[Although it's been well over a year since Randy Susan Meyers debuted with her international bestselling novel The Murderer's Daughters (see presentation/review), her writing continues to inform/enlighten in Beyond The Margins -- a multi-writer blog, a sounding board, a daily dose of essays on the craft of writing -- and The Huffington Post.
In today's guest post, the author explains the need to share emotional truth in all her writing and also provides a glimpse of a second novel to be published in January 2013.]
When I was a kid, nothing was better than listening to my Aunt Thelma’s stories. She’d take humiliating awful situations and transform them into eye-popping, comic-tragic tales. Her pain was our gain.
Stories bang around my head and crowd my mind. I’m stuffed with ‘what if’ and ‘why did s/he do that?’ As a child, I made twice-weekly trips to the library. Writers were gods to me, purveyors of that which I needed for sustenance. Food. Shelter. Books. Those were my life’s priorities.
As an adult, I still feel that way. I’m constantly foraging for books that offer glimpses into a character’s psyche, that go deep enough to make me part of the choir, saying, “Oh yeah, me too, tell it, writer. True that, uh huh.”
As a writer, I’ve learned that reaching deep isn’t always comfortable. (My daughters will read this! My husband will think I’m portraying him!) And, honestly, there is a place on my shelf for soothing books. Sometimes I want a comfort read, a total escape, a warm place to rest. But my favorite books, the ones I return to time and again, are those gritty enough to have emotional truth (which is very different than the truth of events.) Thus, I work to write with a knife held to my own throat, so that my work will hold as much emotional truth as possible.
Do writers of dreadful happenings all come from dysfunctional families? I wrote a book that begins with two sisters who witness their father murder their mother and goes on to explore the myriad ways this event shapes their lives. Did my father kill my mother?
No. But he tried, and my sister and I were there. My sister let him in (after being told ‘don’t open the door for your father’) and somewhere in the background I stood, a silent four-year-old. Did that shape my work? I’m quite certain it did. Even though it is only the first chapter that holds my family DNA, the ongoing emotional tenor and the themes are all ripples from my past: invisibility, abandonment, neglect—much that was drawn on.
My next book, coming out in January 2013, The Comfort of Lies tells the story of three women connected by one small child: one gave birth to her, one’s husband fathered her, and one adopted her. The year their lives collide, they’re forced to make decisions about the child, their marriages, and face the damages of infidelity.
Did I give a child up for adoption? No. Did I adopt a child? No. But I struggled with issues of infidelity in ways that allowed The Comfort of Lies to come alive in my mind (and hopefully on paper.)
How does this happen, this weaving of truth and imagination? Does it always happen? One wouldn’t know without x-raying each writer’s past, but it’s a question I wonder about when reading my favorite books. What was that writer tapping into when they brought such depth to the page? Can a wrenching book be written without the writer taking a visit to their depths?
For me, writing transmogrifies fact into fiction, and thus, soothes my soul.
I used to play a song for my daughters, from Free to Be You and Me that swore that crying got the sad out of you. That’s kind of what writing does for me—it gets the sad, the mad, and the glad out of me.
Writing calms me. Writing excites me. Writing sorts out my world.
And writing lets me tell stories. Just like Aunt Thelma.