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Your Life As Story:
Writing Narrative Nonfiction
Dancing the Memoir Dance

by Lisa Dale Norton
February 2007

Lisa Dale Norton
Lisa Dale Norton
Authorlink is proud to welcome Lisa Dale Norton as a regular monthly columnist. She is nationally recognized as a writing instructor with a passion for story. This is the first article in her sries for Authorlink.com. Read more about Lisa.

In December I gave a "recipe" in this column for writing holiday stories. It included two concepts core to memoir, which are worth looking at more deeply.

Narration and reflection.

You could write an entire memoir using just these two craft tools, and it could turn out fine. You don't have to get any more fancy than that.

"Memoir is like a dance where the partners move. . . into a moment of private reflection . . .Back and forth."
—Norton
What are the tools of narration and reflection?

Think of it this way: Memoir is like a dance where the partners move from heated embrace away from each other into a moment of private reflection, then back into embrace, away into reflection. Back and forth. As writers we narrate the story. Full speed ahead, embracing it, we tell our readers what happened. Passionately, we reel out the where-we-were-with-whom-and-how-it-all-unfolded. Rich details and juicy action spill forth as we careen through our remembrance.

". . . like the dancer pulling away from the partner, we withdraw."
—Norton

And then we stop. We release the embrace and step back. The dance of memoir carries us away from the action. We sit in our chair, gaze out the window, and like the dancer pulling away from the partner, we withdraw. We remove ourselves from the narrative, all that heated action. We become reflective, meditative. We ponder the story just shared.

"This dancing in and out sets memoir apart as a form of writing. . ."
—Norton
This dancing in and out sets memoir apart as a form of writing, gives it a layered feeling. Two people speak; there is the voice telling us the story. There is the voice telling us what the story means. These voices rise from different characters, just as the dancer in the embrace represents a character different from the dancer moving in private reverie.

We narrate as a player in the unfolding scene.

"Some of what happens here on planet earth is very murky."
—Norton
We reflect as a philosopher looking back, wise with insight unknown at the time of the events.

Narrate.

Reflect.

It’s really that simple.

If you want to write your life story, begin there. Choose a moment, a bright shining memory. Write what happened. Then stop. Think about what it means to you now. Why did it happen? Why did you choose the actions you chose? What kind of sense can you make of it now? And if you can¹t make sense of it, you can say that. The memoirist has that right. Big and loud you can write: “And you know, after all these years I still don’t understand it.” That kind of honesty can be freeing for a reader; it is a simple, human way of saying: Some of what happens here on planet earth is very murky.

". . .we tell personal stories, to order the chaos of inexplicable events. . ."
—Norton

Memory after memory, in and out you go, dancing the memoir dance. Narrating, reflecting, making sense of nonsense. That’s what memoir is all about. That’s why we tell personal stories, to order the chaos of inexplicable events, to make a truth.

About
Lisa Dale Norton
Lisa Dale Norton is the author of Hawk Flies Above: Journey to the Heart of the Sandhills (Picador USA/St. Martin’s Press). Her new book, Claiming Your Voice: Writing Stories That Make A Difference, a quick and dirty guide to the writing of life stories, is seeking a home. Lisa teaches for the UCLA Writers’ Extension Program, the Whidbey MFA Program, and has just joined the faculty of the Gotham Writer’s Workshop in New York City. She speaks nationally on her passion: the power of story. She lives in Santa Fe. www.lisadalenorton.com


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