Brooke, this is such a good insight. "But increasingly I think linear narratives are best for stories that span shorter periods—a year, a couple or three years. If the story you’re writing spans a decade, two decades, a whole life, other structures will undoubtedly feel more freeing." I hadn't thought of it before, but of course.
Also, Elissa Altman! I wish I had read her memoir "Motherland" before I wrote Deep Memoir--so much to say about that memoir! She's a huge missing piece in my reading list in the end. Glad you'll have her on the podcast.
Thanks, Jennifer. Yes, really excited about Elissa! Permission is also insightful and wonderful in all the ways that support memoirists' freedom on the page.
So true. Each memoir is its own unique story (within general types) and needs an opening that suits it. I was worried about opening my sailing memoir, mostly set in 1990, in the present day, but when I suggested starting with chapter three, my editor, my advance readers, and my publisher all said no!
When I worked on "Fourteen" with SWP author Leslie Johansen Nack, we went around about the book's beginning and I convinced her to start with a section that showed sailing/action and then flash back to the childhood stuff she had started the manuscript with. It worked great, and has been so beloved.
Protectors... or is it proctors... versus expanding the boundaries and the classic linear arc. May we continue to challenge the "rules" of creativity and life.
Great insight! I really love non-traditional memoirs or those that offer something different. Currently thinking of Maggie Smith and Laura Munson. Thanks Brooke! Happy Mother’s Day!
Well, this doesn't just apply to memorists. Fiction can also go its merry way. Examples: Katie Kitamura, Audition, which I just finished and loved. My Beloved Life by Amitava Kumar, ditto. Almost anything by Sheila Heti. I've come to believe that idea is to immerse the reader in something they can't let go of...
Inciteful and incisive, as always! But I would issue a gentle caveat. For aspiring memoirists, in particular, it may be a good idea to learn to crawl and walk before running. Meaning, before you break the conventional rules around structure and timelines in order to write a book that meanders, spirals, or explodes, you probably should have a really good handle on the fundamentals of powerful storytelling. And understand what truly holds a reader to the page.
I cannot tell you how empowering and encouraging it is to read this today. I don't have a formal education in creative writing, so I often become intimidated with terms, like Freytag's Pyramid (which I have only recently learned or understood), though I have been writing for decades.
I guess I still don't really feel like I know what I'm doing, especially when it comes to finding a home for my memoir. Being a traditionally published author of spirituality books, I feel frustrated quite often about trying to break into mainstream, because I don't have an agent and no one wants to sign me (so far), and I've been told by three different "experts" that my query needs work (but they each have vastly divergent suggestions on what is working and what isn't). I've taken two query-writing workshops, a book proposal-writing workshop, hired consultants and developmental editors and well, still nothing. No movement.
Ironically, or maybe not, my memoir is about how motherhood seldom unfolds the way we'd hoped or planned, and in my case, I didn't get pregnant when I wanted to, got pregnant when I didn't want to, and ended up giving birth to a daughter with a rare craniofacial condition.
So it is hopeful to me to read that maybe my memoir might be okay as it is, after all. Thank you. (I am loving the memoir class you and Linda Joy Meyers are teaching about You Could Make This Place Beautiful, too!)
This is hard, Jeannie. It's so true that the industry is subjective. Creative work is subjectively received. Once you start shopping your work, or even showing your work, you open yourself up to all the opinions—and opinions is all they are, even from experienced editors and agents. I know it's tough out there and sometimes it's just about putting one foot in front of the other. Sometimes it's about realizing that the traditional space isn't right for your book. I appreciate you sharing this here.
That's so thoughtful of you to reply, Brooke. Thank you. If I had 10k I would publish with you in a heartbeat. By the way, I originally heard about you from my writing circle facilitator, Bella Malaya Carter. She has so many wonderful things to say about you!
Okay, I'm late to the party. I only opened this post up the other day and just read it today. But guess what? I really needed to hear this today! I always love your thoughtful insight and the way you explore an issue. I've been grappling with structure and even wrote a different first chapter that incorporates both your starting suggestions above and an inciting incident, of sorts. So thank you for your encouragement! I'm also reading Permission. I look forward to that podcast! You rock!
