Secrets of Writing Memoir

Download the Math of Storytelling Infographic

You decided to write a memoir and ran into trouble. Maybe you started writing the events of your life only to find your pages roiling in chaos. Maybe you don’t know where your story starts or ends and your middle build sags like an elephant’s behind. Or maybe you don’t yet know what kind of story you’re telling. Please, do not fear. I have some solutions for you in this post. We’ll drive to the heart of your memoir to set your story structure inline for success. How will we do that? I’m going to help you through the process as if you’ve hired me as your editor. As a Story Grid Editor, I ask six major questions of a memoir manuscript. I use these questions to guide the writer from idea to the first draft, through multiple revisions, and to a finished manuscript. When you can answer these questions for your story (and implement the answers in scenes, sequences, and acts), you’ll have a working memoir. Let’s get started.

Question One

What’s the Genre?

The obvious answer, in this case, is Memoir, right? Maybe you’ll go a little further and classify it by focus; memoirs on addiction, parenting, grief, family relationships, etc. Not so fast. Memoir is a category used to classify books for librarians, booksellers, and readers. Some other examples of these categories are Romance, Sci-fi/Fantasy, Self-Help, Literary Fiction, Young Adult, etc. The Story Grid method classifies genres for the writer. For the memoir, we’re focusing on the twelve Content Genres. Let’s have a look at those genres first. Can you see your memoir fitting into any of them?

Internal Genres

A Worldview Story, like Educating Rita, The Great Gatsby, or Oedipus Rex. This story is about the protagonist (you) changing, or failing to change and suffering the consequences, from naivete to sophistication, ignorance to knowledge, or meaninglessness to meaning. A Status Story, like Election, Oliver Twist, Memoirs of a Geisha, or Victoria and Abdul. This story is about the protagonist (you) changing, or failing to change and suffering the consequences, from failure to success. A Morality Story, like L.A. Confidential, Casablanca, or Wall Street. This story is about the protagonist (you) changing, or failing to change and suffering the consequences, from selfishness to altruism.

External Genres

A Performance Story like Little Miss Sunshine, The Silver Linings Playbook, Billy Eliot, or Million Dollar Baby. This story is about the protagonist (you) changing, or failing to change and suffering the consequences, from shame to respect. A Love Story like The War of the Roses, The French Lieutenant’s Woman, Pride and Prejudice, or Damage. This story is about the protagonist (you) changing, or failing to change and suffering the consequences, from indifference to love, loneliness to togetherness, lack of intimacy to intimacy. A Society Story, like GerminalThe Grapes of Wrath, Brave New World, Black Panther, or Thelma and Louise. This story is about the protagonist (you) changing, or failing to change and suffering the consequences, from subjugated (under tyranny) to freedom. A War Story, like Tides of War, The Things They Carried, or Inglorious Bastards. This story is about the protagonist (you) changing, or failing to change and suffering the consequences, from dishonor to honor. A Crime Story, like Rififi, Murder on the Orient Express, or Sexy Beast(one of my favorites). This story is about the protagonist (you) changing, or failing to change and suffering the consequences, from injustice to justice. An Action Story like Goldfinger, Deliverance, or The Odyssey. This story is about the protagonist (you) changing from the imminent possibility of death to life preserved. A Thriller like Taken, The Terminator, or Gone Girl. This story is about the protagonist (you) changing from the imminent possibility of death with the possibility of damnation, or death with the possibility of injustice, to life preserved. A Horror Story like Scream, The Shining, Get Out, orFrankenstein. This story is about the protagonist (you) changing from “death would be a mercy” to life preserved. A Western, like Shane, Lonesome Dove, Star Wars, or Pat Garrett and Billy the Kid. This story is about the protagonist (you) changing, or failing to change and suffering the consequences, from acquiescing to society/civilization to freedom. Of course, you noticed these are all examples of fiction and not a memoir. Hang in there with me. There’s a reason we’re starting with fiction.

