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Melissa Cistaro is the bestselling author of Pieces of my Mother (winner of the “Best Nonfiction Book of 2015” by The Northern California Independent Booksellers Association), a memoir which recounts her difficult childhood and attempts to make sense of her illusive mother.
We caught up with her to talk with her about memoir craft, her inspirations, future projects and her Memoir Class starting this Sunday, May 22nd. I come from a long line of women who wanted to be writers but never had the opportunity because they died too young or didn’t have the confidence to believe that their voices mattered.
Communicating with an animal requires a great deal of paying attention and observing, and I think that certainly translates into the writing process. Finding the structure of our stories is one of the most challenging aspects of memoir and also one of the most vital. Jaimal Yogis’ first book, a best-selling coming-of-age memoir called Saltwater Buddha, was praised by The Times of London, Publishers Weekly, and selected as one of E!’s Best Summer Reads. Jaimal’s second book, The Fear Project, was widely praised, translated in numerous languages, and is currently being used in a number of high schools as a way of teaching neuroscience and psychology. Currently, Jaimal is in development for his first feature screenplay and working on a new non-fiction novel for Harper Collins. Jaimal took a moment out of his busy schedule to answer a few of our questions about the craft of memoir writing and his writing career.
There definitely are people out there who have amazing stories – someone who’s a war hero, for example – or someone who rose up from poverty and became a billionaire, and that’s an interesting story for sure, but people are also interested in the everyday and the mundane.
Never say I’m just a schoolteacher or I’m just a divorced parent or everyone has written a book about having a stroke or getting laid off or whatever. In Saltwater Buddha, I had some luck in that I’d written an article about surfing: how it was a contemplative practice for me, not just a sport.
The article buzzed around the internet, and I got some feedback on the persona I put forth in the article.
This is a woman who wrote great novels, and then murder mysteries, and eventually became an alchoholic.
Then I went and found surf writers, like Daniel Duane, who is here in San Francisco and wrote Caught Inside, and Stephen Kotler, who wrote West of Jesus – their books were doing well at the time. With Saltwater Buddha, I went through the process of finding a container for myself that was honest and real.
It was a good experience, because when I got started with my third book, I was able to look at both of my previous books and ask myself what I did in Saltwater Buddha that allowed me to find that authentic persona. Then I went to college thinking I was going to be a marine biologist before deciding to major in religion – and when I got out of college I wondered what I was going to do with all of this experience.
I was reading Jonathan Franzen’s The Corrections, and I realized that being a writer was a way of seeing the world.
To be honest, it was frustrating having to do that because we didn’t have a script, we were just winging it.
So to bring that in, I’m working on another doc with a filmmaker based on a story I did in Afar magazine, about the first female Muslim surf star in Bangladesh.
Christopher is bringing the art of Illustrated Journaling to the Pad, an inspirational new medium that uses words and pictures to document your world and develop your creative life.
Christopher talked with us about what exactly makes a good story, how to turn sad into funny, and what storytelling means to him. With three school-age kids and a wife who often works long hours, I’m a between-dropoff-and-pickup writer, starting at 8:30 and finishing before 2 for bus pickup.
I tried keeping a journal for years, lugging around little pocket-sized Moleskines and big sketchbooks, usually filling the first few pages with to-do lists and gripes before ditching it on my bedside. I wasn’t one of those writers who dreamed of someday writing the Great American Novel. The big difference, one that took way too long to recognize but which landed like lightening when I finally did, was the importance of emotion. It wasn’t enough for me to outline a series of what TV writers call story beats – I had to dig deeply into how my characters felt and allow those emotions to drive what they did and how they behaved. I’ll talk about story ideas and structure and the mechanics of rewriting and editing.
Don’t forget to sign up for his one-day Illustrated Journaling Workshop on Saturday, October 3 in San Francisco and his 5 week humorous essay course on Wed., Sept. We were fortunate enough to get an exclusive interview with Arree, where he discusses how he got started as an author, where he gets his ideas, and some tips for picture book authors who want to get published. I grew up in the Bay Area, I studied Economics at UC Davis and developed my artistic skills at Art Center. I never thought about writing children’s books until I went to art school in my mid twenties. I get ideas all of the time- usually when I’m traveling or in the early morning but you never really know when your muse is going to visit.
