Writing a memoir is a deeply personal and often emotional journey that requires self-reflection, honesty, and vulnerability. Not everyone is suited for the task of writing a memoir, as it requires a certain level of introspection and courage to share one’s life story with the world. So, who should write a memoir and why?
Anyone who has a compelling story to tell and feels a strong desire to share it with others should consider writing a memoir. This could be someone who has overcome significant challenges or obstacles in their life, someone who has experienced moments of triumph or success, or someone who simply wants to document their life experiences for future generations.
Writing a memoir can be a therapeutic process for some, allowing them to make sense of their own past and come to terms with difficult or traumatic events. It can also be a way to inspire and connect with others who may be going through similar struggles or experiences. By sharing their own story, memoir writers offer hope, guidance, and encouragement to those who may need it.
One way to preserve one’s own legacy and leave a lasting impact on the world is by writing a memoir. By documenting their life story, memoir writers can ensure that their experiences, wisdom, and perspective are not lost in time. They can also provide valuable insights and lessons learned that can benefit future generations.
The decision to write a memoir is a personal one that should be made with careful consideration and introspection. Writing a memoir is not for everyone, but for those who feel called to do so, it can be a rewarding and fulfilling experience. By sharing their own story, memoir writers inspire, educate, and connect with others in a meaningful and profound way.
We are always open to memoir submissions because we love coaching people write their story as well as help them get their book out to the world. So, if you’ve written a memoir check out our Submissions page or if need help finishing it, Contact us.
I am the founder of ArmLin House, as well as the Chief Editor and Creative Director. For over thirty-five year, I’ve worked in technology, business development, marketing, writing, and publishing jobs. In the last 5 years I’ve returned to school and have become a graphic designer and social media video editor. In general, I have A LOT of experience in A LOT of industries and I love to help people, which is one of our main missions as a company. Learn more about me on my LinkedIn page.
Humor adds depth, engagement, and charisma to any story, even if it’s a serious drama or an exciting thriller. Injecting an element of laughter into the narrative connects readers to the characters, creates a sense of realism, and provides a much-needed break from the seriousness of the plot.
One of the main reasons every book needs humor is its ability to create a sense of relatability with the reader. Humor is a universal language that transcends cultural, social, and linguistic barriers. When readers come across a funny moment in a book, they are more likely to relate to the story on a personal level. This connection leads to a more immersive reading experience and a deeper emotional investment in the outcome of the narrative.
Humor serves as a form of escapism for readers who are dealing with the stresses of daily life. A well-timed joke or witty remark pauses the tension and drama, allowing readers to relax and enjoy the reading experience. This break enhances the overall tone of the book, balancing out the serious moments with moments of lightheartedness and levity.
When characters present in amusing situations, it reveals more about their personalities and motivations. A character who cracks jokes in the face of danger or adversity comes across as more resilient, resourceful, and relatable. Characters feel more authentic and fully developed when put in a playful scene. Funny situations highlight their flaws and vulnerabilities, making them more human and multidimensional.
Comedy engages readers and keeps them invested in the story. A well-placed joke or witty observation grabs the reader’s attention and makes them want to keep turning the pages to see what happens next. Humor can also serve as a form of foreshadowing, hinting at future developments in the plot or adding layers of meaning to the story. By using humor in this way, authors create a more dynamic and engaging reading experience for their audience.
While not every book may need constant wisecracks and banter, humor is an essential element that can enhance the depth of a story. By incorporating humor into the narrative, authors create characters that feel more authentic, plots that are more engaging, and readers that are more invested in the story’s outcome. Ultimately, humor is a powerful tool that can enrich the reading experience and make a book more memorable and enjoyable for readers.
I am the founder of ArmLin House, as well as the Chief Editor and Creative Director. For over thirty-five year, I’ve worked in technology, business development, marketing, writing, and publishing jobs. In the last 5 years I’ve returned to school and have become a graphic designer and social media video editor. In general, I have A LOT of experience in A LOT of industries and I love to help people, which is one of our main missions as a company. Learn more about me on my LinkedIn page.
