A Conversation with Amy Wallen

Years ago, I met Amy Wallen through mutual writer-teacher friends. At the time she was producing a spoken word series based in San Diego called DimeStories, which she also founded. Amy had published a novel and was also hosting salons at her home featuring her delicious pies (hence the name, Savory Salons). Like me, she was creating community through storytelling and I felt I'd met a kindred spirit.

Next week Amy's debut memoir When We Were Ghouls: A Memoir of Ghost Stories is being released into the world through the American Lives series edited by Tobias Wolff. In the interview below, I had a chance to ask her about the differences between writing fiction and nonfiction, how she found the keys to structure, and what advice she would have given herself in retrospect. You'll also find her upcoming readings and signings in LA and across the USA! 

Amy E. Wallen is the author of the soon-to-be-released memoir When We Were Ghouls (University of Nebraska Press, March 2018). She is the associate director at the New York State Writers Institute and teaches creative writing at the University of California, San Diego Extension. Her first novel, Moon Pies and Movie Starswas a Los Angeles Times bestseller. Amy is the creator of Savory Salons, an intimate gathering with a conversation springing from the author’s latest work. If you want to be invited, message her and she'll put you on the list!

When Amy learns her parents are grave robbers and her memory is out of focus, she tries to figure out what truly happened. When We Were Ghouls, A Memoir of Ghost Stories is about a search for family. It follows a family that has been dispersed around the world, a family who, like ghosts, come and go and slip through Amy’s fingers making it unclear if they were ever there.

"Lyrical and haunting."—Booklist

Buy the book


Karin Gutman: Tell me about your book!

Amy Wallen: When We Were Ghouls is, as the subtitle suggests, a memoir metaphorically in ghost stories. The book opens with a memory I have of my family digging up a pre-Inca grave in Peru. I soon discover my memories are not quite what I thought and yet at the same time frighteningly just as I remembered, so I start to dig even deeper into my family’s adventures. As a young kid my blue-collar family was transferred to Nigeria, Peru and then Bolivia. All of my family members, like ghosts, came and went during this time. I begin to question everything that happened, although the physical world suggests my memories are real, the stories seem unbelievable to me. The stories suggest that my family were looters, grave robbers and hideous people with no regard for humanity. The opening scene/chapter is exactly how the story came to me. I had no intention of writing a memoir, but I soon realized that’s exactly what I had to do. 
I know you have also published a novel. Can you describe the difference between writing fiction versus nonfiction?

I struggled with the transition from fiction to nonfiction. Not because I didn’t want to tell the truth, and not because I wanted to make things up (although I do find that to be more fun), but because I had a hard time with the narrators of experience and innocence. I had learned psychic distance in fiction but those characters felt more stagnant or controllable, maybe. To apply that to myself, to who I am now AND who I was then was a mind-bender for me. I had to learn compassion for my complicity, for my family, dig inside deep to admit to how I felt then versus how I feel now, or rather how I felt as I wrote the book. I say the last bit because I think even as I look at the pages now, a few years after they were written, I have a new way of looking at the story, but I had to realize that was the story I was writing then. Once it clicked, once I realized the juxtaposition versus the commonalities, once I realized that I was writing the story that I had to tell at that moment about that part of my past, even though it would be different at every stage of my life, I felt right at home in the genre of creative nonfiction. It’s a very “of the moment” genre and yet is about the past. Or at least, that’s how I came to decipher it.

What does your writing practice look like? Has it morphed over time?
My writing practice varies with my life, somewhat, but also stays the same. I believe in writing every day because otherwise I lose the momentum. But I have also learned that I can’t always make this happen because life gets in the way, and mostly I get in the way of myself.  I wanted to get another book started so it wouldn’t take me as long as it took me to write this last book. So, this time I’m writing every day but not putting on any pressure and I’m just committing to 250 words - no matter what. That’s about a page a day and so I figure at the end of a year I’ll have at least 365 pages. I usually write more than 250 words, but even if that’s all I have some days, then at least I’ve kept my finger in the pot and the momentum going. So far it’s working. I’m on page 73 and I started Dec 29, 2017 so I’m about 35 pages ahead of where I thought I’d be.