When I first started making picture books an editor advised me to visit the bookstore each week and read 10 books.
One-Evening Seminar: Move It — How to Write Compelling Action (taught by Manuel Gonzales in Hancock Park) – FOUR SPOTS LEFT!
It’s an accomplished writer who can manage the physical maneuverings of her characters, whether these characters are navigating among a crowd of people at a dinner party, through a bookstore, or in a casino heist.
This one-evening seminar is open to students of all levels and to writers of both fiction and creative nonfiction. Manuel Gonzales is the author of The Miniature Wife and Other Stories, which won the Sue Kaufman Prize for First Fiction and the John Gardner Prize for Fiction, and the novel, The Regional Office Is Under Attack! One-Day Seminar: The Art of Narrative Tension (taught by Kate Maruyama in Glendale) – SOLD OUT! In this four-hour intensive workshop, we will examine the internal and external conflicts of your characters within specific scenes, focusing on how to develop and increase narrative friction and tension. This course will be held in Glendale, where coffee, sparkling water, and light snacks will be served.
One-Day Seminar: Truth and Taboo — Writing Past Shame in Nonfiction (taught by Dawn Dorland Perry in Mar Vista) – SOLD OUT! The group will meet for one hour for eight weeks; during the hour, we will report on our submission adventures from the previous week and discuss one member’s submission, which we will have read beforehand. This eight-week workshop will focus on how to cultivate a practice of poetry as students integrate awareness, writing, and observation into their lives. This course is open to students at all levels and will take place in Glendale, where wine and sparkling water and small snacks will be served. This eight-week workshop will introduce beginning writers to the fundamental techniques of fiction writing such as plot, characterization, scene, dialogue, and point of view.
This class will take place in Los Feliz, where wine and sparkling water—and the occasional gourmet cheese—will be served.
This class will take place in Brentwood, where wine and sparkling water—and the occasional gourmet cheese—will be served.
In this eight-week class, students will conceptualize their novels and write the first pages of a draft or further develop their novels in progress.
This class will take place in West Adams, where wine and sparkling water—and the occasional gourmet cheese—will be served. This class will take place in Glendale, where wine and sparkling water—and the occasional gourmet cheese—will be served. NEW SECTION: Mixed Levels Nonfiction (taught by Dawn Dorland Perry in West Hollywood) – SOLD OUT! This class will take place in West Hollywood, where wine and sparkling water—and the occasional gourmet cheese—will be served. In this eight-week course, students will read, discuss, and draft essays (or chapters) that will explore the genre(s) of personal narrative and memoir. This class will take place in Mount Washington, where wine and sparkling water—and the occasional gourmet cheese—will be served.
This eight-week intermediate course is designed for writers who are looking to continue their exploration of the memoir or personal essay genre.
Weekly in-class and homework exercises will help students develop their craft, and a series of in-depth workshops in the latter half of the course will allow students to apply critical reading skills to their own writing. Since this course is designed for more experienced writers, previous enrollment in WWLA’s Nonfiction I course is suggested but not required. This class will take place in Pico Fairfax, where wine and sparkling water—and the occasional gourmet cheese—will be served. This workshop is open to experienced writers only and seats are limited due to returning students. I thought about my mother who left behind her folder of “letters never sent” and often confessed that she wanted to be a novelist. There were many facets of my childhood that he wasn’t aware of, and it was definitely emotional for him to take in our story on paper. Writing my own memoir has been a long, painful and ultimately healing journey, and I’m glad I stayed with it.
I once had to throw myself off of a horse that was running at full speed back towards the barn. How can we put together the pieces of our past and find the courage to craft our narrative truths?
Cindy has 15 years of staffing experience up to the Co-Executive Producer level, where she has written on television shows including Nurse Jackie, Shameless, and Saturday Night Live, but also including the Bill Lawrence series, Ground Floor, Comedy Central’s Exit 57 (starring Stephen Colbert and Amy Sedaris), Norm, Strangers with Candy (guest writer), and That 80’s Show. Each time you break through a little fear inside yourself, or an insecurity, or you have an insight about what you should be doing in your relationships, those are heroic battles inside yourself. When you were writing Saltwater Buddha, how did you nail down which aspects of yourself as a real person would be parts of you, the character in the book? I was already thinking about writing a book about it, and a publisher called me because I said in my bio in the magazine that I wanted to write a book about Zen and surfing. I took one idea, and that was the idea that our true nature – one’s Buddha nature – is like the ocean, and all of our thoughts and ideas and identities are like passing waves. I have this macro experience, through surfing, of something that is often made into a metaphor in Zen. Then when she quit drinking, joined joined a gospel church, and now writes about her own spirituality. So with your new memoir, are your going through this process all over again, finding a new version of yourself?
