Jan 172017
 

Who do you think you are logo The popular TV show Who Do You Think You Are? provides some valuable storytelling insight that we can apply to the narratives of our ancestors.  Despite the professional genealogists, unlimited travel budget and celebrities, the show also has some practical storytelling wisdom for memory and family history writers. Continue reading »

Dec 192016
 

Taking a step back from stories Many times, taking a step back from stories allows us to truly understand them. Until we separate ourselves from events, we see them only through our own eyes. We know what happened, but we don’t know what it really means. We don’t realize all the implications.

Taking a step back can also help us see how our stories connect to each other and how they continue to influence our lives. Continue reading »

Nov 172016
 
Research and memoir

Whether it’s online or in the library stacks, research and memoir belong together.

Do research and memoir belong together? Counter intuitive as it sounds, the answer is yes.  Though it is true that memoir involves writing about the episodes of your past that already exist in your memory, research can enhance your story.  Adding researched details from the past can bring your story alive for your readers.

Working with family historians writing their ancestor’s stories brings this home. They not only provide the meticulously researched (and cited) facts for readers. When they write about their ancestors, they often include a rich background of historical and social context.  They don’t do this to fill in the gaps between facts. They use their research to help their readers visualize the events of the past. Continue reading »

Jul 292016
 
Fears our Ancestors faced in the Dance of Death

The “Dance of Death” stained glass windows in the Bern, Switzerland Munster give a graphic illustration of the fears our ancestors faced.

Understanding the fears our ancestors faced can help us understand their lives. That, in turn, can help us tell their stories. Although it’s hard to know from the meager records we unearth whether an ancestor was an introvert or adventurer, we can form some theories based on historical context. We can also get a better grasp on their everyday lives. Continue reading »

Jun 272016
 
Silver linings behind broken hearts

Are there silver linings behind the heart-break in your family stories?

Last week, however, a friend showed me how to look for silver linings.

The news is often disturbing, but in the last couple of weeks the horrors that some people will inflict on others makes me want to run and hide. Only I don’t know where I’d go. Continue reading »

Jun 162016
 
Truth and Accuracy scrabble tiles

How do you deal with the elusiveness of truth and accuracy in memories and family stories?

The fallibility of memory can make truth and accuracy hard to come by. Competing versions of the same stories—the same memories—dance and whorl around family tables every get together. One person remembers it was a Sunday in July. A sibling insists it was in October and a Sunday.

How do you decide which version is true? What details are accurate? Perhaps a better question is how do you decide if the details of the story are worth fighting about.

Often the answer lies in understanding the difference between truth and accuracy as well as your own role as storyteller.

Truth versus Accuracy Continue reading »

Apr 222016
 
Make stories relevant show emotions

When you make your family stories relevant, they pull at the heart strings of your readers.

There’s a point to sharing ancestors’ stories—or at least there should be. Educate. Connect. Inspire.  That happens best when you’re able to make family stories relevant.

I could share a detailed tale about my grandmother, one that includes every bit of historical minutiae that I’ve been able to find. But why would you want to read that? She’s my grandmother, not yours. If I want you to read them—I need to make my family stories relevant to you, the reader. I need to make you care.

Making stories relevant has very little to do with spinning (or citing) an extraordinary tale. It has more to do with revealing the humanity within that narrative. Shauna Niequist writes:

I’m less and less interested in the ruminations of a scholar and more and more compelled by stories with grit and texture and blood and guts and humanity. I’m compelled by stories from everyday people whose lives sound a lot more like mine than the stories of superstars and high achievers…

How do you make your family stories relevant?

How do you make your characters pull at their descendants’(your readers) heart-strings?  How do you achieve that “there but for the grace of God, there go I” type of feeling?

The American Press Institute explains that we care most about those things that affect us. Just as we care more about the local forecast than the one across the country, our hearts are more likely to go out to a local family or a relative than a stranger several states away.

The article, Good Stories Prove their Relevance to the Audience, suggests making the ‘common ‘proximity’ of interests and emotions of the story clear. That works particularly well for those of us trying to make our family stories relevant.