If you are a writer or aspire to write, you soon discover it’s not as easy as it looks. In fact, it’s the hardest thing I’ve ever done, and I’ve been writing professionally for over thirty years. It’s a career where the minute you think you’ve mastered the craft, your editor returns a document covered in markups and comments that triples the size of your MS Word file. Hence, writers learn quickly to stick together and become active members of writing communities. And no matter what you write, it’s essential you regularly attend a critique group. Ask the best authors and most will agree, saying they joined one early on and have continued to attend well into their careers.
I’ll never forget bringing ten pages to a critique group for fiction writers for the first time. The pages introduced the fourth novel I’d written, and it had even won a contest that resulted in me signing with an agent. Surely everyone would love my story and say it was the best they’d ever read from a newcomer. That a Big Six publisher would buy it in a second. After all, I had also been a career writer, producing technical manual and business articles for quite some time. Yes, fiction is different, but crafting a world in a novel should be a piece of cake for someone like me.
Boy, was I naïve. Similar to every other new attendee, they nicely called my novel opener crap. My heart dropped. But it wasn’t all bad. They also told me how to fix the plot, describe the setting, and show the characters’ emotions. I should have known better than to write fiction in isolation.
Fifteen years later, I’ve not only attended critique groups, but run a group for speculative fiction writers for over five years. My experience with these groups even led to me sitting on the board of the Rocky Mountain Fiction Writers for nearly five years. Helping fellow writers improve their prose has been one of the most rewarding things I’ve done throughout my life.
Two things remain consistent in a critique group. The first is that writers who regularly attend sessions are the ones who finish their projects, acquire agents, and release their work to the public through traditional means or self-publication. The second is that writers who show up irregularly bring previously critiqued pages and still haven’t finished a first draft a year or two later. They show their frustrations in complaints that their jobs are too busy or kid’s soccer games consume too much of their time to write.
Critique groups do more than help you land on bookstore shelves or increase traffic to a blog. Consider, as Watson states, “In 2020, there were over 44.2 thousand writers and authors working in the United States.” (par. 1) Very few of which reach John Grisham’s and J. K. Rowling’s level-of-success. Nor does the number account for all the part-time amateur authors. Amazon alone has published over 6 million books, which includes an estimated 7500 new books released daily (Haines). And according to the AskALLi team, they paid out over a quarter of a billion dollars in royalties in 2019. (par. 18). Who are these people, and how do you compete for your piece of the pie?
With so many writers flooding the market since the invention of the internet and the ability to read electronically, authors must stand out or risk going unnoticed. Or worse, have their prose attacked by trolls. If you hope for any level of follow through and success, don’t skip out on all that a critique group offers.
Sure, when you first start, perfecting the basics is the number one reason other writers should analyze your work. There are so many frustrations, practicing grammar rules, understanding point of view, or properly representing facts to name a few. As you progress, it’s all about your prose coming across as professional, a thing difficult to master without both giving and receiving critiques. As Hickman says, and I similarly remind my group members, “Countless times, while revising my fiction, I’ve realized: I just hammered so-and-so for making this mistake in his writing. I guess, I’d better correct it in mine.” (292).
Yes, criticism is hard to take, but as Kenyon states, “Accepting criticism and learning to edit your own work is another essential skill. There’s a lot of advice out there, and no lack of people willing to comment on your writing. The trick is to figure out which advice is sound (and which isn’t), and how to implement it.” (165). Necessary, especially considering any attempt to please all critics can cripple or block a writer.
Once you’re in one, you’ll realize critique groups are about so much more than the words. “Being with like-minded people who have similar goals can help you get to the next step in your writing endeavors.” (Turner, 60). Week after week, cohorts in your group will drive you forward and keep you accountable because they experience the same highs and lows when completing a project. Fellow members are your cheerleaders, awarding accolades for your success whether it be a contest win or publication in a magazine. And your partners sympathize during extensive blocks or receipt of a tenth rejection letter. Knowing you’re not alone drives your writing.