Writing memoir at times can be painful, as we go to our most vulnerable places inside. How did you take care of yourself during the process?

I’m not very good at self-care, then again, I’m too good at it. I tend to be a workaholic, but I also go to a lot of spas and get a lot of massages. As far as taking care of me as a writer, I really focus on only showing my work to the people I trust and only when I feel it’s got enough heft that the input won’t turn it to dust. I am way too sensitive and take everything that people tell me about my work to heart. So instead of trying to teach myself to be tougher, I try to find ways to receive input that isn’t going to make me quit writing, but instead will make me a better writer. Sometimes though I wish I had one of those mothers that would just tell me everything I do is perfect. 
To me, writing a memoir is about uncovering the deeper underlying truth of our experience… how did you do that?
I agree with you completely. I think I did this by doing what I mentioned above—showing drafts to only people I trust. When I say I trust them I trust that they will tell me where to dig deeper, where they want to know more, where I am being superficial. I think I also asked a lot of questions about myself and why my memories would be so distorted. I assumed that the answers were inside of me. I kept to the truth by realizing there is never just one truth—that everyone’s point of view and reality is valid. But the story I was telling was my reality and my truth wrapped up inside all those others.

What kind of feedback did you seek out along the way? Are you a part of a writing group? Did you work with an editor?
I have a very close reader and we share work. We have read each other’s books probably over 10 times. We have seen them at every stage. I did pay another good friend who is a professional book reviewer to also look at a later draft. He gave me the keys to structure. Then, after I got my book deal through the University press, the peer reviewer gave me comments that pushed the theme to a whole new level and I felt took the story to a much deeper and honest place. So yes, I sought feedback along the way, but very carefully. I belonged to a writing group when I wrote my novel and they were incredibly helpful, and I also learned the key to having trustful readers along the way. It’s not good to have the blind leading the blind, but to have a fabulous guide and teacher and a group of intelligent readers and writers—that’s invaluable, whatever form it comes in.

I am curious about what “keys to structure” you received?

It was David Ulin and he gave me the idea to start with the grave digging as the opening scene and then use the metaphor of digging up the remains of my family’s history throughout the rest of the memoir. It seemed so obvious when he said it, but it also seemed somewhat awkward at first since it changed the order of how I had it structured. Originally I had started with the grave digging, but hadn’t considered the slipping of memory and the continuation of the conversation with my parents in the current day. At first I tried to break the grave story up and spread it out, but I soon realized it was more about the metaphor, about slanting the details, than about scattering the physical scene. Again, another lesson learned about what memoir is about. But this “slanting of details” is something I really learned to the bone when I worked with Sue Silverman in grad school and from her book FEARLESS CONFESSIONS. She discusses the slanting of details, of taking the moment in time, finding the metaphors in the details and using them to create momentum and continuity to go into deeper and deeper places. So I guess I really was given the keys from many teachers and friends

How did you get a publishing deal for the book?
That’s always a question that I think every writer can answer differently, but still the same. I was seeking agents in New York since that’s what got me my novel book deal years ago. But this book was so different I also thought it may need a different kind of publisher. My NYC experience with my novel had been more about selling the book and getting it out into the world rather than about the words on the page. I wanted this book, maybe because it was so personal, to be treated with kid gloves. So I also researched independent presses. A good friend and mentor referred me to the University of Nebraska American Lives series edited by Tobias Wolff, and they made me an offer. They sounded like exactly what I was looking for and the perfect home for Ghouls. I have found the experience to be everything and more of what I dreamed of.

What has the publishing process been like?

A university press is so much different than a New York City publishing house. First of all, they only publish a handful of books a year and publish a more narrowly focused story, like the American Lives series which is basically memoirs of a variety of Americans. They also publish novels that focus on the Flyover States.  Because of the smaller focus they can spend more time on every word and detail. Before any contract is signed, the editor sends the book out to be peer-reviewed. This is when I was given the keys to the bigger question I needed to bring to the overall story. I never got this kind of depth of discussion before. This required another round of revisions, and the possibility that my manuscript would be rejected. I guess I must have done the job right. The cover was designed by an award-winning book cover artist, the editor read the manuscript with a fine-tooth comb, and again even after the copyeditor had cleaned it up. All this attention was both nerve-wracking and fabulous to have such intricate attention paid to my work. I feel I learned more in this process than in any class.

