To everyone who left comments, I thank you for your words as well. Your support and belief in others to accomplish their goals and dreams makes the world a better place, a community of friends. I whole-heartedly thank you.

Savita–your words and advice are remarkable. I cannot express my gratitude enough–your answer has steered me in a new direction for my writing opening with it so many ideas for me to explore. In essence you have motivated me to write more freely, to let the “emotional truth” as you call it prevail in my work, which I know will make my writing a richer experience for the reader. You have an exceptional gift with words and an incredible ability to make an impact on people’s lives, particularly my own. Thank you!

At any rate, dear Cindy, some of the finest books I have ever read tread that fine line between fiction and memoir, and really, from the reader’s perspective, it is rather irrelevant what percentage of the story is actual fact and what percentage fiction. What matters is the heart of the story. As well, there is something that writers do, which is called “fictionalizing” the truth to make the story even more “true.” In other words, you start writing, based on an actual event or life-situation and, just going with the flow, suddenly you begin the blow-up the story into something bigger than life. And this isn’t a matter of merely changing the names of people and places, etc., it is more a matter of saying to yourself, in your mind as your writing: Okay, maybe it didn’t happen exactly like this, BUT…it could have, in fact, it should have. This is what is known as getting at the “emotional truth” of the story. Details and facts, in the hands of the writer, become mutable – it is perfectly okay to alter the tale in order to tell it the way it should be told – in the manner that conveys the greatest and most precise emotional impact.

I say write the story exactly how you “feel” it – follow your impulses, feel free to play with it, enjoy it, like the act of molding clay. Don’t worry too much, or even at all, whether you are writing fiction or memoir – just write, and let your publishers decide with what labels and under what genre to market the book.

Now, on the other hand, if you are concerned with how only SOME of your readers are going to react, namely those who actually inhabit this small town of 1,500 people (incidentally, my town has the same population), then this is a different issue. What we are talking about here then is “personal risk” on the part of the writer – you – how much risk you are willing to assume in writing your story. Sometimes, in this respect, it can be helpful to actually name this risk(s). Make out an actual list. For example: “I am afraid to tell about the incident at the Christmas party at my mother’s house, particularly to reveal the dialogue that took place between myself and my sister, because I fear that when my mother reads this, she will be deeply wounded for the rest of her life.” That’s just an example, but there are lots of different kinds of “personal risk” that the writer can incur in the process of “telling it like it is.” You might be afraid of offending or hurting, even losing, certain family members or friends. You might also be afraid of what people will think of you when they see the real you (the part within each of us that lies buried beneath the social facade or mask we use on a daily basis.) Anyway, think about this. Name these risks in as much detail as possible and then consider whether or not they do seem worth taking. You may be surprised. Many monsters shrink when we fling open the door and invite them out of the closet in which we have so long kept them hit.

Gotta run now.

Very best of luck to you.
Don’t quit, and don’t listen to the Mr. Alexanders of the world.

Savita

Sincerely yours Nataly.

Cindy swain : you are , because you live …
Love .
Sido

joindre les mots dans la réalité puis les amener vers la fiction pour faire rêver le lecteur et revenir dans certains faits réels afin de nourrir les mots d’une réalité à présenter dans le rêve des mots ( car c’est ce que le lecteur a besoin : évasion et rapport à sa réalité )