When I converted my home office into a writer’s study, one of the first things I did was post on the bulletin board above my desk a card from the National Association of Memoir Writers. It reads:
Be Brave: Write Your Story
That’s what writing memoir and family history takes. Bravery. Cojones. Downright Daring. As Catherine Gildiner writes in “How to Write a Childhood Memoir,” “. . . [W]riting a memoir takes nerves of steel. . .” *
Few of us have steely nerves when it comes to writing honestly about our lives or our families. The stakes are too high. I don’t just mean the possiblity that what you write will fracture family relationships. What you discover as you write might also shatter some of your own fiercely held illusions about your family—and yourself. What you write also forces you to relive less than sanguine experiences, and dredge up old embarrassments, personal regrets, frustrations, and grief.
Of course, you might be one of the lucky few with a history in which every day was sunny and no one ever got sick, cranky, fired, or drunk. You might have no bygones to let be bygones. If you’re like most people, though, your own past and that of your family are peppered with no shortage of secrets, myths (or, let’s face it, lies), or unpleasantness. Or, you might make a fully considered decision to report only the good times, and that’s your right, of course. Some of my memoir and life-writing students state categorically that they do not wish to rake up the sad past.
I would never tell them, as many proponents of the memoir writing process believe, that just writing your story is healing. I know that it actually can leave you in tatters.
A conviction that our story needs to be told can supply the sheer courage that’s required to exhume old memories and write them into art. For me it was a matter of first, knowing I was in possession of two interesting, suspenseful, instructive stories—one centering on my family, the other on my work in organizations. Second, I felt compelled to put an end to what felt like collusion. As long as I kept my stories inside me, it seemed as if I was abetting secrecy and suppression of the truth. It was suffocating me.
Our families might have been daredevils, drinkers, cultists, swindlers, and involved us as their unwilling offspring in their activities and deceptions. If their story is unflattering, if they’d rather it not be told, at least not from our point of view, should we suppress it even if it chokes us?
With each of my memoir and family history drafts, I find myself revealing more and more of the truth. That’s partly because with each re-writing, as in a palimpsest of versions placed atop one another, I develop deeper understanding. New insights bubble up. New connections appear. Ah-ha moments seize me during the day and tease me in my sleep, making me wonder how I could have missed them before.
And with each draft, it gets harder and harder for me to justify hiding the truth.
Stick With What You Can Tolerate
I don’t allow myself or encourage my students who are writing about their lives or their families to reveal more truth than they can stand. Instead, I say, tell only the truth, but not every truth. The fallout could be unbearable, in terms not only of how those mentioned in your manuscript might react, but also in terms of your own self-recriminations. What if you find out later that what you wrote is just plain wrong? What if you have regrets after your book is released to the public, or even just to family members or friends?
Charges of Libel?
Your friends and relatives objecting to what you write is one thing. Suing you is another. We’re all supposed to be protected under freedom of speech laws, but to be on the safe side, educate yourself about libel (“a false statement made in writing”) and privacy laws, which vary across states. You might want to give careful thought to whether or not to include photos of people in your memoir or family history, unless you’ve gotten written permission from them.
To stand the test of truth, I’ve kept documentation: letters, emails, legal documents. I have no illusions that those who witnessed certain events would testify to the veracity of my account. Why would they want to get involved in my battle, if it came to a court case?
Help Is On the Way
Upcoming posts on this topic will address the ethics of memoir and family history writing (issues such as fairness to both the living and the dead) and I’ll share info on resources and ways to overcome your apprehensions.
What do you think about the possible perils of writing about your life and your family? Please leave a comment, which can help all of us writers of these types of manuscripts.
If you enjoyed this post, you might also find the following helpful:
– Will My Family Get Angry About My Memoir? Be sure to read the (quite cautionary) comments.
– Memoir, Writing the Truth, and Family: Interview with Author Joy Castro
– How to Avoid Committing a Libel in Writing a Family Memoir See additional links at the end of the post.
* In Women Writing On Family
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