Posted: January 20, 2020 Filed under: Chatting with the Pros, Interview, Memoir, Nonfiction, Self-Help, Writing, Writing Workshops | Tags: Chatting with the Pros, Diana Raab, Memoir, Nonfiction, Self-Help, Writing, Writing to be Read
My author guest today on “Chatting with the Pros” is someone who focuses on helping fellow authors to find and harness their positive inner energies and let them shine through, both in their writing and in their lives. She has written memoirs, poetry, written and/or compiled writing resource books, and she offers workshops focused on healing and transformation through memoir writing. Her works have won numerous awards, including Best Book Award, Feathered Quill Book Award, Mom’s Choice Award, Eric Hoffer Award, and Allbooks Review Editor’s Choice Award. Please help me welcome creative nonfiction author, Diana Raab, PhD.
Kaye: You have a PhD in Psychology with a research focus on the healing and transformative powers of memoir writing. Can you explain briefly what those powers are?
Diana: My research examined how pivotal experiences encouraged individuals to write memoirs as a way to transform, grow, and become empowered. I interviewed esteemed writers about the role writing their memoirs had in their lives. Poet Kim Stafford said that writing his memoir transformed him, in that it helped him come to a new understanding about his brother’s suicide. Another writer said that the writing experience relieved him from the pain of his past. And another writer who lost a son said that writing helped her look at life in a much larger context and also helped to keep her son “alive.” Writer Maxine Kingston said that she was transformed by penning her memoir because she was finally able to tell the stories from her past, which for a long time had been a secret. Thus, in most cases, the writers were liberated from the demons of their pasts.
Kaye: How can writing facilitate transformation and empowerment?
Diana: Transformation is a dramatic change in one’s physical or psychological well-being. It’s about becoming more aware of and facing our thoughts, feelings, and experiences. Writing down our feelings can lead to self-realization and a sense of empowerment, because we’re moving our feelings from inside of us and onto the page; and like therapy, it can help us work through our challenges. Writing can also be transformative because it helps us gain a better understanding of ourselves. With that understanding comes deeper reflection, and consequently a more profound sense of harmony.
Kaye: What is your biggest challenge of being a writer?
Diana: That’s a great question. In my earlier years, while raising children, my biggest challenge was carving out the time to write. These days, I would say that my biggest challenge as a writer is finding inspiration.
Kaye: What time of day do you prefer to do your writing? Why?
Diana: When I was younger, I used to love writing in the wee hours of the night, but now that I’m older, my preference is to write early in the morning. That’s when my mind and thought processes are most clear. I like writing just after my morning meditation, as sometimes thoughts emerge during this time that can move me into a highly creative and inspirational zone.
Kaye: Besides writing, what are your favorite things to do?
Diana: I love being with my adult children (ages 36, 34, and 30) and playing with my grandchildren; and I love hiking and going for beach walks. I meditate every day, and like most writers, I love to read. I also love cooking, especially soups and desserts. I love doing needlepoint, a craft I learned from my maternal grandmother, Regina, who committed suicide when I was ten. She was my caretaker, and this was a huge loss for me. Her story is the basis of my first memoir, Regina’s Closet: Finding My Grandmother’s Secret Journal.
Kaye: How does memoir writing differ from other writing forms? Don’t most forms of writing “unleash the true voice of the inner self”?
Diana: I don’t believe that most forms of writing “unleash the true voice of the inner self.” It might start out that way when writing fiction, but soon the imagination comes into play. Memoir writing is a first-person account chronicling a slice of life, not an entire life. It is a subjective recollection from one’s own perspective. Typically, there is a theme or thread running through a memoir. What sets a memoir apart from other forms of nonfiction is that it weaves the story as it happened, but also includes reflection. It’s much more than a journalistic telling. Compelling memoirs definitely unleash the true inner self.
Kaye: Tell me about your writing workshops. What can I expect to come away with if I take a workshop with you?
Diana: What you will come away with will depend on the nature of the particular workshop. Each one is different, depending on its focus. I usually revise my workshop format accordingly. For example, I’ve taught high-risk youth, bereaved adults, hospice workers, and those battling with drug addiction. My regular workshops are related to memoir writing, where participants of different writing levels come together to work on their personal stories.