A good memoir follows fiction guidelines.

A memoir isn’t an autobiography. Your memoir will be autobiographical, but it won’t be the whole story of your life. Readers choose autobiographies to read about the famous, accomplished, or notorious author. They choose memoirs to learn something from the memoirist’s relatable, human experience. What you’re aiming for in memoir is a story that builds from carefully curated anecdotes (scenes) from your life to a global controlling idea (theme) which creates a takeaway for the reader. Just like fiction. Don’t worry. We’ll unpack this. In a memoir, you’re actually telling two stories, the primary and the secondary, and that requires a choice of two genres. Each will feature you as the protagonist going through a change process that is aggravated and required by external events. Your primary story will almost always have an internal genre and the secondary story will be an external genre. Why? Because your memoir goes deep into your head and personal, internal, experiences. Readers expect a memoir to be primarily focused on your internal journey. But the internal journey takes place in the context of external events. So you’re telling both an external story (what happens) and an internal story (its impact on you).

What are the Conventions and

Obligatory Scenes of My Genre?

Conventions and obligatory scenes are the must-have moments, tropes, scenes and expectations of the two genres in your memoir. As the author, you must know these reader expectations and deliver on them in surprising and innovative ways. The added benefit of this knowledge is that it also helps create the architecture of your story. I’ve written guides to many of the genres and provided links above. For those genres not linked, you can read or listen to the breakdown of masterworks by genre by checking out the Editor’s Roundtable Podcast. In the podcasts and show notes, Story Grid Editors lay out the conventions and obligatory scenes of genres. All twelve of them. These episodes are the cheat sheets for your genre. Compare them to memoirs like the one you want to write (your masterworks) and you’ll see how these are the genres in memoirs as well. Choose your genre carefully and do your research.

What’s the Point of View/Narrative Device

of My Memoir?

It may seem obvious that YOU are the storyteller and the protagonist, right? Yes, but this may be the trickiest of all the questions to get right. “Who is telling the story?” is a given in memoir but determining the narrative device is a bigger challenge. We have to ask the pivotal question, “Why am telling this story?” It will determine the tone of your story as well as the reader’s takeaway. It forces you to think about your audience before yourself. If your memoir doesn’t enrich, entertain, or enlighten readers, it doesn’t work. Think of the narrative device as the container for your story.

You need a container.

A container establishes liberating boundaries rather than confining you inside a box. Boundaries help frame your story. In a memoir, not all things are possible in your plot like they are in fiction. I once heard a lecture where world-renowned memoirist, Joyce Maynard, told this story: [If I put you and your young kids in a box, you’ll feel stifled. If I put you and your kids in a park with no fence, you’ll have to work really hard to keep them close and watch over them diligently. But if we put a fence around that park, everyone can sigh-in-relief and go explore and have fun within the boundaries. Memoir frees you because it gives you those boundaries.] You can create a container via theme (a specific subject, see below), a short time frame, a story within a story, etc. You must connect this to why you are telling your story now.

What Did I (Protagonist) Most Want and Need

in this Story?

Answering this question is what will keep you on course. When you get stumped, you can ask yourself what scene/moment can I write that took me closer to, or further from, what I wanted or needed? Understanding the relationship between wants and needs is a great tool for a writer and you don’t have to be a psychologist or genius to get it right. Create a simple answer and allow yourself to change it, if you need to, later. As in internal genre fiction, how you grew emotionally is critical to a successful story. Your memoir should clearly demonstrate the difference between who you are today and who you once were. What you learned along the way becomes your character arc. How did you change?

What’s the Controlling Idea/Theme

of my Memoir?