I had what I thought was horrible fortune at the time, which is that I tried to write a novel and couldn’t finish it. I realized that it came from looking at myself in the third person and realizing that I’m a bumbling fool. Hopefully my voice is more mature, but it still has to get to this essence, this compassionate vulnerability, to allow myself to bleed onto the page and say hey, this is okay, this is true – and if, on my death bed, I can say that whether or now by my book made any money, I told my truth, which means more than making money and telling a half truth.

Reading and writing came naturally to me as a kid – I wrote stories about animals and stuff – and my teachers would say I had no trouble writing a lot, but I didn’t see myself as a writer. Right when Saltwater Buddha came out, a pair of national geographic divers said they wanted to make a film about it and I sort of rolled my eyes. Saltwater Buddha is the kind of book that if it was going to be a film, should have been a feature film.
A lot of the editing came after we shot about two terabytes of footage and had all these interviews with different people and with me, and then realized, somehow this has to get whittled down. She rose from the most severe poverty you can imagine, to being one of the best surfers in the country. You’ve done hard news and investigative journalism, such as your feature for Playboy about living as a patient with recovering addicts, or your report for The New York Times Magazine about Mel Gibson’s ties to an ultraconservative Catholic splinter group.
I’ve done daily journalism, theater reviews, long narrative nonfiction, comic sociology, screenwriting, and semi-autobiographical fiction. You and the protagonist of your novel Plus One are both men whose wives are successful television writers; your essays have also talked about marriage and parenthood. With my book Plus One, which dealt with a marriage that looks a lot like my own, I gave my wife the chance to cut anything she found intrusive or private or whatever — no questions asked, if she wanted a line out, it was out.
I write all over LA, in coffee shops and restaurants and libraries – anywhere but home (where I’m often interrupted by dogs, deliveries or the telephone).
I filled the book with sketches, bits of dialogue, travel tips, recipes, dreams, phone numbers — anything and everything. I had initially outlined my novel as a series of events – this thing happens, which leads to this thing happening, which eventually leads to a big climax.
What can students expect to learn in your Humorous Personal Essay and Creative Journaling classes at Writing Pad? 30, where by the end of class, you’ll have a kick-ass essay that is ready to be submitted for publication and a plan of where to submit it. After a tour of duty at Pixar, he broke out on his own and now has an award-winning series, Ninja! In his one day workshop, you will do hands on creative exercises and leave with the seeds of your first children’s picture book. When writing for kids, you need to tap into that inner child and write age appropriate material without being condescending. How was working in production at Pixar helpful to you in your career as a picture book author? I had scribbled, “Brian isn’t a kid, he’s a Ninja.” Many years later, I found that small idea and made it into Ninja! Newbies often want their book to have a moral or to “help kids” in some manner but it ends up making for a preachy story. Working in a dummy format as early as possible is important because you’ll start to work with the limitations of the book format. They’ll learn some useful exercises in coming up with an idea as well as practical techniques in making a dummy. How do you write physical action without the action feeling forced, over-written or under-written?
It will be held in Hancock Park, where wine, sparkling water, and light snacks will be served.
A graduate of Columbia University’s School of the Arts, he currently teaches creative writing at the University of Kentucky and the Institute of American Indian Arts.
Whether you’re writing an intimate family drama, a sweeping historical novel, or a vampire invasion, tension and friction are the elements that make any story move. The progression of emotion, mood, character, action, and unfolding story are all areas where simple tightening and loosening can create a more efficient and captivating story that your reader won’t be able to put down. It will be held in Mar Vista, where coffee, sparkling water, and light snacks will be served. There will be no written assignments beyond 1) prepare to submit, 2) submit, and 3) support the other people in the group as they submit. This class is open to writers of all genres and levels, as long as they are prepared to actively submit their work over the course of the term.
