The Guiding Principle To Your Memoir: So What?

Okay, so I’m not a memoirist. But lack of experience has never stopped me from providing a vehement opinion. (Plus I read memoirs–My answer to an aspiring memoir writer’s question: “Do you have to be sensational to be salable?” up now for Grub Daily.

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A Tribute to Andy Gabrielson: What A Young Stormchaser’s Death Might Teach Us About Life


I regret to say that my first reaction upon being informed of my dad’s death was to wail, “No! Not him! Why him? Why not…” and I then named other candidates I apparently deemed more deserving.

I learned later this is a fairly common reaction to a beloved’s death—to want to put others in their place.   In fact, it’s frequent enough to be universal.

Also universal is our outrage when somebody dies too young.

Senselessly.

Suddenly.

And randomly.

Stormchaser Andy Gabrielson’s death was one of these: the death we all fear. Abrupt.  Shocking.  Unbelievable.  The brain embolism.  The blood clot in the lung.  The fall in the shower.  The rare deadly germ picked up by casual handshake.

But wait, you could say: didn’t you say “stormchaser”? So this Andy Gabrielson person died stormchasing.  Live by the sword, die by the sword, as they say.

Actually, no.  Andy Gabrielson died as the result of a head-on collision, a driver driving the wrong way down Interstate 44 outside Tulsa, near Sapulpa, OK, in sunny conditions, in broad daylight.

Andy was two weeks from his 25th birthday.

He has a three-year-old daughter.

I didn’t know Andy very well.  Like many chasers, we had crossed paths and missed each other by inches countless times. We had exchanged text messages.  And, like many other chasers, I was always behind Andy on any given tornado intercept.  On August 7, 2010, when I was chasing in Wilkins County, MN, with Extreme Tornado Tours director Chad Cowan (then a guide and driver for Tempest Tours), we were a mile away from a spectacular-looking, extremely destructive EF4 elephant-trunk tornado, shooting its structure. Andy was about 200 yards away, right next to the tornado’s debris ball. He was one of the first to call it in and to help the family whose farm was destroyed.

Later that month, when we were chasing the Hayfield, MN tornado on August 13, we got within about 200 feet of the tornado.  I was driving.  At one point we were literally across the road from the tornado, and on Chad Cowan’s video of this chase, you can hear me say, “I’m not getting any closer. I’m not pulling a Gabrielson on this thing.”

Every time I went chasing, any time I looked at a radar grab of a tornadic supercell and saw one Spotter Network dot in the bear cage, I’d yell “GABRIELSON!” Because it always was.

Andy was, at such a young age, already legendary in the chase community for always getting his shot, always getting up close. Wherever there was a severe storm, you could be pretty sure Andy was on it.

Some of us worried that the extremely-up-close-and-personal footage Andy provided to The Weather Channel and numerous other media outlets would encourage young chasers—or worse, civilians who had enthusiasm but no severe weather knowledge—to take similar risks.  When Mike Bettes of The Weather Channel wondered this aloud, the issue caused an imbroglio in the chaser community.  (The Weather Channel routinely bought and showed Andy’s footage.)

Yet Andy, ever strikingly articulate, consistently told his audience what responsible chasers do: Don’t try this at home. He also emphasized the public service chasers perform, frequently calling in storm reports before anyone else.

And really, it was not Andy’s job to make sure other chasers and civilians didn’t follow his lead. That responsibility belonged to those individuals—and the media outlets that bought and showed Andy’s adventurous footage in the first place.

Andy’s job was to do what by all reports he loved to do best:  chase with unparalleled passion and skill.

And this, from everything I’ve seen and heard of him, from his live stream to other chasers’ admiring comments, is exactly what he did.

Until the driver going the wrong way down I-44 took his life.

What are we to learn from this kind of senseless death? The death of somebody not only young, not only passionate, but on his way to becoming a legend in his own time? The father of a little girl?

That’s not for me to say.  That’s for greater minds to figure out.

But even I can say that maybe, if Andy’s death teaches us anything, it’s this:

Do what you love to do.  Do it skillfully, respectfully, passionately and well.

