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The obituary that gets your legacy exactly right

Crafting the obituary: a sacred task

The obituary is one of the most sacred responsibilities of journalists. As journalists, we’re recorders of a legacy; we have to get it right.

I would know: I’ve written hundreds in my career. Crafting the evocative obituary has always been one of the most demanding and personally rewarding tasks of my profession. And it’s a service I offer Eloquential clients and their families with a profound sense of honor and respect.

The obituary is your last shot. It is your family’s and community’s official remembrance. It is your legacy.

Every life deserves a well-crafted obituary

The Providence Journal in Rhode Island, the first paper I wrote for, had a delightfully democratic policy of running an obituary for anyone who asked. That could be a challenge if the deceased was someone who led a quiet or seemingly unremarkable life. We always strove to come up with a nugget for the lede that was honest, respectful, and compelling. So instead of “so-and-so died yesterday at age 89,” we would aim for, “Mrs. Adelaide Wickenden, eagle-eyed and merciless crackerjack bridge player, whose greatest achievement was raising four kind and honest sons,” etc.

I stand by the conviction of The Providence Journal: everyone deserves a well-crafted, interesting, and respectful obituary.

Grief: always familiar, always unique

Writing obituaries has acquainted me with the grief of others, grief that I never take for granted. I got my training writing obituaries for young soldiers killed in action in Vietnam. My job was to call shocked and bereft families who’d just been informed of their worst nightmare to ask if I could interview them in person and pick up a photo. I strove to do this with the utmost sensitivity. Sometimes families refused, which was their right, but often they were eager to talk about their loved one, and desperate for him to be well remembered.

One time I called a family only to realize they had not yet been notified of their son’s death. I managed to get off the phone without revealing the news, but my editor insisted I call them back to make deadline. Instead, I found a way to locate the family’s priest and got him to inform the family, and then to call me back once he had done so. It mattered to me then, as it does now, to never lose sight of a family’s suffering or pain.

Getting the legacy exactly right

While at The New York Times, I was on deadline to write a complex obituary of Harold Hochschild, an industrialist who, in spite or perhaps because of his corporate legacy, became a leading conservationist of the Adirondack Mountains, a cause close to my heart. When his son called the next day to thank me for getting the complicated obit “exactly right,” I felt a deep sense of satisfaction that I carry to this day. One little inaccuracy – a wrong date, a dropped initial — would have spoiled it for him, and for me.

Advance obits: no time like now

As a journalist, it can be a jarring task to call someone still very much alive, or their friends or relatives, to inform them you’re writing their obituary. These are called “advance obits” in the trade, which are assigned if a major figure may be ailing. Once they get over the shock of the request, the subjects for the most part are all too happy to talk about themselves for posterity.

One such advance obit was for Janet Reno, long-time attorney general for president Bill Clinton and the first woman to hold that position. Janet was someone I covered closely; I admired her for her integrity and caring, but was critical of her management style. Sadly, she was too ill with Parkinsons for me to interview her. But I was determined to capture her gritty and determined personality, however complicated, with lively writing:

When Reno arrived in Washington in 1993 as President Clinton’s third choice for the job, she cut an unusual figure for the nation’s top law enforcement official, not only because of her sex. She was tall (nearly 6’2”), single, and brought with her a somewhat mythic reputation as a woman who had wrestled alligators while growing up in rural south Florida, and as a tough prosecutor who wrestled  mobsters and drug dealers in Miami.

https://www.latimes.com/local/obituaries/la-me-janet-reno-snap-story.html

Honoring the one you love

When I support a family in memorializing someone they love, it gives me a window into the lives of talented, extraordinary, deeply committed individuals which never fails to inspire me to re-examine my own life. They don’t have to be famous or with a chest of professional trophies; every life fascinates me. Here’s a testimonial I take particular pride in:

“When my wife died, I needed sensitive and expert writing and editing assistance . . . I wanted a fitting tribute to the woman I loved who had spent her professional life in service of the poor. Tim with his well-honed journalistic skills took a run-of-the-mill press release obituary from the government agency my wife had headed, and brought it to life with information gathered from me and others. The result was a quarter-page, above-the-fold obituary in the Washington Post acknowledging an international career devoted to alleviating poverty.”

https://elo.maxkukoy.com/client-buzz/honor/

Take control by writing your own obituary

Are you ready to start thinking about your own legacy, to capture what you are truly proud of in a manner that’s honest and thorough? It can be daunting, but it’s also a transformative experience to take stock of your own life while you’re still in control. It offers the potential to make amends, communicate love and gratitude, or establish fresh, achievable, and more meaningful goals.

I hope you’ll reach out to me to support you in this task; it’s always a privilege to captures one’s life. I will get yours exactly right.

