• From: "Bruce Cook, AuthorMe.com" <cookcomm@xxxxxxx>
  • To: authorme@xxxxxxxxxxxxx
  • Date: Sat, 1 Mar 2008 19:34:42 -0800 (PST)

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    In this issue...
VERB STEW -  Bruce Cook
     TRUTH OR LIE: FICTION VS. MEMOIR - How Memoir Writers Can Approach Truth 
and Healing, by Linda Joy Myers
       (submit to cookcomm@xxxxxxx - marked Author-India)

   By Bruce Cook
     Does your writing pass the ?Verb Stew? test?
 This is the name I?ve given to problems I see frequently with new writers. In 
fact, the presence of ?Verb Stew? announces to me that the writer is short on 
experience. How can you avoid making this impression?
 Try this simple passage.
 ?Sam descended from the bus and walked into the forest behind the store. 
Suddenly a great brown bear attacks him. Seeing the bear, Sam pulled a whistle 
from his pocket, blew it loudly, and began to clap his hands. As if by magic, 
the bear stands erect and begins dancing around. ?A least this old bear has 
done no harm,? Sam thought as he radioed the zoo.?
 If you read this quickly, you probably missed the verb stew. But I had warned 
you so I hope you noticed it. There are blatant shifts between past and present 
here. Now, there are several possible excuses for this.
 First, it?s possible that we have two bears. The first would be the bear that 
Sam met when he ?walked into a forest,? say, 14 years ago. The other would be 
the great brown bear that ?suddenly?attacks him? today. But this leaves a 
?stew? of past and present, and simply doesn?t make much sense.
 Second, it?s possible that we are shifting from the eye of the reader (past 
tense) into Sam?s point of view as he sees the bear attack (present tense). 
 In fact, this is closer to the truth. In this case, it?s all about the writer, 
who sets the scene in the past and then lets us see what is happening (now) in 
the writer?s imagination. But, please remember, it?s not all about the writer. 
It?s all about the reader who has been kind enough to read our story. Why 
confuse the reader?
 New writers do this in nonfiction and business writing too. For example, in 
writing your biography or resume, you will be tempted to say that you worked at 
a particular place several years ago. But, in the next sentence, you will 
describe your function in the present tense, hopelessly confusing the reader. 
For example, my resume might describe my first job, saying I worked at 
Stolz-Wicks as a stock boy in 1954. Then, in the next sentence, I might say: 
?place electric parts in correct bins, clean ashtrays, and check bills of 
lading from delivery trucks.? If I do this, do I not leave the impression that 
my employer has me cleaning ashtrays today?
 I recommend that you conduct a brief ?Verb Stew Check? after you write 
something, right after you check spelling and grammar. Watch for consistency in 
verbs. If the passage is set in the past, keep it there. If in the present, 
keep it there. But don?t switch back and forth without good reason.
 But I digress. Now I have to go back and rescue Sam from that bear he met 14 
years ago!