How encouraging to hear that your publishing experience was so positive. Again, you mention that the peer review gave you the keys to the “bigger question” that took the theme to a whole new level. Can you share more details about that?

The first round of peer review was positive, but only recommended publication with the contingency that I needed to find a bigger overall question that threaded through the entire memoir. See above where I am considering the slanting of details. I understood what the reviewer meant and he suggested that my early question in the grave digging scene—“Are we hideous people?” which my mother keeps calling us—seems the best question. That statement hit the nail on the proverbial head for me. I immediately saw how the question, which is asked in the opening, could be asked about every scene and memory and about myself and my family throughout the whole book. It also helped me see how to edit out some scenes because they were not essential to this question. The big question helped make the memoir feel whole, feel complete. Before that, it was a conglomeration of memories. The editing was so easy with that one key question.

You say you learned more in the process than any class. Can you elaborate?

I LOVE classes and take more than the average person. I think I went back to grad school after having published my novel because I just love being in the class setting so much. The camaraderie, the friendships created, and the bonds from sharing bad drafts (being vulnerable) are essential to surviving the writing process. But as someone who works on book-length work, I have found that it’s hard to get big-picture input when a class or group is only looking at 10-30 pages at a time. I craved to have someone read the entirety to give me those keys I mentioned before: David Ulin seeing the opening scene as a metaphor for the whole story; Sue Silverman teaching me to look for the metaphors throughout, the one metaphor that repeats itself; and the peer reviewer, Lee Martin, to see the Big Question that was hidden in the grave scene and that really was the thread that pulled all the repeating metaphors together. Maybe I’m dense and should have seen all of this myself, but I think that it becomes difficult to see our own stories from a longer perspective when we are so close to them. I think classes are fantastic for providing deadlines, to give input on the prose style, the intrigue of the story and the development of individual scenes. They teach us how to write, and I am an honest believer in that as writers we never stop learning how to write.  I think Big-Picture readers are essential for the later drafts. My own frustration with the later drafts and big-picture input is why I started the 200-page workshop I do with David Ulin in my living room. I think the peer review process at the university press was ideally the best kind of reader—one who wants you to get published, wants to make your book the best it can be—not the kind that is just looking for what isn’t working, but instead looking for what will make it work.

Did you have to deal with any legalities, in terms of exposing other people? Did you have any personal concerns about telling this story?
I have not had to deal with any legalities, but I did worry about it when I was writing it. I considered using a pseudonym so that if any of the issues of what my parents did came to the attention of someone who wanted to try to cause a problem, I could avoid it. I did a TON of research on whether or not I was exposing anyone, namely my parents, to some kind of legal hassle or even jail time. I called attorneys, museums, archeologists, and of course googled every variation of negative thought I had. Everything I kept finding out was that my parents would have had to sell the artifacts they dug up in order to be arrested or even fined. But I still worry that there will be some kind of problem that will arise. My parents are in their late 80s and that would be a real drag if they were hauled off to prison. I asked my mom if she would have a problem if Homeland Security showed up at her door, and she said, “Good gosh no, I wish they’d come and haul all that stuff out of here.“

Now in hindsight… looking back at yourself at the beginning of the process, what advice would you have given Amy?
I’d tell myself to not resist whatever story wants to show up on the page, and to remember that just because I am writing a book all about myself that I’m not a narcissist, but a storyteller. And, that even though I’m writing a book all about myself, people will want to know my story if I tell it truthfully. And to be me on the page, even if 'me' is sometimes a little shit.


~ Meet Amy Wallen ~

Upcoming Readings + Signings:

February 24th, 7pm @ The Foundry (San Diego)

March 3, 5pm @ The Book Catapult w/ Jim Ruland (San Diego)

March 8th @ AWP Tampa Bookfair (Florida)

March 15, 7pm @ The Innovative w/ Samantha Dunn (Orange County)

April 26, 7pm @ Book Culture w/ Philip Lopate (NYC)

See full details



To learn more about Amy Wallen, visit: www.amywallen.com

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