Editor Tip: Use this formula to develop your controlling idea: (Human Value) prevails when x occurs. A controlling idea/theme is a simple statement that combines the story value at stake with the cause of moving it from one state to another, often it’s opposite. What value changes in your story? Refer to genres above, if needed. Get to your theme by asking yourself why you’re writing a memoir. Finish this sentence; I want to fully understand what led me to… Once you have your controlling idea, you can use it to make sure every scene you’re working on proves or challenges it. Your unstated theme will be something like, “You’re not alone. What happened to me can also happen to you.” We all have the same needs for food, shelter, safety, love, etc. We all fear loss on many levels. Make sure your controlling idea hits the primal wants, needs, and fears with specific details in dramatic scene structure, and readers will identify with your story. Trust your narrative to do the work of conveying your message. Memoirs packed with relatable candor and vulnerability draw readers in. Veer anywhere close to preaching and you lose readers. Pack your theme into the subtext rather than text.

What is the Beginning, Middle,

and End of My Story?

In a memoir, the plot is the same as in fiction. It’s a sequence of dramatized events (scenes) showing how you encountered and faced challenges and how you figured out how to solve your big problem. You now know it’s as important in memoir as it is in the novel to show not tell. You have to steal every trick in the novelist’s toolbox to bring each anecdote to life: dialogue, description, conflict, tension, pacing, and the five senses. But structure reigns supreme. Create one sentence to describe each of your three acts. One sentence for the beginning hook, one sentence for the middle (a progressively complicated build to a climactic moment), and one sentence for the ending payoff (resolution scenes, what you learned). Fill in your character arc with the pivotal memories/anecdotes/scenes that push the story forward, all the way to where it’s clear that you did, or didn’t, get what you wanted and needed most.

Beginning Hook

You start in the middle of the action, rather than “from the beginning.” Immerse your protagonist in trouble as fast as possible. Show us your lowest point, then make readers wait for the payoff. Avoid using a narrative summary to give away too much information too early. Example: After twenty years of hating your father, you got over it when he saved your son’s life. If the climax of your story is the dramatic rescue demonstrating his sacrifice for you, the reader shouldn’t know this at story onset (you’ll begin your story long enough before the rescue to fully demonstrate the problems with your father and the ramifications of those difficulties). The beginning hook should contain the inciting incident of the global story (the call to adventure, Hero’s Journey terminology) and your first progressive complication (refusal of the call). You will likely demonstrate how you experienced shock and then denial in regards to your theme.

Middle Build

Here, you are ratcheting up the trouble. Demonstrate how everything you did to try to solve your problem progressively worsened the situation until you hit the height of cognitive dissonance and your situation appeared hopeless. This is known as the All-Is-Lost Scene. Your middle build will contain your second major progressive complication of the global story (crossing the threshold), your third progressive complication (test, allies, enemies), the turning point complication (the ordeal), and the crisis (apotheosis). You will likely demonstrate how you experienced anger, bargaining, depression, and deliberation.

Ending Payoff

Because of what you’ve learned and how you grew through all those setbacks, you demonstrate how you rose to the challenge and won the day. The Ending payoff will include your climax (the resurrection) and the resolution of the global story (reward and return. You will likely demonstrate the major choice you made in action and how you integrated the knowledge you gained in through action that signifies change. Editor Tip for Global Story: All good memoirs have takeaways; meaningful reflection on your world and speculative prose demonstrating a specific experience within dramatic scenes. Lace these moments into scenes without spoon-feeding your reader. Go ahead, burst your reader’s heart, crush them with the weight of your insight and surprise them with their own. Allow them an emotional mirroring of your experience. You’ll be assuring them they’re not alone, that they are correct in their assumption that the world is a crazy-ass place.

You’ve answered the Six Core Questions,

now what?