I limit these groups to ten individuals so that I can offer individualized coaching. Participants learn by hearing my comments about their memoirs, and we also discuss published memoirs. They’re grateful to hear about all the tidbits of information I’ve gathered during my 40-year writing career. I stress the idea that writing is a process, and like any other process, patience is necessary. Those who take my workshops say that they leave them feeling very inspired to continue their memoir-writing journeys.
Kaye: What lessons do you want readers to walk away with from reading Writing for Bliss: A Seven-Step Plan for Telling Your Story and Transforming Your Life?
Diana: There are many lessons within those pages, as I weave my story into a how-to book on personal writing. I want readers to understand the transformative powers of memoir writing and be aware that writing is a journey. I stress the idea of truly enjoying that journey and not becoming focused on the destination. People have called Writing for Bliss “instructive, inspiring, healing, and a blueprint for writing for healing and transforming your life.”
Kaye: You put together a book project that was quite innovative with Writers and Their Notebooks. I thought it was a really cool idea, and apparently others did too, since it became a Best Books award finalist with USA Book News. In fact, I’d bet there is an abundance of valuable information for aspiring authors. What inspired you to compile an anthology of author essays about the value of an author’s notebook?
Diana: As I mention in the Preface, “As artists have sketchbooks, writers have notebooks.” My inspiration for creating this anthology originated from my own experience and the joy that journaling has brought into my own life. For more than five decades, journaling had helped ground and center me. My passion began with my mother giving me a Kahlil Gibran journal when I was ten to help me cope with my grandmother’s suicide.
This book is a celebration of well-published writers who use their notebooks to inspire, record, and document anything and everything that nurtures or sparks their creative energy. Many of the essays in the collection are confessional in nature. This year celebrates the book’s tenth anniversary. The project is even more meaningful for me now, as many of the writers in the anthology have passed away, such as Sue Grafton and Michael Steinberg.
Kaye: Another valuable anthology which you put together is Writers on the Edge, a collection of 22 authors being brutally honest about their own battles with addiction. Was it difficult to get so many authors to open up?
Diana: Great question. Addiction is defined as the obsession and compulsion to self-destruct. Author James Brown and I co-compiled this anthology because of our passion for the subject. We contacted writers who we thought would be interested in writing about their journaling practices. We were honored when Jerry Stahl agreed to write the foreword. A number of authors said that they didn’t know if they could write so intimately and honestly, but they did. Some had never written nonfiction before, so it was a huge challenge for them, but in the end, they felt a huge sense of satisfaction. As we said in the preface, “These battles are not fought alone, and perhaps these stories will also provide insight and hope to all those and their loved ones struggling with some form of addiction and its inevitable consequences.”
Kaye: You’ve written two memoirs yourself. Why did you choose to share with others your inner thoughts and feelings during a difficult time in your own life, with Healing with Words: A Writer’s Cancer Journey?
Diana: After my first cancer diagnosis in 2001, I decided, as a gift to myself, to enroll in graduate school for my MFA in writing. My two memoirs were a part of my creative thesis. In actuality, I had no intention of writing a memoir about my cancer journey. I was the type of person who believed that I got breast cancer, had a mastectomy and reconstruction, was healed, and that it was over and I’d be okay. I didn’t want my cancer diagnoses to define me.
During my recovery, I did a lot of journaling, but with no intention to publish a book on the subject. Five years later, to my surprise, I was diagnosed with multiple myeloma, an incurable form of bone marrow cancer. Supposedly, it’s not connected to breast cancer. I was devastated, but the silver lining was being told that I had smoldering myeloma and wouldn’t yet need treatment, just regular blood work.
My friends and colleagues encouraged me to write about my cancer journey because they thought it would help others. To make the book a little different and more universal, I decided to create a self-help memoir where I provided journaling opportunities for readers to share their own cancer journeys.
Kaye: You won the Mom’s choice award for your first memoir was Regina’s Closet: Finding My Grandmother’s Secret Journal. What kind of revelations does it contain?
Diana: During the writing process, I learned a lot about my grandmother. I began writing the book about the time of my first cancer diagnosis. I wanted to study my grandmother’s life to see if she’d committed suicide in 1964 because of cancer, but that wasn’t the case. I learned that at the time of her death, she was very depressed, and her doctor had given her a prescription for Valium, which she eventually overdosed on. By studying my grandmother’s life, I learned that she held on to the demons of her past, such as being orphaned during World War I and marrying an abusive man. All this inner turmoil eventually got to her, so she took her own life.
Kaye: Imagine a future where you no longer write. What would you do?