After working on my memoir with an ill-defined structure for over 5 years and occasionally starting all over again because it wasn't following what I assumed was an accepted" structure, I'm now doing exactly as you suggested—my way and hoping it makes sense in the end.
Oh, this is such perfect timing. I have been teaching a 4 week session on the art of story for fiction and memoir writers and we were just talking about this very issue! Thank you always Brooke (and Alison for your terrific book on alt structure!)
Thank you for this, Brooke. I partially broke free of the linear narrative I first used to write my memoir by using a spiral structure, as you know. But as I revisit my manuscript and lean into my literary self (and away from the issue-driven story I was telling), I find myself further fragmenting the manuscript. The connective tissues are dissolving, leaving literary bone. The book is feeling more like me, less like what I’ve been taught story was. Such hard, hard work.
A couple of thoughts. One is that Freytag's Pyramid may be so influential these days in part because movies have been our culture's dominant story-telling medium for the past century--and the standard 90- to 120-minute Hollywood movie is well suited to the relatively simple and straightforward structure recommended by the pyramid. Books are a different animal--but even book writers have been programmed by experience to "think cinematically."
Also, it's interesting to note that today's literary world is far from the first to have the need to explode or at least challenge prevailing narrative orthodoxies. Neo-classical European drama in the 18th century was hobbled by a superstitious belief in the "three unities" (of action, time, and place) set forth by Aristotle. Voltaire (among others) mourned the fact that Shakespeare hadn't known Aristotle's rules, which explained the supposed "barbarism" of Shakespeare's plays. It's so easy to elevate "rules" into idols--and so misguided.
Beautifully written, Brooke. It’s remarkable to have a publisher who is so knowledgeable about writing from the inside—you’ve written books yourself and you’re making your notes for a memoir. I particularly love the freedom embedded in your conclusion: write your own story in whichever way you need to tell it. Thank you!
Brooke, this is such a good insight. "But increasingly I think linear narratives are best for stories that span shorter periods—a year, a couple or three years. If the story you’re writing spans a decade, two decades, a whole life, other structures will undoubtedly feel more freeing." I hadn't thought of it before, but of course.
Also, Elissa Altman! I wish I had read her memoir "Motherland" before I wrote Deep Memoir--so much to say about that memoir! She's a huge missing piece in my reading list in the end. Glad you'll have her on the podcast.
Thanks, Jennifer. Yes, really excited about Elissa! Permission is also insightful and wonderful in all the ways that support memoirists' freedom on the page.
So true. Each memoir is its own unique story (within general types) and needs an opening that suits it. I was worried about opening my sailing memoir, mostly set in 1990, in the present day, but when I suggested starting with chapter three, my editor, my advance readers, and my publisher all said no!
When I worked on "Fourteen" with SWP author Leslie Johansen Nack, we went around about the book's beginning and I convinced her to start with a section that showed sailing/action and then flash back to the childhood stuff she had started the manuscript with. It worked great, and has been so beloved.
Good advice. That's a wonderful book! :)
I love how Leslie’s story unfolded. Great job!
Protectors... or is it proctors... versus expanding the boundaries and the classic linear arc. May we continue to challenge the "rules" of creativity and life.
We do!
Great insight! I really love non-traditional memoirs or those that offer something different. Currently thinking of Maggie Smith and Laura Munson. Thanks Brooke! Happy Mother’s Day!
Well, this doesn't just apply to memorists. Fiction can also go its merry way. Examples: Katie Kitamura, Audition, which I just finished and loved. My Beloved Life by Amitava Kumar, ditto. Almost anything by Sheila Heti. I've come to believe that idea is to immerse the reader in something they can't let go of...
Inciteful and incisive, as always! But I would issue a gentle caveat. For aspiring memoirists, in particular, it may be a good idea to learn to crawl and walk before running. Meaning, before you break the conventional rules around structure and timelines in order to write a book that meanders, spirals, or explodes, you probably should have a really good handle on the fundamentals of powerful storytelling. And understand what truly holds a reader to the page.
Totally agreed! It takes many go-rounds to get this stuff figured out. Thanks for the caveat and insight.
Brooke,
I cannot tell you how empowering and encouraging it is to read this today. I don't have a formal education in creative writing, so I often become intimidated with terms, like Freytag's Pyramid (which I have only recently learned or understood), though I have been writing for decades.