Story Grid Editors suggest you thoroughly immerse yourself in the kind of book you want to write before attempting to write it. I studied a mountain of memoirs before writing mine (White Grrrl, Black Sheep). Here are some of my favorites you can mine for a masterwork: All Over But the Shoutin’, by Rick Bragg Angela’s Ashes, by Frank McCourt (a top recommendation) The Chronology of Water, by Lidia Yuknavitch (a top recommendation) Dry, by Augusten Burroughs The Glass Castle, by Jeannette Walls (a top recommendation) Jesus Land, by Julia Scheeres Julie and Julia, by Julia Powell The Liars Club, by Mary Karr A Long Way Gone, by Ishmael Beah Running with Scissors, by Augusten Burroughs (a top recommendation) Smashed, by Koren Zailckas Strip City, by Lily Burana Swallow the Ocean, by Laura M. Flynn This Boy’s Life, by Tobias Wolff The Year of Magical Thinking, by Joan Didion (a top recommendation) An Unquiet Mind, by Kay Jamison Wasted, by Marya Hornbacher Wild, by Cheryl Strayed Whip Smart, by Melissa Febos Wolf at the Table, by Augusten Burroughs (a top recommendation) Editor Tip: If you get stuck, at any point along the way, review the answers to your six core questions. My favorite Story Grid advice is “When you get stuck at the macro level (global story), go back to the micro level (scenes). When you get stuck in the micro, go back to the macro.”

Final Thoughts?

Whether or not you feel stuck, editing is crucial. Why? Because In a memoir, you have to kill elements of your own story that you felt deeply but that didn’t significantly impact your story. Because no one has the objectivity needed to strip away parts of their experiences to create a fully resonate story, we need a “fresh pair of eyes” to improve our narratives, sometimes just to make the story work. You now have all the tools you need to structure your memoir. My hope is that I’ve helped you get closer to finishing a memoir that resonates with readers. Need some extra help completing your manuscript? Grab a spot on my calendar for a free half-hour consultation so we can determine how I can best help you meet your story goals. Interested in other articles I’ve written on genre? Check out these links: Secrets of the Performance GenreSecrets of the Morality GenreSecrets of the Status GenreSecrets of the Society Genre, Secrets of the Crime GenreSecrets of the Worldview GenreSecrets of the War GenreSecrets of the Action GenreSecrets of the Thriller, Part One and TwoSecrets of the Horror Genre , Secrets of the Western Genre, and Secrets of the Love Genre, Secrets of the Big Idea Book, Part One, and Part Two. I wish you the best of luck and hard work with your story. Special thanks to Anne Hawley for editing this post.

Download the Math of Storytelling Infographic

Print Friendly, PDF & Email


About the Author

Rachelle Ramirez helps writers develop their stories and believes stories are our most important catalyst for change. She is the editor of award-winning and bestselling authors, including Shawn Coyne of Story Grid fame, but her favorite work is with first-time novelists and narrative nonfiction writers. Rachelle received an MA in psychology from Goddard College and attended the School of the Art Institute of Chicago's Masters in Creative Writing Program on a merit scholarship. She served as an art therapist for HIV impacted children, a social worker for adults in crisis, and as an executive director for a national writing community before becoming a Story Grid Certified Editor. She lives in Portland, Oregon, with her family, ridiculous dogs, and a few too many urban chickens. Rachelle was recently published in Four Core Fiction. Download her free guide, An Introduction to Genre. Attend her free masterclass, Get Your Story Unstuck. Schedule a consultation with her on your story at
Story Grid 101: The Five First Principles of the Story Grid Methodology
by Shawn Coyne
What are the first principles in writing a story that works? At Story Grid, it’s easy to get distracted by the tools, spreadsheets, commandments, macro lense, micro lense, and on and on. However, all of this eventually comes back to five first principles. In Story Grid 101, Story Grid founder Shawn Coyne distills 30 years... Read more »
Paperback: $19.99
Ebook: $0
Audiobook: $14.99
Author Rachelle Ramirez


Oriya Pollak says:

Thank you so much for this masterpost! You sure do put forward a plan for those in need of it 🙂

Rachelle Ramirez says:

Thank you! I had to make a plan for myself. Now, I’m feeling pretty confident about moving forward with a mini-book on Memoir. Also, a book that complies all the genres from this series. I figure it will take me anther 6 months to get through all the genres.