Students will deepen their attention to language through use of metaphor, simile, or other poetic devices as they investigate and practice craft techniques. In class, students will discuss published fiction from a craft perspective and do writing exercises designed to tackle particular techniques. This class will cover elements of fiction writing such as characterization, scene, voice, tense, dialogue, point of view, and creating stakes. For the first four weeks, students will do in-class writing exercises and discuss published short fiction from a craft perspective. Students will read and discuss novel excerpts to examine the tools of the trade, and do writing exercises designed to bring their projects into sharper focus.
Readings will stimulate discussion specific to the genre such as persona, self-characterization, voice, memory and truth; custom craft talks will deepen your understanding of narrative techniques such as tone, retrospection, argumentation and invention. The readings will be selected to stimulate essay ideas and suggest techniques for engaging personal and creative expression.
The students will have some familiarity with at least a few of the generic concerns of personal narrative, such as hybridity of form, dramatization, retrospective versus immediate point of view, ethics, and so on. Aside from receiving one formal workshop for a longer piece, students will have the opportunity to submit short work for review on a frequent basis. Students will read and discuss published memoir chapters and excerpts to examine the tools of the genre, and they will complete writing exercises designed to bring their projects into sharper focus.
I am especially grateful now as I hear from readers from who express how much the book has inspired them to tell their own stories.
But when I saw my own child for the first time, I knew I had to figure out how to tell the stories that had been hiding inside of me for so long.
And those heroic battles are often more interesting than the gun battle in Fallujah, if they’re written honestly, with compassion and humor. Zen was already a big part of my life – I lived in a Buddhist monastery, and I had been surfing.
As long as you’re telling the bottled version of yourself as honestly as you can, you can always bottle it differently the next time. There’s an idea in popular meditation that the purpose is to get past the waves, to get to the placid lake.
It was the one book I took with me when I ran away from home in high school, so I went back to that book that struck a chord with the masses but also retells the Buddha story in novel format. I was frustrated, and I said that I wanted to live off my writing and I needed to write a book that I could get an advance for. I’ve made a hundred mistakes and yet if I were talking to someone who had made all the mistakes I had made I would want to give them a chance – I wouldn’t think of that person as a total idiot that I shouldn’t listen to. Those two things – the idea of seeing myself in the third person and this question of whether on my death bed I can still say that I wrote an honest book – push me to keep it real in this next book.
Was this something that came later to you, or did you write as a teenager when you were surfing?
I didn’t think I would write books until I was older – I thought I would be in the magazine journalism world for a long time.
Is there some process that’s classically you, that you use to approach any project at all – article or memoir?
But I was excited and over the course of five years we pieced together some funding and went to Hawaii and New York, and all these other places where the book takes place, and we did this sort of retelling of the book as a doc. In the end we were happy, but it would have been better if we had written a script and then shot that script. I mean, a good way to make a doc is just shoot the heck out of it and then see what you have. If you want to learn how to write a stellar memoir like Jamail has, sign up for his 4 week memoir class starting Jan. He published a well-regarded novel Plus One and nonfiction book Rejuvenile which received praise from Ira Glass.
However, you also write fun culture pieces, such as a story you wrote for the New York Times that inspired your nonfiction book Rejuvenile. What are some of the challenges of using real-life material in your writing and have you found any hard and fast principles to navigate what can often be a slippery slope when trying to write the best story and yet preserving our personal relationships? On the other hand, I recognize that most great writing grows out of tricky, juicy, deeply personal material. I love the ornate Mediterranean reading rooms at the Pasadena Central Library and the sunny modern stacks at the West Hollywood Library and have even written sitting on park benches and in my car while waiting for pickup at school. How did you become involved with this new medium, and how does it influence your other literary projects? Only after a few months of churning out surface-y, mostly lifeless prose did I realize that the fiction I love most isn’t built around plot.
In the end, the process of writing fiction called on more of me – my head, heart, guts – than anything I’d done before. And check out his his latest book Plus One which has received great reviews in everything from the New York Times Sunday Book Review to Elle and the Hollywood Reporter.
By the end of his five-week class, you will have completed a draft of a stellar children’s book and even have the chance to test it out on a small audience of kids at a reading at Writing Pad!
