One man could sail around the world and not hold a
single reader with his memoir. E.B.
White could describe a row across Central Park Lake and hold a reader
breathless.
It’s not the events of your story. It’s the story of your events—in you.
Scene
One
Location:
a party at a house by the harbor.
The
conversation: it might go something like this.
One of the men turns to me—about my age, getting grey—we’ve
been chatting boats. “You’re the one
who’s just published that memoir.”
“Yes.”
“You retired?”
“Yes. I
enjoyed doing the book. Lot of
work. I suppose not everyone could do
it.”
“You know, I’ve tried to write a memoir. People say my life is amazing. Can’t seem to make it into a book though. I could use your advice.”
“You’ve sailed across the Atlantic, right?”
“Three crossings.
Once solo in a 28-foot sloop. France—Azores—Cape Verdes—then downwind to
the Caribbean.”
“So what’s the point of your memoir?”
He looks puzzled.
“I just said.”
“I don’t mean to be argumentative, but no, you
didn’t.”
“What do you mean?”
“You’ve told me what happened, not what the point is.”
“People say I tell what happened very well.”
“I expect you do.
There’s a lot to tell about, in all that sailing. I’m sure you’ve done a good job at what is
not the job.”
He looks, perhaps, offended. “What do you mean it’s not the job?”
“What I mean is you’ve begun the job—to tell the
story—but that’s not the real job.
You’ve got your story so one event flows into the next event. That’s good.”
“Thanks.” And then, “I think.”
“But the real job is harder.”
“Why?”
“Because the real job is answering my question—what’s
the point?”
“Why can’t I just tell the story and be done?”
“Because no one wants to read a sequence of your
events. ”
Scene
Two
“I don’t understand.
Why do I do this then?”
“What someone wants to read is what that person needs to read.”
“How am I supposed to know what that person needs to
read?”
“One thing everyone needs to read is the truth.”
“The truth about what?”
“About you, and about the point.”
“But the truth about me is what I wrote down already.”
“No, it isn’t.
What you wrote down is a sequence of events, which you have ordered so
they flow. That’s not the truth. That’s a sequence. And nobody wants to read a sequence of your
events.”
“Then what am I supposed to do?”
“Tell the point.”
“What is
the point?”
“Ah, that’s the big question, is it not?”
“Oh, come on.
We’re going around in circles.”
He steps aside and pours himself another drink. I think he may have left the conversation,
but he circles back. “Anyway, the truth right now is that I hate my boat
as much as I love her. Maybe I’m too
old.”
I pause then ask, “What’s the point of your life—let’s say of
your nautical life—of this sequence you have written down?”
“The point?
I’m just trying to tell my story here.
People say my life is amazing. That’s
what I’m trying to tell about.”
“You really want my advice?”
“Sure.”
“Write the sequence down, each chapter, just as it
flows. But then go back and write it again. By the second or the third time you do that, a
new conception of the story will emerge.
Your concept of your story will have matured. That new concept is the point.”
“Ah, that point thing….
“Yes. That point thing leads to the truth about
you. The truth will be the reason why
people need to read your book. So they
can have truth in their lives. They need
to have truth in their lives, and your book gives it to them.”
He muses. “It’ll
take a lot of pages to write it again and again.”
“It takes a lot of days to cross the Atlantic. What’s the point of doing that? Just to get to the other side?”
“Yes—but really, no.” He pauses.
“It’s being out there on the ocean and in tune with the ocean—for me, that’s in tune
with God—and even more so when I'm alone.”
“So that’s
the truth you need to talk about. Your
focus needs to be on the truth, not on successive positions at noon. People will read your book, if it contains the
truth about you and about your soul, so they can have the truth in their
lives.”
“But what do I do with this mass of paper? By now, I’ve got maybe a thousand pages on my
desk!”
“Yes, you do have lots of pages. Now cut every sentence from the thousand
pages that is not about the point.”
“But what if I love those sentences now?”
“You will love them.
But your love is self-indulgent.
You’re in love with your love of your sentences. Cut anyway.”
“Not easy.”
“In the Caribbean, did you ever take on board a huge
bunch of green bananas and hang them in the rigging and, when they ripened,
need to eat them as fast as you possibly could before they rotted?”
“Yes.”
“What happened when they rotted?”
“Threw them overboard.”
“See? Even
though you loved them?”
“Even though.”
He smiles. “Okay, I cut.”
“That’s what you’ll do if you want someone else to
read your story.”
“I thought I wanted that.”
“Don’t back away now. Now people will read your story—and will value it—because now you are telling
the truth.”
“Anything else?”
“Just go through and make every paragraph a pleasure
to read—vivid, humorous, whatever it takes to make each paragraph a pleasure to
read.”
He rolls his eyes.
“Then am I done?”
“Oh, sure,” I smile. “Then you’re done.”
We shake hands.
As he turns away, I say, “But when an editor gets a hold
of it, and you’ll have three or four more rewrites yet to do.”
Copyright, Dikkon Eberhart, 2015