I think when you write about abuse, there is a carefulness that's necessary. You have to understand things that you don't want to explore, motivations, desires - the whole lot.
One of the worst books written about abuse was "A Boy Called It". The reason? Because even while writing it, he never understood why anything happened - it just did. So, he pulled you through all these awful events, slamming you from one room to the next without any idea of what might happen next and certainly without an explanation.
Compare that to "The Lovely Bones". There were extremely harsh scenes in that book, but she wrote it in such a way that you felt she had your hand and was saying, "I know this will be hard to look at, but it's necessary and I'm going to be here the whole way." She had examined so many different angles of the true events that happened to her that she didn't need us to read them and then tell her what it all meant. She wrote with purpose and direction.
Read "The Mask" again and see if you agree with what I wrote about it. I'd love to hear your comments - even the hard ones.
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Turn to any Lifetime Movie of the Week and you’ll see something similar.
to know if you’re the real deal or if you’re an impostor. Because if you you’re the real deal and you write about getting out, they’ll see it as a map and they’ll follow it. Don’t kid yourself; they will.
They look for key words, for key phrases.
if this didn’t happen to you, lady, you are a better writer than you think you are. If this did happen
to you, know that right there was one of the first times I saw you dive deep for something to
connect you with your reader.) This is important stuff, that connection. Other times that I
recognized this as having wonderful, connecting veins of truth:
pattern of explode-abuse-disappear-apologize-stroke-rinse-repeat going on
for his issues
for the sound of his laughter that she was sure was about to come.” If that’s the case, though,
she didn’t’ get the laughter, either. In any case, it was confusing.