Drive safely and defensively.  Stormchasers cover thousands of miles of road a year.  Last year I put 15000 miles on my Jeep.  Any of us could probably tell you that the biggest risk in chasing is other drivers. One of the biggest risks of living in America today is other drivers.  Texting and talking on cell phones has only made us worse.  Please, drive safely. Pull over and report others who aren’t.

Finally, as Twister Sister Peggy Willenberg said on Facebook when she learned of Andy’s death, “Savor every moment of your life.”

 

To make a donation to Andy’s daughter in his memory, please click here: http://www.severestudios.com/donate-andy-gabrielson-fund

 

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Writing Advice du jour: What To Do With The Novel Whose Genius Is Not Yet Recognized

Dear Jenna,

I have a manuscript that is 4+ years in the making, which I absolutely love and believe is ready to be published. Problem is, agents aren’t interested (100 rejections and counting). I feel like I’m done. I can’t work on it anymore, but I don’t want to abandon it. Has this ever happened to you? Do you have any advice?

Dear Writer,

Oy.  Well, the “oy is because this is such a hard thing to go through, and I know this because yes, it has happened to me. Three times. Once with the original drafts of THOSE WHO SAVE US. Once with the novel between THOSE WHO SAVE US and THE STORMCHASERS. And once with the original drafts of THE STORMCHASERS. With each novel, I submitted to agents, and for each novel, I received a hearty round of nice, encouraging…rejections. I couldn’t get anywhere with any of them. Finally I put them away and turned to other things: life, new writing. What happened with THOSE WHO SAVE US and ‘CHASERS was, years later, I returned to both novels with new insights and more skill at creating structure for their stories.  Those times, they sold!

The novel in between–that one did not sell.  It is sitting in a file in my Boston apartment. I just visited it and said hello to it. Was there a mourning period for it? Absolutely. I didn’t write again for about a year after my agent couldn’t place it.  (I made sure of this by quitting smoking during that year.)  But you know, when I picked it up recently and riffled through the pages, the characters in the novel were quite happy being where they are. They’re having a fine time living out their story lives on the pages. Whether they’re being read by a bunch of people doesn’t matter to them. It matters to me.  So the novel is fine where it is, and I left it alone.

CHARACTER HEAVEN.

Some novels you return to because time and enhanced experience can make them better. Some are complete in themselves, they’re never going to be any different, and you can let them go to happy novel-land.  I hope this is helpful!

xo & write on!,

Jenna.

 

 

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How I Get My Ideas

Howdy, everyone:

Oftentimes I receive from readers wonderful suggestions concerning what I might consider writing about next. I know many writers who do work this way: they hear of a topic, or spy one in a newspaper headline, and run with it. I have always envied those writers. It seems such an efficient way to get material.

The way my stories and books are born is: I take a subject of extreme emotional interest to ME and plug it into a different context, thereby changing it somewhat–yet hopefully projecting it onto the wall of readers’ imaginations so everyone can feel what I’m feeling, too. That prism–refracting emotional light from me to you through the lens of make-believe–is called fiction.

Photo courtesy of Jim Reed.

I’m deeply grateful to have a chance to do this for my living and with my life. It’s not always easy trying to find the right context for the emotional situation. But once I find it, and once readers write to me to tell me what I wrote moved them–well, that to me is more than worthwhile. That’s evidence of grace.

This is also why I feel writing to sell, to pander to popular taste, just to make money, is a sucker’s game.

I wrote more about why this is in my latest Friday Five-0 advice column for Grub Street Writers.  Here’s the column. Enjoy.

Happy reading–and writing!

xo,

Jenna.

 

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Writer on The Road: Wichita. Once Upon A Time, A Thanksgiving Far, Far Away.

Hi, everyone:

Here’s my new blog post for Grub Street Writers, on a Thanksgiving far far away…and what I’m thankful for now.

Enjoy! Wishing you and yours the happiest Thanksgiving.

 

 

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The Tense Tense

Howdy, all!
 
Another reader query this week about why, WHY IN THE NAME OF GOD, I wrote THE STORMCHASERS in the present tense.  I’m always bemused as to why people pick up on my use of present in ‘CHASERS when I also wrote THOSE WHO SAVE US in present tense–and nobody ever asks about that! Maybe it’s because I diabolically eschewed quotation marks in THOSE WHO SAVE US to distract everyone. (Actually I left out the quotes in THOSE WHO SAVE US for other reasons, but that’s a different story.) 
 