Helen says:

Thanks for your take on memoir. My tale is a bit unusual as my dog is writing his memoir. I started with no writing knowledge at all posts like yours have been helpful. I appreciate your sharing. Is it feasible for you to give me any structural feedback please? I’m in Western Australia. Regards Helen and woofs from KoKo

Rachelle Ramirez says:

Helen, Memoirs of a dog sounds interesting. Let’s have a chat via Skype or Zoomchat. I do an initial, free, 30-minute consultation for potential editing clients. You can contact me directly through my website,

Rachelle Ramirez says:

Some great advice from Joyce Maynard:
Figure out where and how to begin and not feel overwhelmed.
Identify the difference between “What happened?” and “What did it mean?”
Eliminate the parts of your story that don’t belong and focus on the big emotional moments that changed you.
Write about the small events that support the overarching story.
Maintain your point of view and not lose sight of your real story.
Stop worrying about hurting or alienating someone in your life or yourself.
End your memoir—when your own life isn’t over yet.

Irene Allison says:

Terrific article, Rachelle, thank you! I love the way you so clearly show how to laser a memoir’s structure and content through internal and external story lines and story grid principles. This is so brilliant! And I’m thrilled that I can use these techniques to hone my own memoir. Can’t wait. It’s a messy draft at the moment, but I’ll be getting back to it after my current novel (so down the way a bit).

Thank you too for all the recommendations of books and films to help select genres and to see how they play out in masterful works.

Can I ask when your book is due out? And the genres you’ve selected for it? I’m looking forward to checking it out. 🙂

(BTW, as a memoir-lover, you might enjoy “Duende: A Journey in Search of Flamenco” by Jason Webster It’s about so much more than Flamenco’s music and dance, stunning as that is, but the darker shadows of Flamenco culture as well as the memoirist’s own descent into the “hell” of obsession.)

Rachelle Ramirez says:

Yes. I was thinking about your question on how to choose a masterwork and pumped that list up. Some really great works out there. When you hone in on your genre, let me know and I might be able to suggest a particular book.

Rachelle Ramirez says:

Thanks for asking about my work. I am in the sophomore draft on my memoir. I think I almost have the structure down and then it’s a sewing the seams rewrite and then to my editor, Anne Hawley. She’ll probably want me to do some scene tweaking, then another draft to clean it up. After that comes line edits, the beta readers, then a draft and then proof editing. I suspect that will take a year. Beta readers return a manuscript in about 30 to 45 days, so that process alone takes some time. Then there is resistance that gets in the way and makes me want to flush my head in the toilet and, well, delays of our own doing are common. Once it’s finished, I’m not sure if I’ll self-publish or look for an agent. Probably self-publish for the long view launch (I recently did Tim’s Book Launch training for the fun of it). I just finished my Story Grid masterwork editions book on Memoirs of a Geisha (Status/Worldview/Obsessive Love) and I do not know when Shawn and Tim will publish that. It’s going to take about 6 months for me to get through the study of all 12 genres and then I’ll pitch the “genre overview book” to Shawn. Story Grid will already own all the content from my blog posts, so it’s an obvious and only choice for publishing. Then, there is the book on writing Memoir which will have all the genre info in it plus my suggestions for meeting the particular challenges of the memoir writer. It’s a glaring hole in how to write memoirs to help writers get their structure into a workable and actionable plan. Meanwhile, for memoirs, I can’t recommend Joyce Maynard’s work enough. She is teaching now and doing some great work. Don’t hesitate to get me on the phone for a half hour consult if you get stuck. I do those for a one-time price of FREE.

Bayo Moses says:

O World! Rachelle, you nailed it for me. My worst issue writing a memoir was about if it had to be like fiction or non. And everything you said up there plus extra links are just the perfect guide I needed 18 months ago.

