By Lewis W. J.

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In nonfiction, we scrutinize our lived lives to discover our plots. We select only those significant, relevant details that enhance them. Memoirists erase extraneous people and events from that fully painted canvas of their lives, anything that doesn’t reveal the plot. As we erase irrelevant moments, we’re highlighting and emphasizing relevant ones, those that best propel our plot forward. There is, however, an important similarity in terms of plot between these two genres. ” In memoir, plot must likewise engage and mesmerize the reader.

Establish this conflict on page one. Any of the following could be a ripe beginning for a memoir: If your spouse or partner just left you. If your loved one was caught sneaking home late at night, rumpled, when s/he was supposed to be at work. If you’re considering an affair. If you’re waiting for test results pl o t t i ng you r l i f e 41 from your physician. If you just lost a job. If you’re about to enter rehab. If you just met a person who will change your life. If you’re about to begin college at age fifty and you’re scared.

An image directs the reader to an insight, brings your work to a higher emotional pitch, embodies your persona’s feelings and ideas — the emotional and physical habitat in which you dwell. ” That first example about the trip to Portugal is boring because it’s generic. But if I overwrote it, relying on too many adjectives and adverbs, it’d be equally bad: “Flowing, rosy red flowers are draped over clean and sparkling whitewashed walls, walls glowing in summery sun. ” Even though this is less generic than that first example, these extra words do not add spice.

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A Treatise on Crystallography by Lewis W. J.


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