I wrote both THE STORMCHASERS and THOSE WHO SAVE US in present tense because, as one of my Grub Street novelists (I think it was you, Dr. Kathy Crowley!) once said, the present tense is “the tense tense.”  The reader doesn’t have the security of retrospect. When you use/ read the past tense, the implication is that the character is relating the story from some safe place or point, having survived all the travails. With the present tense, that doesn’t hold true; the reader is strapped into the immediate experience with the character.  

I wanted this to be true for both novels and especially for ‘CHASERS, so the reader would have the full experience of not knowing when the storms, both atmospheric and mental, would strike.

Sadistic, aren’t I. 
That’s what being a writer is all about.      
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11 Tips For How To Start Writing A Novel

Hi, everyone! Today, my new Writer On The Road post up NOW for Grub Street Writers:

11 Tips For How To Start Writing A Novel

 

….which might explain a little bit why I’ve been uncharacteristically quiet for a while.

Enjoy!

 

 

 

 

 

 

 

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Blah Blah Blah Blah Blah, All The Way Home: How to Make Dialogue Sound Real

Dear Readers,

Ever wonder how to write realistic-sounding dialogue? How to make your characters say interesting things? And how to keep your 19th-century characters from saying things like, “Whatchoo talkin’ ’bout, Willis?”

My new post for Grub Street Writers on writing dialogue, up now:

The Dialogue Post!

I hope this is 1. interesting and 2. helpful! Write on.

xo,

Jenna.

Blah blah blah blah blah, all the way home.

 

 

 

 

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A Creative Spark to Flame: How THOSE WHO SAVE US was born

This morning I had the intensely gratifying experience of hearing from a former student of mine from Boston University, from the days when I was teaching Creative and Communications Writing and wearing little glasses I didn’t really need so nobody would know they were my first classes, and I was only a few years older than most of my students, and scared to death.

mean little glasses

I doubt this fooled anybody, but my students were too polite to mention it and played gamely along.  Now, many of them are working writers, which pleases me so greatly, I can’t begin to tell you.  And, like all good writers, they are full of questions.  The writer query du jour is from one of my B.U. survivors who is now in a creative writing master’s program, and she asked this:

I've been dividing my time between writing
short stories and working on my novel. But the last short story I
started has grown and taken over, and now I've decided to expand it
into a novel. That's really what I want to be working on right now,
not the first novel - does that happen often? I hate the idea of
giving up on my first project, or even putting it aside, but this new
one is really what's on my mind now.

My answer contains the explanation of how THOSE WHO SAVE US was born:

First, I have to say that I don’t believe there is any such thing as “normal” in the writing process–by which I mean there are no shoulds.  Writers write in such myriad ways that if a creative spark ignites in you, it doesn’t really matter how it got there or how you execute it, only that it did and you do.

That said, writers do have common experiences, and I’m happy to say that the way your short story is expanding on you is exactly what happened to me with THOSE WHO SAVE US.  I was working on finishing a short story collection–while I was teaching at B.U., in fact–and the last story in the collection was also entitled “Those Who Save Us.” It turned out that the story had a lot more juice to it than I thought; I just had a feeling that it would be a hit, the way you do when you hear a certain song on the radio, and when I sent it out to literary magazines, it got picked up by three in one week (which as we all know almost *never* happens!). Shortly after that, I awoke one morning with the whole novel mapped out in my head.  I staggered around my apartment feeling like Beethoven, at once immensely grateful for the flash of illumination–and piqued that instead of finishing a story collection and sending it out, I’d now have about three more years of work to do!  And indeed, that’s how long it took.  But it was, in addition to a lot of very intensive work, a magical process.

 




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Quote-i-quette

Hi, all! Ever wonder how the quotes get on a book’s back jacket? If you’re a writer, do you ever wonder how to ask for quotes less painfully? (Because it can be excruciating!)

Please check out my new Writer On The Road Column for Grub Street, up NOW:

QUOTE-I-QUETTE

I hope it answers some questions!

xoxo

Jenna.

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