Publishing is one of the scariest experiences a writer will achieve, whether done traditionally or by oneself. After you complete a project, the guidance senior members provide is invaluable. Fellow members can recommend cover artists or editors, as well as warn about the potential pitfalls such as vanity publishers that take advantage of an author’s wallet. Go the traditional route and you’ll need advice with pitches, query letters, contracts and more.
Once you’re published, it’s time to market your work, and considering most writers are introverts, you want as much support as possible. Begging people to read your work and be kind with reviews is uncomfortable. When you’re told “no thank you” or receive a one-star review, it’s debilitating. Yet again, members of your critique group will come to your rescue, sharing marketing trends such as attention grabbers on social media. It’s critical to understand why certain books are selling better than yours on Amazon. Maybe it’s your cover copy, or maybe it’s your first few paragraphs turning off readers. These are all things that critique group members can look at objectively and provide additional guidance, especially when you adore your book cover, but the rest of the world finds it boring.
So, are you ready to join a critique group? If you answered “yes,” finding one is easy. Check with your local writers group or ask a writer friend for a referral. They meet online, in person, over email, on social media and more. “Whichever type of group you choose affords you the benefit of connecting with other writers, socializing and growing together in your craft.” (Charles, par. 8).
It’s time to break that shell! Come out of hiding. You are a writer, and there are many more of us ready to help you succeed. Your lifeline awaits.
Works Cited
AskALLi Team. “Facts and Figures about Self Publishing: The Impact and Influence of Indie Authors.” Selfpublishingadvice.org, 22 Jun. 2020. selfpublishingadvice.org/facts-and-figures-about-self-publishing-the-impact-and-influence-of-indie-authors/.
Brande, Dorothea, et al. Becoming a Writer.Harcourt, Brace & Company, 1934.
Charles, Tami. “Finding Your Squad: 4 Benefits of Joining a Critique Group.” Writersdigest.com, 16 Feb. 2018, writersdigest.com/publishing-insights/finding-your-squad-4-benefits-of-joining-a-critique-group/.
Hickman, Kirt. Revising Fiction: Making Sense of the Madness, A Comprehensive and Practical Guide to Self-Editing. Quillrunner Publishing, 2009.
Kenyon, Nate, et al. On Writing Horror: A Handbook by The Horror Writers Association.Writer’s Digest Books, 2007.
Turner, N.A.. How to Writer a Short Story: Everything You Need to Successfully Write and Publish Your Short Stories. Turner Stories, 2019.
Watson, Amy. “Number of Writers and Authors in the United States from 2011 to 2020.” Statista.com, 29 Apr. 2021, statista.com/statistics/572476/number-writers-authors-usa/.
Haines, Derek. “There Are Now Well Over 6 Million Kindle Ebooks On The Amazon Store.” Justpublishingadvice.com, 24 Apr. 2021, justpublishingadvice.com/there-are-now-over-5-million-kindle-ebooks/.
I am the founder of ArmLin House, as well as the Chief Editor and Creative Director. For over thirty-five year, I’ve worked in technology, business development, marketing, writing, and publishing jobs. In the last 5 years I’ve returned to school and have become a graphic designer and social media video editor. In general, I have A LOT of experience in A LOT of industries and I love to help people, which is one of our main missions as a company. Learn more about me on my LinkedIn page.
Today, I decided to share a paper I wrote a few years ago, when I returned to college for a short time. Surprisingly, I had to retake an English class because it had been too many years since I’d had one. I could have challenged the class, but I thought it might be fun to retake it. What’s funny is that they were willing to accept credits for English classes that are much more complicated.
Anyway, this paper is all about writing inspiration, which is one of our biggest challenges. I hope you can find some inspiration in it.
What do you think of when you hear the name Weird Al Yankovic? Do you giggle a little or jeer? Do you find him brilliant or just another rip-off artist? Regardless of your opinion, he has successfully entertained his fans for over forty years. A fact that makes him a creative genius for this comedy fiction writer. And after listening to his interview on the podcast How to Write Funny, it’s clear that whatever writing project you tackle, all writers experience similar highs and lows. Discovering that Weird Al can conquer this hurdle, and has consistently produced award-winning comedy, also makes him a true inspiration.