I seriously can’t wait for your works on memoir. Can I have an email notification when they’re ready? ?

Rachelle Ramirez says:

Hello Bayo, I’ll be posting my work here on the Story Grid site and I suspect I will be writing a Story Grid book on memoir, specifically how to use genre to get a beginning, middle, and end with a clear storyline. Life doesn’t have clear endings like a memoir needs. I’d love to hear what questions you have about memoir. It would help me know what writers found lacking in this first post. Do you have a first draft completed? What genre did you choose?

Shelley Sperry says:

Hi Rachelle, I just wanted to tell you how excited I am about your dive into memoir here and your plans to write a full-length guide in the future. I’ve become more and more interested in reading them, and your approach is so helpful for writers wandering through the forest of memories and trying to find the right path. Such a good post, and I’ll be the first to sign up for a copy the Rachelle Ramirez personal memoir and the guide to memoir writing! *cough* Need a beta reader for either? I’m your girl!

Rachelle Ramirez says:

Thank you. So nice of you. The key to what I’m doing with memoir is to actually add value to the body of work already out there rather than repeating it with my own “voice.” A lot has been written on the subject but outlining structure and containers are lacking. There are already some really good books out there but they miss what it is we do at Story Grid.

Jeremy Clark says:

Hi Rachelle, could I raise something for clarification, please.
Regarding the Beginning Hook, you say above: “You start in the middle of the action, rather than ‘from the beginning.’ Immerse your protagonist in trouble as fast as possible. Show us your lowest point, then make readers wait for the payoff.”
My protagonist is in the height of action and at his lowest point at the crisis moment when he must choose between two courses, which scene tends to come at the middle to end of the Middle Build.
Do I understand you to mean that I should start the novel with:
(1) that crisis scene, or an allusion to it, but only as a forespelling – in order to prick the reader’s interest – and then to return to it later in its proper order in the Middle Build or Ending Payoff,
(2) another scene (e.g. a conflict escalation) with the protagonist in trouble and at a low (but not his lowest) point?
An example of (1) I recently came across was Patrick McCabe’s “The Butcher Boy”, in which the protagonist alludes to “what I done on Mrs Nugent” in the very first paragraph of the book, i.e. to his climactic murder of Mrs Nugent, that is only explicated in the Ending Payoff in the last quarter. I think it works very well in that book.
Shawn Coyne says “The Inciting Incident is the big event that kicks off your story.” (p160) But does it have to be the earliest incident, chronologically in the narrative, as well as coming first in the book?

Rachelle Ramirez says:

Hello Jeremy, It’s not all so straight forward, is it? This is an great question. By starting in the action, I mean making sure something is happening. The protagonist isn’t just thinking or walking around making breakfast and deciding between toast and eggs (unless the book is about a food addiction, etc.). The protagonist must be doing something that demonstrates their character. So, if you start a story with a guy walking around making breakfast, why? Is it to show he’s a control freak and how he orders everything he does? Make sure that’s his big fault he must overcome in order to succeed in his genre. So, no. You probably don’t want o start with your crisis scene. Though that could work (Fight Club did it). If you are writing memoir, it’s a primary internal genre. You start with the flaw (naiveté?) and have it challenged by the inciting incident of the global story as soon as possible. The five commandments do have to go in order. You start in the status quo world of the protagonist, the inciting incident introduces a change and solidifies for the reader what it is the protagonist wants. The progressive complication makes it harder for them to get their want. The turning point is something that happens that forces them to make a difficult choice. The crisis is the choice (often off the page and in the subtext instead) and the the climax is the actions the protagonist takes that answers the crisis question. The resolution is what happens as a result of the actions in the climax. Keep those all in order. You can repeat the sequence. When a story opens with the resolution or the crisis, it still has a linear trajectory and cause and effect nature of the events. That’s a twist on narrative device, the point from which the narrator chooses to tell the story.

nico says:

Thank you so, so much for this. I’m in the process of (beginning to) write and direct a documentary about my great-grandfather, and this has helped immensely.
All the best.