The reader may identify with a range of life experiences, from the emotional shock of losing a job or worrying about a sick child to mundane tasks like the weekly trip to the grocery store or filling the car with gas…

How was your family member or ancestor relatable?  Was he in constant fear of not being able to provide for his children? Was she a mother that had buried children? Husbands? A reluctant matriarch?

Give your readers a passport into the past.

Help your readers understand why they would want visit the foreign soils of the past. Encourage them to use their imagination. What would it be like to live in that time period? What would family members be like if they lived in modern times? What would it have been like to have them as a friend? A grandparent? How would you have managed in their circumstances?

Write about decisions and circumstances.

Part of making a story relatable comes through promoting understanding through the setting. Not just that it was a sunny day in 1893, but by highlighting social context. What might the family dream for a little girl born that year? Today we dream that a daughter might be President. Back in 1893, many parents simply hoped that the child would survive past age five. Women didn’t have many rights. Perhaps they dreamed of a desirable spouse and a comfortable standard of living. Bring those universal human hopes into your story.

Often, we’re limit our stories to the dates of death and birth. What decisions did the person make? What choices did they have? What obstacles did they face? What resilience did they show throughout their lives?

Your connection matters

Let’s face it. If you have no personal connection to the person you’re writing about, you can’t really expect your readers to connect to him or her either. As you start your family story, think why did you like, love, or admire that person? Why did they matter to you? Why does their story matter?

Is there little something about them that makes them more relatable? More human?  (Read Sneaky Grandma.)

Your Turn

How have you made your family stories relevant to your readers?

Apr 072016
 
Time to take a stand with three people

There sometimes comes a time when keeping peace feels dishonest; it’s time to take a stand.

We want our memories and family stories to be warm and inviting. We want to welcome family into our lives—into our past—through our narratives.  Which is as it should be. But (you knew there was a but coming) that can mute us when it comes to issues that weigh heavily on our hearts and mind. Because not all our family members see things the same way, we self-censure, leaving out anything that is divisive. We don’t share the parts of ourselves that might alienate.

It’s like the old rule about not talking about religion and politics at the table. It keeps the peace, because it keeps anyone at the table from feeling marginalized.  We can focus on our commonalities, our friendship or familial love, without anyone feeling challenged.

Family Peace versus Honesty

Sometimes there comes a time when keeping your stance to yourself becomes—or feels—dishonest. You’re hiding something that you’re passionate about. You’re choking back hurt or offense on a regular basis.

Of course, only you can determine when it’s time to take a stand. You’re the only one in a position to determine if it’s worth crossing that line. You might choose deep breathing over a sparring match or negotiating a minefield of hurt feelings and estrangement.

When it’s Time to Take a Stand

My friend Bobby Ivory likes to say that meaningful discourse needs to “bring more light than heat.”  In other words, enlighten others without putting them on the defensive.  Not easy, I know, but worth the effort.

Writing allows you the luxury of ranting and raging to get your feeling onto paper, then editing those feelings into something you want to share with others. Something that will promote understanding. Insert your “I messages.”  Delete the accusations.

Using Stories to Take a Stand

Storytelling becomes the spoonful of sugar that makes the bitterest of medicine (or reality) go down. Not just in a metaphoric way. The cool people who study neuroscience have found that storytelling allows the listeners’ brain to process stories much differently than they do facts or debates. (Read The Science Behind Storytelling.)

Explain why you’re taking a stand

Please understand it's time to take a stand

Stories can promote understanding

Normally, when you tell your stories, you have the luxury of a friendly, captured audience. You’re ‘preaching to the choir.’ That’s not always the case when you take a stand.  Part of the art of persuasion is to invest your audience in your story. You can do that by explaining why you feel you have to take a stand.

You can even use a third person voice or example, if you don’t want to make the conversation a me-versus-you argument. For instance, if you’re opposed to North Carolina House Bill 2 (full disclosure, I am), you might tell the story of your good friend who is now uncomfortable traveling through the state and how you came to understand his or her situation. A simple rest stop becomes an anxiety attack. Perhaps he or she wonders why private decisions can’t simply remain private without having to suffer the humiliation of visiting an alternative restroom.