Al Yankovic, better known as Weird Al, is only five years older than me, which means I have witnessed his career firsthand. And I’ve remained a fan even though a long time had passed since I had viewed any of his videos. How could I not be? I’m a lifetime connoisseur of bizarre and dark comedy, and it’s my favorite genre to write. Catching up on his songs only took thirty-minute on his YouTube channel and an hour on iTunes. As I watched his old work from the 1980s, it was like a blast to the past in a time machine, during the early days of cable television and the birth of MTV. Don’t get me started on the big hair, shoulder pads and leg warmers.
Since Weird Al released his first recording in 1976, he has written 150 parodies and original songs, sold 12 million albums, and performed 1000 live shows. Mandatory Fun, released in 2014, hit #1 the first week it was out (qtd. Wikipedia). How has this guy been able to parody so many records over the years and with such continued success? Well, his podcast interview provided all the insight needed to answer this question.
As I hit the play link to start the podcast, I wondered what I’d take away from a discussion with Weird Al. After all, he has spent most of his life writing lyrics, and I write fiction. Then again, the two formats have one thing in common. Storytelling has been around in many forms since humans developed the ability to communicate their tales. Even his preference for parodies date back to the 14th century, with the lyrical form gaining popularity in the 1700s (qtd. Wikipedia). Bottom line, whatever the format of the narrative, we’re both attempting to entertain. If my hunches were right, I would learn from his methods and success no matter the medium.
First, I found that past influences, including bullying, shaped his life and career. Probably one reason he spends a lot of time in his head, an activity in which I can relate. Weird Al’s reminiscing about the harassment he endured flashed me back to episodes with my own tormentors, so skilled at delivering burning humiliations that tied my stomach into knots. Dickkers, the interviewer, pointed out that these incidents lead some comedians to dark places, where a need for revenge becomes the inspiration for their jokes (qtd. Dickkers). This is not my process for writing comedy and refreshing to find it’s not Weird Al’s.
Instead, he escaped through an obsession with Mad Magazine. Mine was watching hours of The Three Stooges reruns and every science fiction and horror B movies that aired on Chicago’s local television stations. In my teens, building worlds with pencil and paper provided a means to create, control and release the pain. Common themes if you grew up in the 70s and 80s, and proof that laughter is the best medicine, or at least a way to survive childhood before the internet.
While continuing to listen, Weird Al’s upbeat nature drew me in. He’s authentically himself in real life and his music videos. The more he spoke, the more I liked him, and the more I wanted to learn from him.
There’s a high-level of consistency regarding Weird Al’s career, including him staying true to his brand. From the very beginning, he quit college radio when producers restricted his show’s format and personal expression. After hearing this, I felt jealous he was so comfortable with self at an early age. At 55 I’m still struggling to figure out who I am as a comedy writer.
And speaking of comedy writing, Weird Al’s lessons on making people laugh included familiar rules I’ve strived to master. Like all writers, he starts with an idea, expands upon it, and completes many drafts. He works in layers, starting with a strange and stupid premise he builds upon to deliver the punchline.
As a song writer, he’s a poet, rhyming his way to laughter with his outrageous lyrics. His resources are a little different, although maybe they shouldn’t be. When the conversation turned to rhyming dictionaries, I was quick to google resource like rhymedb.com and rhymezone.com and stored them away in my browser’s bookmarks. He’ll be with me in spirit when I call upon the sites to twist and turn a character’s dialog.
“Fat,” a parody of Michael Jackson’s “Bad” hit, is a perfect example of his style. I re-watched this play on America’s obsession with food while eating a salad. When he sang, “Don’t you call me pudgy, portly or stout…” in a fat suit, struggling to jump the turnstile in a New York subway tunnel, a spit-take of dressing droplets escaped my mouth and landed on the computer monitor (Yankovic).
Weird Al is so much more than a writer. During the podcast he talked about trying to master Michael Jackson’s moves in “Eat It,” but no matter how hard he tried, he came off ridiculous. Call it luck, but his awkward lashing of limbs was the best part of that video.
