MEMOIRS
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From the book, “Writing Today” by
Richard Johnson-Sheehan and Charles
Paine
MEMOIRS
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The words memoir and memory come from
the same root word. However, good
memoirs explore and reflect on a central
theme or question. They invite readers to
explore and reflect with the narrator to try to
unravel the deeper significance of the
recounted events.
MEMOIRS
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Introduction: Sets the scene
Description of a complication
Evaluation of the complication
Resolution of the complication
Conclusion: What the writer learned
MEMOIR OVERVIEW
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An engaging title: hints at the overall meaning or “theme.”
An introduction with a “lead”: captures the reader’s interest or sets
a scene.
A complication: a tension or conflict that must be resolved in some
way by the end of the story. This tension or conflict can be between
people’s values, beliefs, desires, or needs. It could be a conflict within
the author as he or she moves from one life stage to another or
discovers something previously unknown. Or it could be something
new, challenging, discomforting, or frightening.
A plot: draws the reader forward as the memoir moves through a
series of scenes or stages.
Intimacy between the narrator and the reader: allowing the writer to
speak with readers in a personal on-on-one way.
Rich and vivid details: are not announced or answered explicitly, but
that the narrator explores and reflects on with the reader.
MEMOIR OVERVIEW
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A central theme or question: is rarely
announced or answered explicitly, but that
the narrator explores and reflects on with the
reader.
A new understanding or revelation:
presents a moment of growth,
transformation, or clarity in the writer.
INVENTING MEMOIR’S CONTENT
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Find an interesting topic
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Experiences that were challenging, scary, fun, etc.
Think about times when something important happened
to you, helping you make a discovery about yourself or
someone else.
Think about the times when you felt pain or great
happiness.
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Possible topics: breaking a leg skiing, winning a
competition, failing algebra class, traveling to Mexico,
leaving home to go to college, the death of a loved one,
discovering Aunt Betsy is a lesbian, meeting Brad Pitt,
experiencing an earthquake, not making the cheerleading
team, a car breakdown in Idaho, running for office.
ORGANIZING & DRAFTING YOUR
MEMOIR
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You might have to go through a series of drafts in order to discover your theme, and how
you want to recount events. Think about your tone, and don’t worry about writing
“correctly” with the first draft.
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Set the scene if detail: You might just describe what happened. The, once you have the
basic series of events written down, start adding in as much detail as you can. Give
descriptions of people, places, things.
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The People: What did your characters do that hints at who they are? What did they say?
How did they behave? What were their blind spots? What did they care about, and what
were they ambivalent about?
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The Scenes: What did each scene look like? How did it feel or smell? What did you taste
or hear? What is the history of this place—both its public history and your personal
history?
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Dialogue: What was said before and after the event? Who said what to whom? How did
they say it? Were they angry? Excited? Thrilled? Scared?
DESCRIBING THE COMPLICATION
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This is the problem or challenge that your or others needed to resolve.
Pay attention to figuring out how this complication came about and
why people reacted to it in a particular way.
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The Event: What exactly happened? Who did it and what did they
do? Was the event sudden or did it take a long time to develop?
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The Complication: What was really at stake here? What was the
essential conflict or complication that caused this story to be
something more than an everyday event? How did you or the other
people in the story feel about that tension?
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The Immediate Reaction: How did people react to the event? What
were their emotions? What id their reaction look like? Did they do
anything that they later regretted?
EVALUATING AND RESOLVING THE
COMPLICATION
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After the initial reaction, you should show how you and others
evaluated and resolved the complication. The complication isn’t
necessarily a problem that needs to be fixed. Instead, you should
show how the people involved tried to make sense of the complication,
reacted to the change, and moved forward.
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The Evaluation: What did you and other people think was
happening? Were there any misunderstandings? Did you talk about
the appropriate ways to respond? Did you or others come up with a
plan?
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The Resolution: What did you decide to do? Were you successful in
resolving the complication, or partially successful? If so, how did you
handle it? If you weren’t successful, how did you make changes to
adjust to the new situation? How did other people make adjustments?
CONCLUDING WITH A POINT
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Your conclusion describes, directly or indirectly, not only what your
learned but also what your reader should have learned from your
experiences. You should avoid writing a “and the moral of the story
is…” or a “they lived happily ever after” ending, but you should strive
for something that feels like the events or people reached some kind of
closure.
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If you think your point is obvious to readers, you can leave the
conclusion unstated. In these situations, you can give readers a
glimpse into the future. Or you can provide a final sentence or
passage that hints at your memoir’s meaning.
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Whether your main point/conclusion is stated directly or unstated, your
readers should come away from your memoir with a clear sense of
what you wanted them to learn from your experience.
CHOOSING AN APPROPRIATE STYLE
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The style and tone depends on how you want to portray yourself as the
narrator of the story. Choose a style that works for you, your story, and your
reader. If you want your narrator (you) to have a casual attitude, that’s the style
and tone you want to strive for.
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Think of a key word that describes the tone you want to set. Put that word in
the middle of your screen/paper. Now create a concept map around that key
word. Write down any words that you tend to associate with this tone. As you
put words on these screen, try to come up with more words that are associated
with these new words. Eventually you will fill the screen.
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In the draft look for places where you can use these words. If you use
them strategically throughout your piece, your readers will sense the tone or
attitude. This will help you develop your central “theme.” Don’t overdue the
words or your tone will be too strong.
USING DIALOGUE
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Allow the characters to reveal key details about themselves through
dialogue rather than your constant narration. Use dialogue
occasionally to reveal themes and ideas that are key to understanding
your piece.
Use dialogue to further the story: Anytime you use dialogue, the story
should move forward. Dialogues between characters are key
moments that should change the flow of the story in an important way.
Write the way your characters speak: People often don’t speak in
proper English, or in full thoughts.
Trim the extra words: In real dialogue, people often say more than
they need to say. You can trim out the unnecessary details.
Identify who is talking: The readers should know who is talking, so
make sure your use dialogue tags.
Be careful not to overuse dialogue.
REVISING
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Cut out anything that does not advance the story or help you
develop your characters or message.
Make it lean, with little or no fat.
Make your title enticing.
Craft the perfect lead: A compelling lead casts your readers
into the drama of your memoir and makes them lean forward
with questions they hope your memoir will answer.
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Does it introduce some idea or question that is important to the
memoir’s point?
Does it focus down to an important image, idea, or point?
Does it set the right tone for the rest of the memoir?
REVISING
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Reevaluate the details and cut the fat.
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Look at every aspect of your piece: the narrative,
the dialogue, the setting…take out what is not
absolutely necessary.
Long stories are boring.
When it comes to storytelling, less if more.
Provide your readers with just enough detail and
character development to make them want to
keep reading.