Writers can use mind maps in two distinctly different ways. The first is visual brainstorming to trigger creativity and capture ideas. It’s sometimes referred to as clustering. From a central idea you create radials leading to related sub topics. Each subtopic may suggest additional details radiating out from them. The second way to use mapping is to focus on details.
We’ve explored, in recent posts, some technological tools to help you organize your memoir or family history book project. Today let’s look at a low tech, or even no tech, approach to the organizational process.
I just spoke with an old friend who lives in Roanoke, Virginia, about the earthquake that shook the east coast the other day. It was no big deal – she heard a few shelves rattling, but most of her coworkers in the office didn’t feel a thing. How about the local schools – any kids hurt? No. How about at the earthquake's epicenter, anyone hurt there? Nope, not really.
Why did we keep probing, looking for more damage? How could we be disappointed that this wasn’t a bigger catastrophe? I suppose it’s human nature. We don’t actually want injuries to schoolchildren; what we want is large-scale drama.
Since the earthquake was no big deal, our talk turned to other, bigger catastrophes we have experienced. I recalled that time my home was lost in a flood, and she remembered an electrical fire and how she, terrified, had to rouse the children to escape in the middle of the night. Soon, we were having a wonderful time, telling lurid tales of disaster. Have you ever done this? I am sure you have.
There is something about catastrophic events that makes life more precious and our roles on life’s stage more important. We enjoy putting ourselves at the center of truly big events, acknowledged to be game-changers, and we want to assert that we were there, experiencing it all first-hand.
How does this apply to memoirs and family histories? In my experience, memoirists expect to tap into their catastrophes for all they’re worth. Not only are memoirists convinced that their stories have dramatic merit, they intend from the outset to explore both the highs and lows of their lives.
Family historians often miss this opportunity. Perhaps it is because their sources are factual and dry, so the author is not viscerally aware of the powerful dramatic events that took place. Reading some first-hand accounts of catastrophes that took place in an ancestor’s life will help you to tell these stories with the drama they deserve.
Some family historians prefer to keep the image of the family’s past upbeat and positive, to cast all ancestors in a heroic light. Our culture rewards striving and success, and instead of sympathy, there is a tendency to blame people for their suffering and deprivation.
This is no excuse to sanitize history. We learn a great deal from lessons of hardship – just think of our ongoing fascination with the Great Depression, or recently with Hurricane Katrina’s survivors. In fact, I would argue that catastrophes teach us to be better human beings. And isn’t that why we write family history and memoirs, to give insight to others?
One of the most wonderful results of recent changes in book publishing is that memoirs and family history books can now be fully illustrated books. Historic photographs will enliven the pages of your book and enhance your sketches of the characters about whom you write. Here are some online tools that may help you find what you are looking for.
Writing a book can be a very complex and daunting task, especially if you have never written one before. You have gathered a mountain of research and jotted down notes on ideas and anecdotes you want in the book. How do you get started and stay organized throughout the process? The Scrivener software program from Literature and Latte, a small shareware company, may be just the tool to help you do it.
How do you tell a great story? “Keep it narrative,” said Raney Aronson-Rath, Senior Producer of the PBS series Frontline. The rest of the panel recently convened by Pro Publica, the Pulitzer Prize-winning, independent non-profit source of investigative journalism, and New York’s New School, agreed.
Author Bruce Bothwell describes how he revised his father's journals into a narrative form to make his book interesting and entertaining for readers.
NY Times reporter Alina Tugend told readers of her article, Options for Self Publishing Proliferate Easing the Bar to Entry,“…until recently I turned up my nose at authors who published their own books” But as there was more buzz about self publishing she decided, “The phenomenon was worth a second look.”
We are always looking for resources to recommend to people seeking to add depth and context to their memoirs and family histories. The National Women’s History Museum site is certainly such a resource. It defines its mission as to “…illuminate the role of women in transforming society…”
We’re looking forward to attending the Midwest Family History Expo in Overland Park, Kansas, this Friday and Saturday. Family History Expos are great events. We enjoy the opportunity to talk with people who are serious about creating family history books. We will be presenting four classes this weekend:
Recently a reader, Jim Saunders, posed a question in a comment on one of our blog posts titled Identifying People in Old Family Photographs. Jim said, “I have an old photo album dated from 1887. I don't know very many of the people in the photo album, but I know most of the pictures are family members. Is there a website out there where one could post a picture or two. This way viewers could comment on dating, identifying what type of occasion might have triggered the picture to be taken and and help identifying who might be in them.”
“The genealogical equivalent of “Eyewitness News” is the oral history. And since genealogy is history, what could be better than the oral rendition of an eyewitness?” asked Craig Manson in a post on his blog Geneablogie titled The Reliability of Oral Histories Considered. If you are writing about your past or your family’s past in a memoir or family history you have no doubt been advised to interview everyone who might be able to help recall details of bygone days. Use the tools of the oral historian.
“Just get it down on paper and then we’ll see what we can do with it,” advised the legendary editor Maxwell Perkins who edited Hemmingway, Fitzgerald and Thomas Wolfe. Perkins believed that the key to a quality book was revision. How could one disagree when one looks at the books his authors produced. Until you have a draft of your manuscript of your memoir or family history your book is nothing more than an idea and a pile of research. But when the draft is finished you have something with which you can sharpen the ideas and polish the prose until you have a quality book.
When you begin to think about writing a memoir or family history it’s best to do so from two perspectives. The first is, of course, your own perspective as the book’s author. But there’s another perspective to consider as well. Who will read your book?
How much research is enough? When we speak at family history conferences we talk to many people who say they would like to write a family book. But not right now. They need to do a little more research before they are ready. I thought about those dedicated researchers recently as I was rereading Practicing History, a collection of essays by historian Barbara Tuchman, winner of two Pulitzer Prizes, one for The Guns of August, an account of the first month of World War I, and the second for Stillwell and the American Experience in China. Tuchman offered a great piece of advice on when to quit researching and begin writing.