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As a form of Creative Nonfiction
“Good memoirs are a careful act of
construction.” —William Zinsser
 Real Life
 Reflection
 Research
 Reading
 “Riting”
Adapted from Lee Gutkind, editor of Creative
Non-Fiction magazine
 Immersion into and with actual events,
locations, people
 Scenes (showing) versus telling stories from
real life that draw in the reader
 Description from real life of people and places
 What is the meaning behind the real experience
or story the writer is telling?
 Is there a message that extends beyond the
author’s own reaction, a larger meaning?
 Reflection means asking yourself questions
about your story, whether it’s a personal
experience or a story outside yourself.
 The mission of nonfiction, in part, is to inform
and educate.
 Even a personal story requires research in
order to provide significant details.
 The research connects the personal story to a
larger intellectual context.
 Even people writing about their own lives
often extend outside themselves
 To verify
 To add context
 For example…
 Expanding your knowledge and ideas by
DEVOURING the works of other writers.
 Not just other creative nonfiction writers, but
other artists and fiction writers and scientists
and musicians and on and on. The more you
know, the more context you have for your own
discovery
 The rough-draft writing of inspiration and
exercises
 The revision writing of cleaning up grammar,
sentence structure, word choice and,
sometimes, the complete structural redrafting
of pieces.
In Night of the Gun, David Carr writes:
“Memoir is a very personal form of creation
myth.”
In Tell It Slant, the authors write: “Memory itself
could be called its own bit of creative
nonfiction.”
How do you interpret these statements?
 Narrative means, in the simplest terms, how
we tell the story, or how we “frame” the story.
 Is it chronological? Ordered by the importance
of the events? Circular, coming back to the
beginning of the piece? Are there sections that
each begin with a uniform element?
 Narrative construction in writing is how we
make transform memories/ ideas into...art
 “A metaphor is a way of getting at a truth that
exists beyond the literal.”
 Metaphor is a common device or “technique”
in poetry. How might it work in creative
nonfiction, based on our reading this week?
 “Excavation” by Wendy Ortiz
 “The Answer to the Riddle is Me” by David Stuart
MacLean
 Voice
 Description
 Scene
 Theme
 What other writing elements do you note in these
excerpts that correspond to the sensory chapters in
Tell It Slant that we read: smell, taste, hearing,
touch, sight
“I think the worst thing that can happen to a
writer is a clear diagnosis. Diagnoses winnow
away possibility and eliminate any data that
doesn’t correspond to the diagnosis. A good
non-fiction writer allows the play between
experience and diagnosed condition. It’s the
data that doesn’t fit the diagnosis that makes
the writer idiosyncratic.”
—David Stuart MacLean
Pick one event from your life that was
meaningfully and that raised questions for
you—that has potential for a short memoir.
Write the event as a scene, make it as detailed as
you can.
You should try to choose a memory that is at least
several years old.
Just plunge in: 20 minutes
 Revise or continue working on today’s freewriting
exercise for a 2-4 page first draft, due next week
 Use one of the exercises from Tell It Slant, pages
12-16 and write something new for a 2-4 page first
draft
 Or...write something different based on an idea/
inspiration for a 2-4 page first memoir draft
 Four copies due next week for distribution for our
first workshop the following week

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Introtomemoir2015

  • 1. As a form of Creative Nonfiction “Good memoirs are a careful act of construction.” —William Zinsser
  • 2.  Real Life  Reflection  Research  Reading  “Riting” Adapted from Lee Gutkind, editor of Creative Non-Fiction magazine
  • 3.  Immersion into and with actual events, locations, people  Scenes (showing) versus telling stories from real life that draw in the reader  Description from real life of people and places
  • 4.  What is the meaning behind the real experience or story the writer is telling?  Is there a message that extends beyond the author’s own reaction, a larger meaning?  Reflection means asking yourself questions about your story, whether it’s a personal experience or a story outside yourself.
  • 5.  The mission of nonfiction, in part, is to inform and educate.  Even a personal story requires research in order to provide significant details.  The research connects the personal story to a larger intellectual context.
  • 6.  Even people writing about their own lives often extend outside themselves  To verify  To add context  For example…
  • 7.  Expanding your knowledge and ideas by DEVOURING the works of other writers.  Not just other creative nonfiction writers, but other artists and fiction writers and scientists and musicians and on and on. The more you know, the more context you have for your own discovery
  • 8.  The rough-draft writing of inspiration and exercises  The revision writing of cleaning up grammar, sentence structure, word choice and, sometimes, the complete structural redrafting of pieces.
  • 9. In Night of the Gun, David Carr writes: “Memoir is a very personal form of creation myth.” In Tell It Slant, the authors write: “Memory itself could be called its own bit of creative nonfiction.” How do you interpret these statements?
  • 10.  Narrative means, in the simplest terms, how we tell the story, or how we “frame” the story.  Is it chronological? Ordered by the importance of the events? Circular, coming back to the beginning of the piece? Are there sections that each begin with a uniform element?  Narrative construction in writing is how we make transform memories/ ideas into...art
  • 11.  “A metaphor is a way of getting at a truth that exists beyond the literal.”  Metaphor is a common device or “technique” in poetry. How might it work in creative nonfiction, based on our reading this week?
  • 12.  “Excavation” by Wendy Ortiz  “The Answer to the Riddle is Me” by David Stuart MacLean  Voice  Description  Scene  Theme  What other writing elements do you note in these excerpts that correspond to the sensory chapters in Tell It Slant that we read: smell, taste, hearing, touch, sight
  • 13. “I think the worst thing that can happen to a writer is a clear diagnosis. Diagnoses winnow away possibility and eliminate any data that doesn’t correspond to the diagnosis. A good non-fiction writer allows the play between experience and diagnosed condition. It’s the data that doesn’t fit the diagnosis that makes the writer idiosyncratic.” —David Stuart MacLean
  • 14. Pick one event from your life that was meaningfully and that raised questions for you—that has potential for a short memoir. Write the event as a scene, make it as detailed as you can. You should try to choose a memory that is at least several years old. Just plunge in: 20 minutes
  • 15.  Revise or continue working on today’s freewriting exercise for a 2-4 page first draft, due next week  Use one of the exercises from Tell It Slant, pages 12-16 and write something new for a 2-4 page first draft  Or...write something different based on an idea/ inspiration for a 2-4 page first memoir draft  Four copies due next week for distribution for our first workshop the following week

Editor's Notes

  1. We could listen to an interview with William Zinsser, well known writing writer, which delves into contemporary memoir. This is a few years old, but it still gives a good history. Listen to Frey stuff, joyce maynard
  2. In the introduction, the authors of Tell It Slant refer to Lee Gutkind, the editor of the magazine Creative Nonfiction, who devised the five Rs of creative nonfiction
  3. David Carr is the media reporter for The New York Times and he wrote a memoir several years ago about his time as a drug addict, but because he was a drug addict then he wanted to actually go back and report on his own life, not just use his own memories.
  4. Uniform element could mean starting each section with a scene or a quote or an idea.
  5. How would you characterize the voice/ tone of this first piece
  6. Who can tell me the difference between a scene and a summary