Diana: I don’t want to think about it. I love writing, whether it’s journaling; or writing poems, articles, letters, or blogs. It’s where I find my peace.
Kaye: What is next for Diana Raab? What can your readers and authors look forward to in the future?
Diana: Last year I turned 65 and felt that there was a huge shift in my vision. While I’ve always practiced mindfulness, I find that I’ve been living more in the moment. Also, in recent years, I’ve lost a number of loved ones, which is another reminder to enjoy the present. Thinking a little farther ahead, I hope to give more workshops and maybe create some short inspirational books. I’m currently working on my fifth book of poetry. I also have an unfinished novel that has been sitting in my drawer. Maybe one day I’ll be inspired to get back into it, or perhaps I’ll become inspired to write a children’s book for my grandchildren. Time will tell!
I want to extend my thanks to Diana Raab for joining us today and sharing with us. I have to agree with her philosophies, as I’ve experienced the healing powers of writing in my own life. I believe many of us have. If you’d like more information about Diana, her books, projects and events at her website: dianaraab.com.
You can catch the monthly segment “Chatting with the Pros” on the third Monday of every month in 2020, or you can be sure not to any of the great content on Writing to be Read by signing up by email or following on WordPress. Please share content you find interesting or useful.
Posted: January 6, 2020 Filed under: Blog Content, Books, Creative Nonfiction, Memoir, Nonfiction, Self-Help, Writing, Writing to be Read | Tags: Creative Nonfiction, essays, How To, Memoir, Self-Help, True Story, Writing to be Read
Nonfiction is the stuff texts books are made of, the straight-out boring stuff that puts you to sleep, right? Not necessarily. Texts books don’t have to be boring. Nonfiction that is written creatively can capture the reader’s interest or immerse them into true life stories. From memoir, to self-help and how-to books, and yes, even text books can be highly entertaining.
True life circumstances and facts determine the story in nonfiction, yet nonfiction authors are faced with the same challenges as fiction authors to bring the characters and setting to life in the readers mind, or portray the information they wish to relate in a manner which readers can relate to. Both fiction and nonfiction authors strive to grab readers attention, now, in this digital age more so than ever before. But there are differences, as well.
To start off 2020, we’re going to delve into creative nonfiction in January. We have a pretty good sampling on the different forms that creative nonfiction might take. My author guest on “Chatting with the Pros” is bestselling author and memoirist, Diana Raab, who believes in the healing powers of writing. I will also be interviewing an author team, Mark Todd and Kym O’Connell Todd, who wrote Wild West Ghosts, one of the most informative and entertaining how-to books I’ve read. I will also be reviewing a true crime book, Missing: Murder Suspected, by Austin Stone, edited by his son Ed after his father’s passing, and a book on writing, On Being a Dictator, by Kevin J. Anderson and Martin Shoemaker. I do hope you will join us and help get Writing to be Read off to a good start for the year ahead.
For additional samplings of creative nonfiction see the following interviews and reviews:
“Chatting with the Pros: Interview with Nonfiction Author Mark Shaw”
“Interview with author Mark Shaw”
“Interview with author B.Lynn Goodwin”
Review: How I Sold 80,000 Books: Book Marketing for Authors by Alinka Rowkowski
“Interview with multi-genre author Brenda Mohammed”
“Interview with nature author Susan J. Tweit”
Review: How to Become a Published Author, by Mark Shaw
Review: The Well-Fed Writer, by Peter Bowerman
Review: Stress: How Stress Affects Your Life and How to Manage It, by Dr. Christine Rose
Review: Hack Your Reader’s Brain, by Jeff Gerke
Review: Horror 101: The Way Forward (Crystal Lake Publishing)
Review: Hollywood Game Plan, by Caro;e Kirschner
Review: Simplified Writing 101, by Erin Brown Conroy
Review: The Road Has Eyes, by Art Rosch
Review: The Reporter Who Knew Too Much, by Mark Shaw
Review: Denial of Justice, by Mark Shaw
Review: Courage in the Face of Evil, by Mark Shaw
Review: Letters of May, edited by Julie Alcin
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Posted: April 8, 2019 Filed under: Commentary, Memoir, Nonfiction, The Making of a Memoir, Writing, Writing Process | Tags: Creative Nonfiction, Losing Michael: Teen Suicide and a Mother's Grief, Memoir, Nonfiction, The Making of a Memoir, Writing Process, Writing to be Read
Losing Michael: Teen Suicide and a Mother’s Grief
“The Making of a Memoir” is a bi-monthly blog series which explores the stages of writing a memoir as I write the story of losing my nineteen year old son, Michael, to suicide, through his story and the tale of a life without him and the grief I experience every day, even after he’s been gone for a decade. Some progress has been made toward the actual writing of the book since the last segment. I made a final decision on the title above for the book, and work on the cover is in progress with Art Rosch at Starrts Creative. Although there is still a lot of material still to sort through and compile what I want to include, I managed to work through a considerable amount. The going is slow, as I knew it would be, due to the emotional nature of the material and the memories some of it awakens.
