

Two months earlier, my husband, Dave, had fallen mysteriously ill. There we were, at the end of the road in the middle of nowhere, working with Summer Institute of Linguistics (SIL). We had no doctor, but we had a nurse. Alarmed at Dave’s symptoms, she insisted he had to go to the capital city for prompt medical treatment.…

… The doctors eventually sent him back home to us, but not before he had run up a bill of $400. That was a huge amount back in the 1970s, and it was $400 more than we had.
           
We were not paid employees of SIL. Nobody was. Instead, we depended on donations from people back home, which they sent to our California headquarters and earmarked for our family. Sometimes people sent money every month but others sent donations only occasionally—so we never knew our financial status.

That was further complicated because it took two months to receive our financial statements from California and find out how much money we had. We’d always lived within our means, with a lot of effort, but we never had a surplus and certainly not the enormous amount of $400 for Dave’s doctor bills. And that’s why my stomach knotted on the way to work, wondering, “Is this the day we’ll get our financial statement and learn we have no money left for food and rent?”
           
Now that dreaded day had come. I stood in the post office, financial statement in hand. My eyes skimmed down the alphabetical list of donors. To my surprise, among the B’s was a name I’d never seen on our list before: Bill and Marion Best. I’d grown up in their church, and I’d babysat their kids a few times, but I hadn’t seen them for years. My eyes ran across the page to see the amount they’d sent. It was $400, the exact amount of Dave’s medical bills.
           
“Wait a minute,” I said to myself. “Dave’s bills were incurred two months ago.” I checked the date the Bests’ money had arrived in California: just days before Dave’s illness. How could they have known?
           
I fought tears. How could this have happened?
           
God tells us, “… Before they call, I will answer….” (Isaiah 65:24). Jesus said, “Your Father knows what you need before you ask Him” (Matthew 6:8). Yes, even before Dave got sick, even before we knew we’d have a need, God worked in the Bests’ hearts to meet our need.


I ended my vignette here the first time: I had discovered what God was doing on my family’s behalf in the midst of our worrisome experience. As a result, I no longer looked at those Bible passages from merely an academic standpoint because I had personally experienced the message of those words: I had experienced God at work.

A few months after I’d written that ending, however, I realized that deeper lessons awaited my discovery, hidden beneath the surface, so I dug down and here’s what I added to the original ending:


It’s important to understand that God doesn’t promise to solve all our problems even before we know about them. He says He knows what we need even before we do, and He even says, “Before they call, I will answer,” but His answer might be, “Wait a while for the solution,” because sometimes God needs to work in our hearts, and maybe other people’s hearts, before we are ready for His answer. God might not have nudged the Bests to send their $400 when they did. Or perhaps He could have nudged them, but they’d put it off for a couple of months. Or maybe God had altogether different ways of meeting our need, but here’s the point I learned: He hears our prayers and when His time is right, He provides.


That was my second ending, but a few months later, after writing other vignettes, I spent time pondering and reflectingnecessary ingredients in memoir—and to my surprise I recognized a pattern in my stories and therefore a pattern in my life. In doing so, I had discovered additional significant lessons, so I added to my vignette’s ending (which I’m still tweaking):


So why had my stomach knotted over our medical bills? Because I doubted God’s desire to help. Looking back over my life, I now see a pattern: Too many times I doubted God’s willingness to help me. I had been viewing God as a fair-weather friend—fickle, unpredictable—someone I could not always count on through thick and thin. Now I’m ashamed of that attitude. It must hurt God so much for me to doubt Him. And come to think of it, my attitude must deeply offend Him.

Imagine! Suspecting God of being untrustworthy! Yet He patiently keeps showing me that He is trustworthy. I am a slow learner, but a major turning point occurred once I recognized my pattern of doubting God. Since that day in 1978, my faith has been more settled than before: I am more relaxed in God’s love, and with His help I am trusting Him more and more.


That’s what I meant at the beginning of today’s post: The beauty of memoir shines brightest when the author reflects on the meaning and relevance of his or her experiences.

Recognizing God’s involvement in your life transforms you and deepens your faith for the future. But God also uses your stories to bless, heal, and encourage your readers.

Here’s the key: You must take time to reflect, to dig deeper:

What patterns did you discover—patterns you hadn’t noticed before?

What did you learn about God? Do you now have a better understanding of His involvement in your life? His purpose for your life? How did your experience strengthen your faith for future challenges?

As a result, what new person did you become?

Dig deeply to discover what God has done for you, 
in you, through you—
every day, every step of the way, 
through the best of times and the worst of times.






Thursday, December 8, 2016

More tips on using dialogue in your memoir


Today we’ll look at more tips for using dialogue in your memoir—because crafting it correctly is so important. (If you missed Thursday’s post, click on Are you using dialogue the right way in your memoir?

Place quotation marks around the words people speak. (Put your silent thoughts—inner dialogue—in italics, not quotation marks.)

Use simple dialogue tags (he said, she asked) rather than bigger words like he bellowed or she whined or he scolded or she demanded. Using fancy tags instead of simple ones will distract readers—they’ll draw attention to the tags rather than the spoken words. Keep the focus on dialogue rather than tags. (For more on this topic, including examples, read this fun post, A Critical DON’T for Writing Dialogue, by Joe Bunting.) 

Delete adverbs and adjectives with your dialogue tags, such as he said arrogantly or she said bitterly.

In general, if the dialogue is only one sentence long, place the tag at the end of it.