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Want to Write?
Go to Your (White) Room

“I walk into a white room . . . “

Groundbreaking choreographer Twyla Tharp begins her workday with an unfailing routine:

She rises at 5:30 AM. She hails a cab. She enters the deserted blank space that is her dance studio in midtown Manhattan.

“To some people, this empty room symbolizes something profound, mysterious, and terrifying: the task of starting with nothing and working your way toward creating something whole and beautiful and satisfying.”

What do I do next? The ritual will tell you

Twyla instructs us that in-between the pre-dawn alarm and striding into her studio, something else essential is required. There is a self-directed command. A habit. A ritual.  

“. . . The ritual is the cab. The moment I tell the driver where to go, I have completed the ritual . . . [A]t the beginning of the creative process, when you are most at peril of turning back, chickening out, giving up, or going the wrong way… It’s vital to create some rituals – automatic but decisive patterns of behavior. Turning something into a ritual eliminates the question, Why am I doing this? . . . The ritual erases the question of whether or not I like it. It’s also a friendly reminder that I am doing the right thing (I’ve done it before. It was good. I’ll do it again).

Tics, tools, or a habit

For a long time I thought creativity was a function of talent and passion, with a couple of handy tools thrown in for good measure (my weapons of choice: a handful of $1.95 indigo ink Zebra Sarasa pens; my lucky font Optima; and Siri, my wildly innacurate transcriber, but better than facing the blank page alone).

Twyla made me realize something was missing from my craft. There’s a difference between tools and tics. If you don’t have the ritual, if you haven’t enforced the habit, forget about talent. Passion is a non-starter.  

“Find a working environment where the prospect of wrestling with your muse doesn’t scare you, doesn’t shut you down. It should make you want to be there, and once you find it, stick with it. To get the creative habit, you need a working environment that’s habit-forming.”

We’re early into 2019 — time to get crackin’. You’ve got stories, memoirs, speeches to craft. Legacies to impart. The path ahead is studded with landmines: distraction, discouragement, fear, rejection, and most destructive of all, self-doubt. How do we sidestep these, piece ourselves back together after the inevitable misstep? In what room do we re-embrace the creative endeavor, morning- or night-after night?

Share with us and your fellow creatives your inspiration for our collective creative journey. Where do you create? What ritual or the habit commands you to the task? What’s your most important story that’s waiting to be told?

If you’re looking for ideas on how to jumpstart and sustain your creative life, pick up a copy of Twyla’s book, The Creative Habit: Learn it and Use it for Life.  Tim, Kim and I will be sharing other suggestions and inspirations to keep us going throughout the year.

Unifying Idea, Body, and Voice

It all starts with an idea

A presentation or a performance begins with an idea put to words — words that are sometimes meticulously crafted and lovingly honed. Many presenters and performers make the mistake of thinking that it ends there as well. And if all you’re going to do is e-mail that text, well then, you are done. Hit send and pat yourself on the back.

Throwing body and voice behind the idea

If, however, you’re planning to share your words with an audience, you’re still missing two essential components of an authentic, dynamic presentation: body and voice. If there isn’t unity among these three aspects of your performance — idea, body, and voice — the message is incomplete. And your audience will come up short, because the whole will lack coherence and, quite possibly, credibility as well. The addition of voice and gesture makes your ideas vibrate and dance in the space; they shape, lift and land the images and thoughts; they help a listener trust the veracity and authenticity of your message.

It can be uncomfortable, disorienting, or possibly terrifying to put your words “on their feet” and to lend the music of your voice to them. But if what you’re saying doesn’t harmonize with how you’re saying it — with what an audience also hears and sees — you won’t be able to affect those listeners, to shift or change them in some way so that they leave the room in a different state. This is, after all, the measure of the success of any performance, story, speech or presentation: whether it has an impact on the audience.

Acting out the idea

Once you know the content of your presentation, try performing it silently, using only your body in space to convey the thoughts. Free your arms and hands, uproot your feet from where you’ve planted them, dare to step out from behind the podium. You’ll likely feel awkward, vulnerable, exposed. That’s good! It’s just an exercise.

Sing it to a friend

Then try singing the text, like an aria. Or speak it in an outrageous foreign accent. Have fun with your voice.

Finally, envision a very specific listener, and imagine an intimate, familiar setting. Tell your story to that one trusted, trusting friend.

Odds are that these experiments will begin to loosen you up and to free a fuller-bodied, truer-voiced iteration of your words.

Idea + body + voice = authenticity

This synthesis of idea, body and voice doesn’t come naturally to most of us, but it is possible for all of us. It requires commitment, bravery, and rehearsal! And it will add immeasurably to bringing your message to your audience in a vibrant, memorable and authentic way.