     TRUTH OR LIE: FICTION VS. MEMOIR: How Memoir Writers Can Approach Truth 
and Healing
By Linda Joy Myers
The recent flap about James Frey?s A Million Little Pieces has hit the media 
with a big bang, bringing the age-old debate about what is acceptable when 
writing memoir--a ?real? story. Every time a memoir is released that gains 
media attention this debate is raised. Mary Karr, The Liar?s Club, Jennifer 
Lauck, Blackbird, and Vivian Gornick, Fierce Attachments, all defended their 
memoirs in various medias, and all said that some recreations of actual reality 
had to occur in order to write the story and make it interesting. 
As a memoir teacher, I find that people are very worried about the ethical 
issues involved in memoir writing. For example, the writers ask such questions 
as, ?what if I don?t remember the exact conversation when my mother died,? or 
?I don?t know what clothes I was wearing the day my father went away forever.? 
I am always moved by these innocent, caring questions, because the writer is 
trying very hard to be truthful and accurate, and not leave any room to be 
accused of dishonesty. 
     In my memoir Don't Call Me Mother I researched the time the train arrived 
in Perry,  Oklahoma to make sure the scene I was painting and the conflict with 
my grandmother about how long she'd kept my father waiting at the train 
station--three hours! was accurate. My memory told me it was a long time, but 
finding the time of scheduled arrival made me feel great--memory was not all I 
was drawing upon to create a story that would be taken seriously as "real." In 
fact, when I began writing the stories that eventually turned into my memoir, I 
was calling it "fiction," but the writing group challenged me about how 
unrealistic it was that a mother would act the way my mother acted, and that my 
grandmother was portrayed as "too over the top," thus unbelievable. My answer 
was, "but it was all true." Their response: "It doesn't matter what is true in 
fiction, but it does for memoir." 
I realized that the power of the story I was going to tell was that it was 
true, and I did my best to recreate scenes that delivered the truth. Naturally, 
childhood memory is subjective, any memory is subjective, but over the years, 
as I talked with people who knew parts of the story and visited locations where 
the story took place, I discovered that indeed I had remembered very well, and 
I had not made things up in my mind. However, I am sure that if my grandmother 
and mother were alive to challenge what I wrote, they would have another point 
of view.
In order to reach out to the reading public and go beyond private journaling, a 
memoir writer must create a story that has a shape, drama, and story arc. This 
may mean constructing a scene that conflates time, or adds costumes to our 
characters that they may or may not have worn, but our job is to be as accurate 
and as honest as we can be. If we change the plot of our lives because another 
plot would be more interesting to the publisher, we are in the realm of 
fiction. If we say we had relationships we didn't have because it would make a 
better story, we need to call it fiction.
A memoir writer needs to write a first draft that sifts through the happenings, 
feelings, and challenges and get them down on the page--a draft that is healing 
and purging--and important work. 
Publishing is another stage. The writer must ask many questions of the 
work--how much to include, what is the shape of the book, and how to write it 
so others can identify and understand.
What to say about James Frey? None of us can know for sure what went on for him 
as he constructed his book, and what he remembered. On January 15, Mary Karr 
wrote a piece in the New York Times about memoir writing and she had this to 
"Call me outdated, but I want to stay hamstrung by objective truth, when the 
very notion has been eroding for at least a century. When Mary McCarthy wrote 
'Memoirs of a Catholic Girlhood' in 1957, she felt obliged to clarify how she 
recreated dialogue. In her preface, she wrote: 'This record lays a claim to 
being historical - that is, much of it can be checked. If there is more fiction 
in it than I know, I should like to be set right.'"
Mary went on to talk about how much she learned, and how healing it was when 
she didn't make passages in her book more "interesting" or shape them into a 
slightly different story. "If I'd hung on to my assumptions, believing my drama 
came from obstacles I'd never had to overcome - a portrait of myself as scrappy 
survivor of unearned cruelties - I wouldn't have learned what really happened. 

Which is what I mean when I say God is in the truth."
What a great idea?as we write memoir we are reaching for something beyond our 
conscious selves. In the river of creativity and the search for truth, there 
are forces beyond us moving us along to a place we didn't even know about, a 
place of healing and resolution. We can hope that James Frey also has found, or 
is finding, a resolution for his suffering, and that all memoir writers do the 
same, by wrestling with what truth is, and writing it out with a full voice. 

Linda Joy Myers, Ph. D., prize winning author of Becoming Whole: Writing Your 
Healing Story, is a Marriage and Family therapist and teaches memoir-as-healing 
workshops in the San Francisco Bay Area and nationally. Linda?s work has been 
praised by reviewers, healers, and radio and television interviewers.
You can visit her web site at Memories and Memoirs 
Linda Joy Myers Ph. D. prize winning author of Becoming Whole: Writing Your 
Healing Story is a Marriage and Family therapist and teaches memoir-as-healing 
workshops in the San Francisco Bay Area and nationally. Linda's work has been 
praised by reviewers healers and radio and television interviewers. You can 
visit her web site at: http://www.lindajoymyers.com 
 View all articles by Linda Joy Myers
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       Publishing New Writers, March, 2008 (No. 903)
       Publisher: Cook Comm - Bruce L. Cook, P.O. Box 451,
       Dundee, IL 60118 USA.
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