Being comfortable with his nerdiness works. His career would fall flat without this ability, and he’s the first to admit this. I see him as one with his material and that helps the spectators relax until he hits the crowd with another of his absurdity.
His outrageous social commentaries capture attention—another reason for his success. Either he makes light of humanities atrocities or pokes fun at popular culture. Quite a spectrum of audience participation, considering the peoples of the world endlessly hand him ideas for his parities.
I’m drawn to his more controversial parodies because the lyrics make me uncomfortable to the point I laugh. Others may find him offensive for this reason. I argue that 90% of comedy is at someone’s expense, and there’s no denying Weird Al is a master of knowing who to spotlight at any period in recent history. He also deserves credit for making fun of himself in the mix.
With such variety in his work, it’s understandable he confessed in the podcast to becoming bearish when he writes. Like most authors, he struggles to complete projects. Hearing this, I let out a long exhale. The program had reached a point where we could commiserate about how miserable editing can be. Instead, he kept on a positive track, which was exactly what I needed. He reminded me that the pain writers undergo while finishing prose is just another part of the process. In the end, we should enjoy the high and physical release that comes along with the final save of a completed manuscript. If only I could replay this message, day and night, through AirPods.
Moving on, minus my self-pity party, I felt encouraged finding out that Weird Al can take up to a month to perfect the lyrics in a parody. This is the same time I’ve invested in writing eighty-thousand-word novels during National Novel Writing Month (NaNoWriMo). With a lot of patience, I’ve completed this contest three times. Thanks to Weird Al’s advice, I was seeing the light.
Over the years, Weird Al has remained consistent with production. He obsesses over new ideas and keeps going until a parody is finished. He understands the importance of letting the words flow in the first draft. And he works through the highs and lows, accepting that not everything works. I long for his drive to keep the creative spark alive and finish projects no matter what it takes.
Sometimes walking away is necessary to clear your head. Then, resuming on another day with a fresh look and positive attitude is all that’s needed to complete the work. Other times, a piece is only fit for the trashcan. A repository that sends chills up my spine. Not all writing is created equally good, but disposing of prose is like asking an author to gauge out an eye. Again, Weird Al and I are similar in that every word has a place, whether released to the public or stored in a folder—paper or electronic—for some fan or opportunist to uncover when I’m dead.
Weird Al’s most valuable message is that he hasn’t changed the way he creates. Instead, he feels he’s gotten better at it. And it’s not just about the words. He mentioned staying focused and organized with all that he does, and I doubt he takes no for an answer. After years in his industry, he’s observed firsthand the success of peers with similar principles. Because he gets things done, his music continues to be relevant and his career persists.
As the podcast neared the end, his support for fellow comedians and the future of comedy kicked into high gear. The Internet opened creative arts for the newer generations of comedians like it did for other types of writers and musicians. Many artists have stopped seeking agents and managers and production companies. Nor do we see each other as competitors. Self-publication is the route I chose after a lack of progress with an agent and publisher. My professional writing career has spanned over three decades, and with it comes a community of people ready to share their knowledge of craft or lift each other during dry periods. Weird Al made it clear in his How to Write Funny podcast interview that he too is always there to help fellow performers.
Now that social media is the twenty-first century stage, holding oneself back seems insane. Artists find their audience and are better equipped to communicate with fans. Weird Al foresaw this transition early in his career and has grown with the times by keeping his work on demand, for all to see.
It’s a good thing that we writers stick together like a twelve-step program. We are honest about what we do, like Weird Al was in his podcast. As hard as this job is, at least I’m not alone. It’s how I know that all the characters who haunt me daily to release their stories will flow yet again. Weird Al’s advice provided a boost I need to get there. And later, my experiences will allow me to pay it forward to another writer.
I am the founder of ArmLin House, as well as the Chief Editor and Creative Director. For over thirty-five year, I’ve worked in technology, business development, marketing, writing, and publishing jobs. In the last 5 years I’ve returned to school and have become a graphic designer and social media video editor. In general, I have A LOT of experience in A LOT of industries and I love to help people, which is one of our main missions as a company. Learn more about me on my LinkedIn page.