In the last segment, “Stage 1: Prewriting Tasks“, I said I expected this book to be the most difficult story I have ever attempted to write, and that has proven to be true. In fact, it has proven to be difficult in more ways than I had imagined. This segment was supposed to be titled “Stage 2: Selling the Story”, but alas, unexpected “Obstacles and Roadblocks” has become a more appropriate title. Over the past two months, I run into several and I’m still trying to find a way around, over or through one huge one in particular – legalities.
Memoir can and should be a work of creative nonfiction. It is a true story told creatively, so as to capture and hold the readers’ attention. What memoir is not, is a work of fiction, with fictitional characters and places. You are telling a true story, something that actually happened, something in which other real people played different roles, and to tell the story, their parts must be told as well, even if the tale doesn’t portray all of them in a positive light. A good memoir must be told with honesty, from the heart.
As I sorted through the plethora of material I have gathered and saved since my son’s death: his poetry, writings and artwork; my poetry and writings; and oh so many photos, I couldn’t help but think about the other people involved, directly or indirectly with the story of the events leading up to Mike’s death and also the events that came after, and I realized that there were more than a few, people associated with Mike, and law enforcement officers, who might not want this story to come out because of the manner in which they might be viewed for their parts in his death.
It normally wouldn’t be a problem at all. I’m writing the story of events as they happened to the best of my knowledge. Many facts surrounding Mike’s death were suspicious, and for a time I believed that Mike might have been murdered. Things didn’t add up, but the proof to back up what I know to be true was withheld from me by local law enforcement. I no longer entertain the idea that Mike’s death was anything other than suicide, without the proof that the events happened the way I claim they did, I could be open to liable in telling this story.
The individuals involved wouldn’t really be a problem. The obvious solution is to change the names. Even in a true story, real people can have fictitious names, without damaging author credibility. Authors do this all the time; you just state that some names have been changed and readers won’t feel cheated.
The law enforcement agency and certain individual agents present a bigger problem. Do I change the names of the law enforcement agents? Do I change the name of the area they represent? How much can be changed before a true story becomes a work of fiction? The proof I lack wouldn’t portray the local law in a positive way and they know it, so they aren’t likely to have a change of heart about sharing it with me for the book. They play major roles in the events leading up to Mike’s death, and the story really can’t be told without their inclusion.
Although this issue has presented a roadblock that appears it might be unsurpassable, I have a couple of ideas on how I might be able to get around it. I need to let it play out and see. If not, I’ll look for a way to go over, or under if I have to. This is a story that must be told, and I’m determined to tell it. By the next segment, in June, I should be moving forward once more. I’ll let you know how it gets resolved. I do hope you’ll join me then.
Join me in my writing journey through “The Making of a Memoir” the second Monday every other month on Writing to be Read: February, April, June, August, October and December. To be sure not to miss one segment, subscribe to email or follow on WordPress for notification of new content.
Posted: February 25, 2019 Filed under: Biographies, Biography, Books, Commentary, Creative Nonfiction, His Name Was Michael, Memoir, Nature writing, Nonfiction, Self-Help, Travel, Writing, Writing to be Read | Tags: Biography, Creative Nonfiction, Diaries, How-to books, Journalism, Memoir, Nature Guides, Nonfiction, Self-Help, Travel Books, Travel Memoir, Writing to be Read
Our monthly theme for February on Writing to be Read was, you guessed it – nonfiction. So, what tipped you off? Was it the great interview I did with nature author Susan J. Tweit? Or maybe the nonfiction revues of How to become a Published Author and Letters of May? Or perhaps it was the “Chatting with the Pros” interview of nonfiction author Mark Shaw? Whatever it was that gave it away, I’m here to tell you that these few posts on nonfiction don’t even scratch the surface of what the genre of nonfiction encompasses.