Touch hearts and imagination

Touch your readers’ hearts and imaginations by using sensory-rich examples that will help them envision your stance. For instance, when my sons asked why restrooms have to be gender specific in the first place, I tried to explain to them all the things that women do in bathrooms that are completely unrelated to relieving themselves. Since they claim I ruined dinner that day by talking about “adjusting the girls,” I figure I inspired their imaginations. (Apparently they think girls just do a super-thorough job of washing their hands and come out looking fabulous.)

Writing demeanor

When we speak, our body language helps us communicate. We can use open gestures, smiles, and friendly eye-contact to put listeners at ease. That’s harder in writing. As you write and edit, try to put yourself in your readers’ place. What turn of phrases would you use in speech to put them at ease?  How would you acknowledge and de-escalate their discomfiture? Incorporate those verbal tics into your writing.

Your Turn

When did you decide it was time to take a stand? How did that affect your story? How did you write (say) your piece?

 

Feb 232016
 
Misrepresenting the past and preventing myths

How do keep those myths at bay? How do you avoid misrepresenting the past?

How do we avoid or minimize the risk of  misrepresenting the past as we tell our own and family stories? What exactly is our burden of due diligence when it comes to determining the accuracy of our narratives?

This isn’t my normal soap box about truth versus accuracy. Or at least not entirely. The truth of our experience often comes down to our unique memory of it. Our memory is our truth whether or not a sibling thinks it was a Pepsi and not a Coke. We’re not talking about that type of accuracy.

Can we avoid misrepresenting the past?

Continue reading »

Dec 142015
 

innocence lost illustration Innocence lost is supposed to be a traditional coming of age story. An assuming the mantle of adulthood story. A stripping of the naïveté of childhood.

For most, that maturity takes place over time. Too often, though, it turns on a dime. Everything changes as the bubble of invincibility pops.

OK, our youthful idea of invincibility was a mirage. But the mirage lent us a feeling of security in an out-of-control world. We knew bad things, even terrible things, could happen. However, until the shoe dropped very close to our backdoor, we were able to view the possibility through a protective gauze of denial.

Once you’ve experienced it, other stories of innocence lost evoke a deep empathy. Watching the news, we realize the victims’ stories could so easily be our stories. We can imagine, with an unhealthy vividness, the phone calls that came in the night. Or didn’t get answered.

A Story of Innocence Lost

Just the other week, a soccer buddy told me her 9/11 story. (We all have them you know. See post Remember When — Exactly, Precisely When). This story touched me more than most. In 2001, she was a recent widow. She and her three children had already lost any feelings of invincibility. Cancer took the person they most loved and doctors were powerless to stop it. My buddy, then newly widowed mother, took her three children to Disney World to give them a break from grief and to make new memories.

As she told me the setting for her little family’s story of innocence lost, the music of her life cued in my head. A bizarre call and response between a requiem and It’s a Small World, eventually drowned out by other happy Disney music.

Coming out of a ride—she didn’t specify which, but my imagination has it pegged as Mr. Toad’s Wild Ride—she and other park attendees were told to exit the park. They were stymied by the sudden announcement that the park was closing. As park workers herded them into waiting shuttle buses, the worst thing she could imagine for inexplicable closing was a bomb threat.

She and other parents started asking the bus drivers which other Orlando attractions were open. (The music in my head slows. Disney tunes now play at slow speed, overlapped with a dun dum, dun dum à la Jaws.)

How terrible it must have been for park employees. Watching happy families go back to their rooms, knowing what the TV screens would show them. In my buddy’s case, she did get a hint. “Nothing is open. There’s been a terrorist attack in New York.”

By the time she got to her hotel room, she didn’t get the slow experience of hearing of the planes hitting the towers one by one. She didn’t see footage of people escaping and first responders rushing in. The towers were gone. The world was different. It was a place without bubbles: not even Disney World was exempt.

Your Turn:

What’s your story of innocence lost? Why was the story so poignant? How is it like other stories of coming of age? How does it differ? Go ahead—Write it down!