Rachelle Ramirez says:

So glad this helped. I love documentaries. Best of luck.

whosyourdady says:

Thank you, Rachelle, for your insight information!
I will definitely use some of the questions to craft my current work.

Best regards,

Mihai Țepeluș says:

As soon as I get back on it, I will plan to do so, sure!


Anne says:

Hi Rachelle,
You make a good teacher at this. It is clear you have talent at conveying structure so good luck with the forthcoming book.
I’ve written a memoir. The story is about setting out on the adventure to find a dream home in the country to settle into an idyllic country way of life. It’s very much a relocation type memoir except I am relocating within my own country. Structurally I made the mistake of writing the entire story in linear form and did several re-drafts without having a proper grasp of overall structure. (Although I’m good with scene structure and drama). I’ve had editorial responses and it points to what I most need to work on is the lack of me in the story. I interpret that now as I need to articulate the analytical and reflective a lot more than I have. I’m used to writing drama and leaving so much unsaid. However, on the page I’m not getting the subtext across, it would appear. I think what I have is a well written flawed work that goes off the rails a lot. I am aware that the universal theme I’m endeavouring to get across. It is the theme of creating the dream life in the country and what that process or the attempt to do so can be like. I can get more analytical and address that throughout. However I’m studying articles such as yours in order to go deeper into where I have gone wrong and how I can right things by looking first at structure. This has brought up one big dilemma for me. ‘Hope you can help me out of the woods with this by shining the light of your informed opinion my way..

Right now I’ve written a relocation story on the theme of creating the dream life in the country. I have omitted from the story aspects of my private life. my interest was in telling a story of the struggle and drive needed to create one’s dreams. I can see a way of introducing more of my private life. However, I think it is a different story and a strong story that might even derail the one I wanted to tell…. What I want to do is make the story I have fully resonate. Do you think you could help or, should I get back to the drawing board until I can make myself clearer?

Rachelle Ramirez says:

I’d be happy to help and I might be able to better clarify where your concerns are around the two different stories. It sounds like you have a Status primary (internal) genre and an Action/Adventure secondary (external) genre (stakes could be life and death of a dream or livelihood rather than life and death). If you’d like to grab a free spot on my calendar, we could walk through your concerns and find some solutions. When I was first writing memoir, I got the exact same criticism and the answer to the challenge was much more at the scene level than I thought. It also meant diving deep into what the character really wants and what the obstacles are in her path. There must be stakes. There must be conflict, crisis, and change in each scene. I have some tricks for making sure you get those in there. Happy to chat.

Anne says:

Thank you. I’d love to hear from you .. so let me figure out this calendar for an appointment then.

Judith Andersson says:

Thank you so much for this post, and for all the work you and Shawn and others have done.
I am so glad I stumbled onto the Story Grid site. This approach is just what I needed, as a green writer, and this post has certainly filled some of the gap for memoir writers. What we have now, at last, is a road-map of how to get there. Thank you again 🙂

Rachelle Ramirez says:

You’re welcome! I think I am one of the few editors working in memoir writing. I wish you the best of luck and hard work with your story.

Eleanor Gaccetta says:

Love your content Rachelle, very well-written!
Reading books about memoir act as a bridge between experience, imagination, and emotion. It is the most powerful way of influencing how people think and act. It teaches people the most significant values to go on in life.


Leave a Reply

Your email address will not be published. Required fields are marked *

The Book

Is this your first crack at writing and finishing your book? Are you lost on how to tackle this project? This is the place to start.

First Time Writer

Is this your first crack at writing and finishing your book? Are you lost on how to tackle this project? This is the place to start.


Is this your first crack at writing and finishing your book? Are you lost on how to tackle this project? This is the place to start.