There are many subgenres of nonfiction, just as there are many subgenres under each of the genres of fiction. When someone asks what type of book your fiction novel is, we are quick to catetgorize it as a paranormal mystery, a historical romance, or a science fiction thriller. For some reason, we don’t seem to think about nonfiction the same way we do fiction and when someone asks what type of book your memoir is, or your travel diary, or your self-help book, we tend to lump it in with all the rest in nonfiction. Why this is, I don’t know, but I find that it is the case, time and time again.
The fact is, not all nonfiction books are alike and there are many categories or subgenres that fall within the nonfiction realm. Mark Shaw writes biographies and creative nonfiction tales that are very different from the memoirs, illustrated travel books and nature guides of Susan J. Tweit. Other types of nonfiction that are hard to define are books like Mark Todd and Kym O’Connell Todd’s Wild West Ghosts, which chronicles their ghost hunting experiences and offers advice on how you can be a ghost hunter too. Or Hollywood Game Plan by Carole Kirshner, which is a how-to guide for anyone wanting to break into the screenwriting world. These books are all nonfiction, but they are all very different types of books.
According to wikipedia the genres of nonfiction are biographies, autobiographies, memoirs, commentaries, creative nonfiction, critiques, essays, owners manuals, journalism, personal narratives, reference books, self-help books, speeches, and text books. I would add to that spiritual texts, encyclopedias, documentaries, how-to books, cookbooks, diaries and anthologies such as the one found in Letters of May, which is a collection of writings and artwork illustrating the world of those afflicted with mental illness. I’m sure there are others, but as you can see the list is quite extensive.
Nonfiction books may or may not be aimed to entertain, but the primary purpose, no matter the type of nonfiction book, is to inform. This may account for the fact that my reviews of nonfiction books receive more views in general, than most of my fiction reviews. A fact that I found to be surprising when I uncovered it while looking over the data for this blog. My theory is that readers turn more quickly to books they may find useful than they do to those with entertainment as their sole purpose.
My reasons for interest in nonfiction and all it’s many forms stems from preparation for my journey to write my own memoir, telling the story of my son’s death and my life without him, His Name Was Michael. My bi-monthly blog series which will chronicle that writing process, “The Making of a Memoir“, came out with the first segment in February, too. It was a good month for it to come out, as it also fits in with the nonfiction theme. I hope you’ll join us again next month, when the theme will be science fiction and fantasy.
Be sure to join me next month when we will explore science fiction and fantasy, with guest author Kevin J. Anderson on “Chatting with the Pros” on March 18th, as well as a review of his Selected Stories: Science Fiction Volume 2, and Jordan Elizabeth’s Rogue Crystal.
Update: In Friday’s post I talked about the changes coming for Writing to be Read. One more change that I just recieved confirmation of, and I’m pleased to announce: Art Rosch will also be posting one movie review a month, on the forth Friday of the month, in “Art’s Visual Media Review”.
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Posted: February 11, 2019 Filed under: Books, His Name Was Michael, Memoir, Writing, Writing to be Read | Tags: His Name Was Michael, Memoir, Pre-writing, research, The Making of a Memoir, Writing, Writing to be Read
His Name Was Michael
I’m starting this bi-monthly blog series, The Making of a Memoir, which will chronicle my journey as I write my memoir of my teenage son’s suicide and my life without him, breaking down the memoir process into stages. I am sharing thios process for several reasons. One, Michael’s story deserves to be told. It needs to be told. Two, telling my own story may act as a catharthis and help me to resolve my own unresolved issues surrounding Mike’s death. Three, commiting to bi-monthly accountability to you, my readers and fellow authors, forces me to create and meet deadlines, assuring that I make adequate progress on the book. It is too easy to make excuses and avoid the emotionally difficult tasks if I’m accountable only to myself. And four, I believe there are those of you out there who are interested in the methodology behind creating memoir.
Before I can begin writing the my memoir telling the story of my son’s death and the story of my own journey to find closure and my need to be sure that he will always be remembered, I must know what it is that I want to say, and have some idea of how I want to present it. After Michael’s death, I went through his writings and artwork, I went through every picture of him over and over and over. I listened to his music. And I cried and cried, and I thought I would never stop. It never has. At least not completely, but I did gain control over it by putting all his things away, to be dealt with at a later time. I knew I needed to tell his story then, but I wasn’t ready. Not then.