Victoria Costello offers this advice: “If you insert a tag between two or more sentences, the tag always goes after the first sentence” (The Idiot’s Guide to Writing a Memoir). For example, compare these two:

“There are many ways of breaking a heart. Stories were full of hearts broken by love,” said Pearl S. Buck, “but what really broke a heart was taking away its dream—whatever that dream might be.”

This is the better way: “There are many ways of breaking a heart,” said Pearl S. Buck. “Stories were full of hearts broken by love, but what really broke a heart was taking away its dream—whatever that dream might be.”

Each time a different person speaks, start a new paragraph.

If two people are in a long conversation, not every line of dialogue needs a tagas long as readers know which character is speaking. To help readers keep track, occasionally include the speaker’s action. For example, the following has no tag but the reader knows who spoke:

“I must go.” Anne stood, threw her scarf around her neck, and turned toward the door.

Here’s another look at crafting dialogue without a tag, based on an example from Joe Bunting’s post. He encourages writers to: “…show…emotion with an action. Like this: ‘I hate you,’ she exclaimed she said, hurling her French book at him. The corner struck him just under his eye. A bright red mark began to rise on his skin.”

Notice two things: (a) Joe changed “she exclaimed” to “she said,” which is good, but (b) Joe could have deleted “she said” altogether. Then the dialogue would look like this:

“‘I hate you.’ She hurled her French book at him….”

I like that better. Do you?

Look over your manuscripts, 
study the way you’ve crafted dialogue, 
and make revisions. 

Your readers will thank you.





Tuesday, July 5, 2016

Tuesday Tidbit: Reflection—it’s a must





“… Memoirs are much more than memories put to paper…. 
Memoirs are comprised of two important elements: 
scene (narrative) and reflection
Without reflection, you do not have a memoir—
you have a vignette or series of vignettes 
that describes events, 
but does not imbue the events with meaning and relevance
Meaning and relevance come from reflection.”


Thursday, August 13, 2015

Your ancestors: What role do they play?


Do you agree with Victoria Costello?



If you agree, or disagree, leave a comment below or on Facebook.

(Can you find me in this photo? Leave a comment below or on Facebook.)






Thursday, February 5, 2015

They can sneak up on you: Benefits of writing your memoir


We write our stories because we believe others—our readers—will benefit from them. And they do.

But many of us are surprised at how beneficial writing our stories can be for usthe writers.

The insights, the healing, the clarity, the hope, the joy—marvels that have been there all along, hidden to us—well, they can all kind of sneak up on us writers. They can delight us. They can change our lives for good.

"Writing is a process in which we discover what lives in us," writes Henri Nouwen. "The writing itself reveals what is alive. The deepest satisfaction of writing is precisely that it opens up new spaces within us of which we were not aware before we started to write." 

"There are many good reasons for writing that have nothing to do with being published," says William Zinsser. "Writing is a powerful search mechanism, and one of its satisfactions is that it allows you to come to terms with your life narrative. It also allows you to work through some of life's hardest knocksloss, grief, illness, addiction, disappointment, failureand to find understanding and solace."

Elizabeth Andrews writes, "The writing itself becomes a means for spiritual growth. Often the writer stumbles on this strange occurrence mid-draft, suddenly discovering that writing can be an avenue for prayers, or a means of wrestling with angels, or a form of contemplation."  

"We find the effort of organizing our thoughts and memories in story form deepens their meaning, and we often mine gems of insight and joy from the dirt of the past," writes Sharon Lippincott. "Life takes on richer meaning and becomes more satisfying."  

Sharon also writes, "All of the dozens of memoir authors I've asked have confirmed that writing has changed their view of life, leaving them happier, healthier, and more serene."  

"In thinking back, we see [God's] hand and see how far we have come. There's no way to predict specifics in the future, but if we see God's hand and how he has blessed us, it totally prepares us to live in joyful and blessed ways." (Pastor Sid Tiller's sermon, A Thousand Generations, based on Psalm 100:5; August 21, 2011)


We receive so many blessings
by taking the time and
making the effort to write our stories.
What are some of the blessings and benefits
you've discovered?
Be sure to leave a comment below or on Facebook.





Thursday, May 29, 2014

So what?


In writing your memoir, pinpoint the “So what?” of each vignette you write.

Ponder this: Your memoir is about events that impacted you: you lost your job—or landed the job of your dreams; your house burned down; you made the college varsity team; your child died; you survived cancer.

After you’ve written a rough draft of a vignette, ask yourself:

  • Why was that event so important to me?
  • Why does this memory stand out when I’ve forgotten so many others?
  • What is the significance of that experience?

In other words, So what?


pondering,
exploring,
unraveling,
reflecting,
examining,
untangling,
mulling over,
analyzing,
musing,
sorting out.

Peel off layers one by one until you can answer these questions:

How do you see the experience now, in retrospect?

What was going on beneath the surface?

How did it change your life?

And, if your memoir has a spiritual dimension, how was God:

orchestrating,

managing,

directing,

holding the reins,

choreographing,

and arranging the details,

to carry out His best plans for your life?

Connect the dots: To what new place did God lead you? How did He shake you up, change your mind, melt your heart, revise your goals, and make a new person of you?

“Many memoir writers in workshops I’ve taught,” writes Victoria Costello, “encounter trouble with the reflective voice.… If this is a stumbling block for you, here are some phrases that can help ease you into a reflective voice:

  • There must have been…
  • Only later did I realize…
  • There was no way to know then…
  • The way I see it now…
  • It has taken me 10, 20, 30 years to understand that…”

Search your heart
for the deeper lessons
within your stories.
Only then can you pass on
those deeper lessons
to your readers.