Writing Life Stories

How to Make Memories into Memoirs, Ideas into Essays, and Life into Literature From drawing a map of a remembered neighborhood to signing a form releasing yourself to take risks in your work, Roorbach offers innovative techniques that will trigger ideas for all writers. Writing Life Stories is a classic text that appears on countless creative nonfiction and composition syllabi the world over. This updated 10th anniversary edition gives you the same friendly instruction and stimulating exercises along with updated information on current memoir writing trends, ethics, internet research, and even marketing ideas. You'll discover how to turn your untold life stories into vivid personal essays and riveting memoirs by learning to open up memory, access emotions, shape scenes from experience, develop characters, and research supporting details. This guide will teach you to see your life more clearly and show you why real stories are often the best ones.

Bill Roorbach is a chatty writer: his instruction is informal, colloquial, abounding in parenthetical remarks and droll asides. But Roorbach (Summers with Juliet) seems able to inspire even the most recalcitrant writers to uncover memories and ideas they didn't know they had and turn them into something the rest of us would want to read. An early exercise in Writing Life Stories involves making a map of the earliest neighborhood you can remember: "Where did the weird people live?" Roorbach asks. "Where were the off-limits places?" And then, "Tell us a story from your map." Many of the book's subsequent assignments are equally enticing.

Roorbach elaborates on the many elements involved in writing creative nonfiction, including memory, scene setting, ideation, character development, and research. He eschews introductions and conclusions (scaffolding, he says, is for building purposes only) and, "at least in a first draft," embraces truth-telling. "Those places where you catch yourself changing the facts," he warns, "should be alarms, grand signals, signposts saying here's the place to examine most closely for meaning."

Though his writing may be casual, Roorbach is a great believer in precision. "Every person you mention," he says, "should get a quick, sharp, devastatingly exact sketch" (for examples, he refers to the minor characters in books by Paul Theroux, Joan Didion, and John McPhee). Ambiguity, he says, is anathema: "Do what it takes to properly name a tree, a piece of hardware, a street, a town, a school, a neighbor." And finally, be wary of polishing--"you can spend days adjusting sentences in a first paragraph that ought to be cut altogether"--but make sure every paragraph in your memoir or essay is as good as, has as much "urgency" as, the first one. "How much can you get into a sentence?" he asks. "How much can you get into every sentence?" --Jane Steinberg