I actually made several false starts at writing his story at different times, I wrote poetry, some of it semi-epic, but the emotional wounds were still fresh. I was angry and overcome by grief, and I wanted by son back. I wasn’t able to portray what I was feeling with the depth of emotions I was experiencing. I had to set it all aside and heal some before I could undertake this immense task.
In addition, I wasn’t a skilled enough writer to undertake it at that point. I’ve since earned my M.F.A. in Creative Writing, published three books, and have short fiction and poetry featured in several publications and anthologies. Does that make me an expert now? No. But it has taken me down that path, and certainly I know more about writing books and my writing skills are much improved. I believe that I’m ready now to undertake the writing of my son’s story and my own.
There is no doubt in my mind that this book will be the most difficult book I could ever attempt to write. It is difficult because there is so much emotional investment in this book for me. I’ve collected and saved a mass of materials which may or may not end up in this memoir, but it first must be sorted and compiled. This is a difficult task because of the emotions attached to every piece of material I’ve collected and with the memories associated with each one. Michael has been gone from my life for a decade, but the compilation of these materials still must be taken slowly, a little at a time.
On the other hand, emotional investment in the author lends authenticity to the story and that, according to some, leads to best seller material that people want to read. If you go by that thinking, the more difficult the book is to write, the better it will be. You can let me know if I’m right after you’ve read it.
I thought I had the title. His Name Was Michael: How I lost my son to teen suicide. The title, “His Name Was Michael”, is perfect, for it reflects the feelings I had as time passed and others went on with their lives. Sometimes, I felt that everyone had forgotten about him except my husband and I. A title that would make people remember is a must, and I think it does that. But the subtitle, “How I lost my son to teen suicide”, although clearly and concisely telling the reader what the story is about, it doesn’t roll off my tongue smoothly when I say it aloud. I came up with the idea of replacing it with “No Happy Endings”, and although it states a truth about this story, the potential reader picking it up off the shelf or spotting it online, might pass it over because it sounds depressing and doesn’t really tell them what the book is about. At this point, I have to wonder if a subtitle is even necessary. Comments on Facebook reflect the idea that the title is strongest without any subtitle. So, I am rethinking the title and I’m open to suggestions or thoughts in the comments.
There is still much to do in addition to compiling material and deciding on a title, before I can begin the actual writing of the story, pre-writing tasks, if you will. There are still more materials to gather and research to be done. I know you may be wondering what there is to research. Don’t I know my own story? After all I lived it. But the fact is there is research to be done on every book. On this one, I need to know things like statistics on teen suicide, and I need resources for warning signs of suicide and other information on the subject. I may not use everything I dig up, but I will have it available if I decide that it has a place in this book. I believe it does but I haven’t worked out how I want to present it. There is so much that I want to say, but not all of it belongs. Finding my voice for this book will mean finding my true voice.
There are several people I need to interview, people who I haven’t seen since Michael died, people who have something valuable to contribute to his story. I must learn to control the emotional whirpool that surfaces when I anticipate these contacts, the memories connected, cause turmoil within me. But, I know his story must be told, and to tell it in the manner it deserves, and so, I must contain my emotions and silence the memories in order to what must be done. The very act of doing this very difficult task for the sake of his story will become a part of my own, for it is my story, as well.
There must be at least a vague outline, which is now begining to take shape in my head. I believe I know how I want to begin the story and the structure I need to use. The next step will be to get it down in print, so I have a clear direction in which I want the story to go which I can refer back to to ensure that I stay on track. Outlines are a valuable tool in giving any story direction and making sure it doesn’t veer off into left field and lose the storyline and the way I’ve chosen to structure this particular story demands that guidance.
I’m starting this blog series, The Making of a Memoir, which will break down the memoir process into stages, for two reasons. One, Michael’s story deserves to be told. It needs to be told. Two, telling my own story may act as a catharthis and help me to resolve my own unresolved issues surrounding Mike’s death. And three, commiting to bi-monthly accountability to you, my readers and fellow authors, forces me to create and meet deadlines, assuring that I make adequate progress on the book. It is too easy to make excuses and avoid the emotionally difficult tasks if I’m accountable only to myself.
Since I hope to get this memoir published traditionally, I will also need a book proposal, a query letter and somewhere around the first three to five chapters for that. We’ll cover that in the April segment The Making of a Memoir: Stage 2: Selling the story. I do hope you will join me on my journey.
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