Sometimes I start with pictures and sometimes I write just words but usually I work with the words and pictures together.
Most importantly, they’ll learn how to revise and work quickly so they can further develop their stories. After you have your story locked in, I use art materials such as gauche, watercolor and color pencils to visually develop the art style for the story.
In this seminar, we will discuss how to isolate these individual narrative elements to make your story or novel as compelling as it can be. This one-day seminar provides gentle support and investigation of the pestering, personal truths that ghost your writing.
However, each student will have the optional opportunity to turn in up to five pages (1500 words) for feedback from the group. This group will meet in Los Feliz, where coffee, sparkling water, and the occasional light snack will be served. Writing exercises will focus on building an ongoing practice, creating poetic community, and new uses for poetry. Students will have the chance to workshop their writing in a serious environment meant to challenge and inspire each member of the class.
In class, students will discuss published fiction from a craft perspective and complete writing exercises designed to tackle specific techniques within their own work.

The class will cover such topics as characterization, pacing, point of view, structure, voice, and theme, and there will be short take-home writing assignments designed to help students explore different topics and story ideas. Weekly writing prompts will be designed to help us frame personal narratives to join a larger conversation, plumb the ideas within our stories, and harness the moody beauty of our mercurial selves.
There will be in-class and homework exercises that address topics such as persona, audience, story, description, memory and truth, and ethical considerations specific to the genre. There will be some assigned readings, but the class will focus on bringing projects toward completion through a process of drafting, feedback, and revision in a challenging but supportive environment.
The class will address issues such as persona, audience, story, description, memory and truth, and ethical considerations specific to the genre.
I started taking classes and writing workshops and it was there that I caught a glimpse of my writing voice, and after that, I couldn’t stop writing. Whenever I reached out to mentors or took a writing class, I came out of it not only with renewed inspiration, but with a set of tools specific to telling my story. I also really believe in the power of specific in-class writing exercises and prompts that can help you to dig deeply into your life experience and find ways into your story you may not have considered. Her first solo show Against the Grain, debuted in Chicago to rave reviews, followed by the critically acclaimed The Debutante Ball which played in Chicago, New York, Los Angeles, HBO Comedy Festival in Aspen, and was produced for Oxygen Network’s Life Out Loud series. But there we 18 other things that were big parts of my life, but I decided that I had this book deal and I was going to follow wherever Zen and surfing and ocean and meditation crossed paths, that this was the story I would follow.
But when you study Zen, the masters keep coming back to the idea that the rough seas and the storms are part of your nature too, and the enlightened mind recognizes that there will always be changes in your temperament.
Once I saw that this simple personal experience was attractive to readers, I decided that I wanted to show readers what this learning process was like for me.
That was an ancient epic, sort of like Homer’s Odyssey, so I wondered how I could tell that story in novel format.
She does something totally unique, and I thought that this is more or less what I want to capture. I combined what I learned from their books with Anne Lamott and Siddhartha, and I tried to make they guiding lights. I wanted a package that would sell – and that was the fear project: a project about neuroscience and psychology.
Saltwater Buddha was more honest – in that book I was spiritually vulnerable, psychologically vulnerable, so I said okay, I’m going to do that in this third book because it felt right.
I started a journalism program at Columbia, which was a dual master’s program in religion and journalism. I want to hang everything around a moment, and I see the characters and the lights and the director. She’s an editor who works on amazing books, but she’s also a water person, so we connect on both the soul level and on the narrative level. This was one where we really did have to shoot it all, just terabytes of footage, and now they’re editing it.
His essays and articles have appeared in the most prestigious outlets including The New Yorker, Details, New York Times Magazine, Los Angeles Magazine and Salon.
By the end of the class, you will have started your first journal and have several entries to boot!
She did worry that even though nothing in the book literally happened as described, readers would assume that the book was all true. Do you have a special place that you write and do you have any special rituals that help you get into a productive head-space? What happens in the story matters, but what gives it life and energy and propulsion is how people feel. You can use pictures to tell your story but also need to keep in mind a shorter word count.
Seeing the creative process at Pixar first hand helped me understand the importance of process.
Rather, people love stories that they can relate to or stories that capture their imaginations.
For this stage, I use Genius Scan (mobile app) to make pdfs quickly and InDesign to layout my own dummies. In the later stages of making the book, I use Photoshop, Illustrator and InDesign to design and refine the artwork.
