Own StoryOur own history
You' ve got to be the hero of your own story and save yourself from a life of mediocrity.
Don't make yourself a hero of your own story
I was reluctant to send out a memorandum eight years ago. Then, totally unexpected, a foreigner from Moscow phoned me to tell me that the story of my birthday was not what I had known all myife. As he was speaking, I felt I had to investigate the real story, however it turned out, in the only way I knew: by composing a work.
I also knew that I had to produce this notebook before I could produce another one. This was a suggestion that seemed to represent in a relatively simple way how my textbook would be structured: a lifetime in each of my own tongues, after my trip from Moscow to Prague via Israel to Canada to the United States and then to London, which was accompanied by the history of the enigmatic telephone conversation and its consequences.
And all I had to do was think - and my prospective editors obviously accepted - was do it. However, a fun thing happens when you still live the story that is the object of the book: you become your own hindrance. To be precise, it took many years - eight - to find a way to put down my memoirs.
Now, that my work is in a shape that I feel is right, I want to pass on some of these hazards to authors who may be working on their own memories, or anyone who wants to get an idea of how to write memoires, an interesting and enigmatic proces somewhere between the fictional and the non-fiction.
When I was typing about myself and the human beings in my whole lifetime, the greatest issue I faced was the very real, perceptible, sweaty anxiety of harming someone by saying my own one. Until then, not a digit of their memoirs is really noteworthy. Any good handwriting, of any kind, must be intrepid.
However, the creation of memoirs demands a particular level of intrepidity. At this point you must be willing to let the whole earth into your spirit and your spirit, uncover your anxieties and vulnerable points and be aware of the implications. Every goddamn moment I tried to type with some care, I found new ways to throw all the care out the windows because it quite literally jammed and abused me.
But the best and probably the only way to be fearless is to be faithful to your books, not to the humans in them. Make a good book: nothing else counts. Not everyone likes your memoirs, but you don't want to be a writer for your character. If you are successful, your personalities will become your readership and see their story through your literature-eye.
It' enticing to create a memoroir with yourself as the most interesting part. However, the amazing thing I found is that the memoirist is actually a personality performer and not the stars of the film. To find this right equilibrium and the right gap between the author's vote and his part as a person is the essence of creating an open, legible and sincere memory.
Memoirs are a very intense procedure. Discussing your memoirs quickly becomes a discussion about your own lives. This may be interesting, but speaking is not typing. Memoirs can only find their real shape if they are actually composed and transcribed. I made one of the greatest errors in my first design, regardless of the time series.
With such a bad texture, even the best type will lose its strength. As soon as I did it, everything came together: my complex story or tales (about speech, identities, family, story ) could all of a sudden be recounted in clear step. When your reader knows where they are in the entire arch of your story, they can also embrace and appreciate your liberty to swerve.
For whatever reasons prompted you to send a memorandum, it will not be enough if you start to collect your thoughts with caution. Once you've rolled through its very pleasant wealth for a while, you should find and employ a screen to choose only those that really work as part of the books you're in.
Defining your story, knowing what you want, and only then do you grab the materials that will help you shape its story. When your memoirs require a lot of research, you enter a potentially dangerous area. If, like me, you like research, you can quickly leave your books behind and get lost in your own archive.
There is a small section in my memoirs - a few chapter - about the story of a happy little girl I never knew, my dad's relatives and my grandchildren. Had I used more than what I recorded, my memoirs would have been totally out of balance, almost like two of them. So, I had to decide to concentrate on my story and my own experience of how I lived, not on my study of the experiences of those whose relationship to my own was finally very out-of-the-way.
Don't be ashamed to be touched by what you say. Do not confuse these emotions with some kind of treatment, and certainly do not send memoirs asapy. The letter comes from another sources. As it occupies your whole being, its function is not to cure, but to tell a cohesive, real story that will find its way into the heads and souls of others through the way it is made.
Before you start to write, you need to know who you are, rather than expect to find yourself in your final work. "When you write memoirs, it's about using what you see to expose what you know.