I guess I still don't really feel like I know what I'm doing, especially when it comes to finding a home for my memoir. Being a traditionally published author of spirituality books, I feel frustrated quite often about trying to break into mainstream, because I don't have an agent and no one wants to sign me (so far), and I've been told by three different "experts" that my query needs work (but they each have vastly divergent suggestions on what is working and what isn't). I've taken two query-writing workshops, a book proposal-writing workshop, hired consultants and developmental editors and well, still nothing. No movement.
Ironically, or maybe not, my memoir is about how motherhood seldom unfolds the way we'd hoped or planned, and in my case, I didn't get pregnant when I wanted to, got pregnant when I didn't want to, and ended up giving birth to a daughter with a rare craniofacial condition.
So it is hopeful to me to read that maybe my memoir might be okay as it is, after all. Thank you. (I am loving the memoir class you and Linda Joy Meyers are teaching about You Could Make This Place Beautiful, too!)
This is hard, Jeannie. It's so true that the industry is subjective. Creative work is subjectively received. Once you start shopping your work, or even showing your work, you open yourself up to all the opinions—and opinions is all they are, even from experienced editors and agents. I know it's tough out there and sometimes it's just about putting one foot in front of the other. Sometimes it's about realizing that the traditional space isn't right for your book. I appreciate you sharing this here.
That's so thoughtful of you to reply, Brooke. Thank you. If I had 10k I would publish with you in a heartbeat. By the way, I originally heard about you from my writing circle facilitator, Bella Malaya Carter. She has so many wonderful things to say about you!
I’m so happy with how memoir is experiencing a rebirth. And I love the freedom authors are experiencing in their experimentation. Great article!
Okay, I'm late to the party. I only opened this post up the other day and just read it today. But guess what? I really needed to hear this today! I always love your thoughtful insight and the way you explore an issue. I've been grappling with structure and even wrote a different first chapter that incorporates both your starting suggestions above and an inciting incident, of sorts. So thank you for your encouragement! I'm also reading Permission. I look forward to that podcast! You rock!
Thank you Bonny! I love a late to the party comment! ♥️
After working on my memoir with an ill-defined structure for over 5 years and occasionally starting all over again because it wasn't following what I assumed was an accepted" structure, I'm now doing exactly as you suggested—my way and hoping it makes sense in the end.
Can’t wait to read this because, THANK YOU!
This is terrific. Letting go of the linear is so much more interesting as a writer, I think. And even fun.
Oh, this is such perfect timing. I have been teaching a 4 week session on the art of story for fiction and memoir writers and we were just talking about this very issue! Thank you always Brooke (and Alison for your terrific book on alt structure!)
Thank you for this, Brooke. I partially broke free of the linear narrative I first used to write my memoir by using a spiral structure, as you know. But as I revisit my manuscript and lean into my literary self (and away from the issue-driven story I was telling), I find myself further fragmenting the manuscript. The connective tissues are dissolving, leaving literary bone. The book is feeling more like me, less like what I’ve been taught story was. Such hard, hard work.
A couple of thoughts. One is that Freytag's Pyramid may be so influential these days in part because movies have been our culture's dominant story-telling medium for the past century--and the standard 90- to 120-minute Hollywood movie is well suited to the relatively simple and straightforward structure recommended by the pyramid. Books are a different animal--but even book writers have been programmed by experience to "think cinematically."
Also, it's interesting to note that today's literary world is far from the first to have the need to explode or at least challenge prevailing narrative orthodoxies. Neo-classical European drama in the 18th century was hobbled by a superstitious belief in the "three unities" (of action, time, and place) set forth by Aristotle. Voltaire (among others) mourned the fact that Shakespeare hadn't known Aristotle's rules, which explained the supposed "barbarism" of Shakespeare's plays. It's so easy to elevate "rules" into idols--and so misguided.
Beautifully written, Brooke. It’s remarkable to have a publisher who is so knowledgeable about writing from the inside—you’ve written books yourself and you’re making your notes for a memoir. I particularly love the freedom embedded in your conclusion: write your own story in whichever way you need to tell it. Thank you!