The submission could be a query letter, part of a book proposal, an application, a piece of flash prose, an excerpt from a longer work, etc. Weekly workshopping of poems will help students to understand the mechanics of how a poem works and more about their own creative process. The class is also open to more experienced writers who simply want to brush up on the basics.
For the last six weeks of the course, students will be workshopped in a serious environment meant to challenge and inspire every member of the class. There will be a weekly page count requirement to keep students on task, and there will also be time set aside in class to work. Every week there will be a five-page requirement to make sure students are writing and rewriting regularly.
Students will have the opportunity to submit to both short and full-length workshops in a supportive and professionally facilitated environment designed to help you revise your writing. Students will have the chance to workshop their writing in a serious, respectful, and community-oriented environment meant to challenge and inspire each member of the class. Naturally, there were some details that we recalled in different ways, and we have since had some great conversations about our childhood. I’ve always believed that motherhood opened a portal inside of me that gave me permission to write.
I can’t wait to share all that I have learned about writing and publishing memoir at Writing Pad.
Cookies and Booze, her third solo show, has been seen at the HBO Workshop Stage and the Comedy Central Stage in Los Angeles.
In writing that, even though I liked the book, I felt that I didn’t find quite the right container for myself. I thought I would be able to travel and do cool stuff – like Sebastian Junger out in the jungle, with a little Indiana Jones mixed in. It’s been an interesting ride and a good way to learn about grassroots film making—and fun to see your words live in a different way.
There are people out there who will match with you—you don’t believe it, but they’re out there. Also, he is teaching a five week humorous personal essay class where he will help you find the funny in your life’s most harrowing moments. Each new thing has really been about the topic and story I want to tell (or someone offering to pay me to write something). In general, I write what I hope is a fearless first draft, getting down all the potentially damaging stuff and letting it all hang out.
He also founded Live in a Story, a company that transforms walls with wall decals and canvas prints from picture books. In those ways, making stories for children can be different but the overall principles of good storytelling are the same.
The first submission support group held in the fall has produced seven publications so far.
There will be one brief homework assignment every week, and students will read their classmates’ work in advance of workshops. The final weeks of the course will be devoted to workshopping student novel excerpts in an intense yet compassionate environment designed to challenge and inspire all members of the class. In the last few weeks of the course, students will workshop up to 40 pages of their manuscript. At the end of eight weeks students may find themselves with a new body of work, or with a stronger foothold in nonfiction works-in-progress.
I skidded and tumbled across the hard summer dirt, landing safely (and sorely) between two spindly birch trees. Cindy also still performs regularly on the storytelling circuit, including shows like Sit & Spin, Say The Word, Scratch It, and Word-a-Rama. The result: an interview with essayist and illustrator Christopher Noxon to enlight and delight. Get to know a particular magazine or newspaper or website where you want to contribute top-to-bottom, then pitch them like crazy. Using Ariel Levy’s infamous “Thanksgiving in Mongolia” and other published writing to launch our discussion, we’ll consider the self-care and deliberate writing practices that midwife courageous, clear-eyed essays and memoirs. This class is intended for experienced writers who have taken Novel I or have at least 30 pages of a novel in progress. I think, whether we are parenting, writing, or riding a runaway horse, we have to make big decisions and sometimes we don’t know precisely what the outcome will be. Stay off the Internet while writing — download the Internet-blocking software Freedom. Of course, to write anything long and lasting you need to first of all keep your butt in the chair and ignore the Internet and your children and the insistent never-ending desire to right now at this very moment get up and eat a cookie.
In the class, I’ll show you how to make a dummy even if you have limited drawing ability. This one-day seminar is open to students of all levels and the techniques introduced can be applied to writing in all genres. You’ll leave with models for how other writers, in the pursuit of truth, have embraced subjects steeped in shame—and with a new disregard for the taboo. I could put one word after another just like everyone else, and that was when I realized that I was good at structuring stories. I write and write, and then I need to find something to do – running or surfing or meditation, something nonverbal – that gives me space from my writing.
I wasn’t as good as some others at the investigative research part of journalism, but once I had the material I could write a good story.
Also, believable dialogue, careful use of detail and a masterly use of the language — those are really important too.

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