A Review of Allison K Williams’ Seven Drafts
February 18, 2022 § 11 Comments
By Debbie Hagan
Imagine sitting at your computer for hours, working on your memoir, confident that you’ve made real progress, then a gremlin sneaks in and whispers in your ear: That isn’t a story. What a terrible beginning. You’re wasting your time. No one will read this.
You could give up or you could turn to Allison K Williams’ Seven Drafts: Self-Edit Like a Pro from Blank Page to Book.
When I thumb through my copy’s dog-eared pages, I’ll most always find that Williams has something encouraging to say, such as,
If you’re at the ‘I can believe I even started this crazy project stage, revive your enthusiasm by picking a smaller element from the Technical Draft, like dialogue tags or chapter endings. Work through those challenges to feel some progress and get back into the writing groove.
I do this, and, sure enough, my gremlin slumps out the door.
Williams is more than a desktop therapist. She hands you a blueprint to build your memoir from the ground up…in seven drafts. Maybe that sounds like a lot, but chances are you’re going to write seven drafts (at least) anyway. Why not follow a proven plan?
Williams has worked with thousands of writers as a book and writing coach (some resulting in deals with the Big-Five publishers). She also runs Rebirth Your Book and Rebirth Your Writing retreats (in various locations around the world) and is a Brevity staffer.
In Seven Drafts, she writes as if she has pulled up a seat beside you, guiding you as you create a narrative arc, capture readers’ attention and hold it until the end.
Step one is the “Vomit Draft,” which Hemingway famously referred to as the shitty first draft. “Get it out get it out! It doesn’t matter if all the words are spelled rite,” Williams writes.
Whether you’re meeting Williams for the first time in the pages of this book or you’ve encountered her at a conference, workshop, or online seminar, you’ll discover she’s quick-witted, self-deprecating, and always your cheerleader. In this first draft (whatever you wish to call it), the goal is to express all your ideas without editing, shaping, carving beautiful sentences, drawing plot lines, or pruning. The goal is to get down all the raw material so you can shape it into a story.
Next, Williams helps you work through building your story. In the Story Draft you’ll address key questions: What does the protagonist want? What’s stopping them from succeeding? What happens if the protagonist does not succeed? Williams writes:
Good memoir shares many elements with good fiction: a compelling protagonist, on an interesting journey past powerful obstacles and/or against a fully realized villain, who experiences permanent change within herself, while changing her world.
Next the Character Draft. Here, you’ll develop your protagonist into a well-rounded, intriguing character who engages readers’ imagination and compels them to read on. If you’re successful, readers will be riveted, and they’ll be compelled to turn the page to see if the protagonist succeeds.
Williams reminds us, “To write a truthful memoir, we must speculate—or ask—what happened when we were offstage. We must seek out what we don’t know.” In other words, you’ll probably need to do research. Not only do you need to have your facts straight, but it more information can help you add depth and detail to your characters and plot.
Four more steps: Technical Draft; Personal Copy Edit; Friend Read; and Editor Read. Plus, there’s a chapter on publishing.
In these 342 pages, Williams gives clear, succinct advice with diagrams and tips that work for both memoirists and novelists.
You may ask, isn’t there a Berlin wall between fiction and nonfiction?
Yes…and no. Whether you’re telling your own story or inventing one, storytelling requires plot, inciting events, drama, and resolution. A memoir can be slow and ponderous like a long poem…or it can be a page-turner that engrosses the reader that it’s hard to put down. Think about Jeanette Walls’ The Glass Castle, Tara Westover’s Educated, and Tobias Wolff’s This Boy’s Life.
Memoirs and fiction both rely on good storytelling: a compelling protagonist who’s on an interesting journey, facing obstacles and/or a villain, and experiencing major change.
Allison addresses fiction and nonfiction alike in writing about what you don’t know:
Writing what we want to know can be even more powerful than writing what we already know. Research beyond a novelist’s experience opens doors for interesting characters and new plot twists. For memoirists, genuinely considering a question like Why did my mother treat me like that? can allow us to resolve the past as well as creating a complex, nuanced picture of our personal history.
She also helps when the gremlins try to convince you, No one wants to read your story. Others have already written about it. Not true, Williams says. “It’s not originality that makes an idea compelling, but the specific expression of that idea,” she writes. Every person’s story evolves into a unique quest to find meaning and understanding. That’s why you can write on a topic that others have written about, and yours is different.
Some writers say, But I want to write what I want to write the way I want to write it. I’ve done that once before. This time, I’m enlisting Williams, through her book, as my Sherpa. She’s traveled this way before and, from what I can see, knows the way.
Debbie Hagan is book reviews editor for Brevity, and a writer and educator. Her writing has appeared in Harvard Review, Hyperallergic, Critical Read, River Teeth, Superstition Review, Pleiades, and elsewhere. Her essays have appeared in various anthologies, including Fearless: Women’s Journeys to Self-Empowerment.