Author Interview — Special to ClubMemoir.org

Got to Make It by Jack Eadon

Got to Make It captures the heart and soul of rock 'n' roll by rekindling the emotions and dreams of every youngster who grew up in the sixties and believed that music had the power to change the world. Jack Eadon brings to life his glory days of playing in a garage band that had such a following that nearly 20 years later the members found that their music was still being played in Eastern Europe. It had achieved cult status.

CM: You give such detail of the location of restaurants, schools, streets and other landmarks in your book Got To Make It, such as "I walked all the way down Menard Avenue, across Dempster past Blanche Borg School, to Dave Skipton's place for practice." Did you work entirely from memory on these aspects, or did you have to go back and revisit these places?

JE: Actually, both. When I started the project, I interviewed a few of the characters to get their recollections and "spin." That, in turn, helped me recall other issues. Then I also took copious notes of my own memories and impressions, and referenced them throughout the writing process. Overall, strong detail is extremely important to evoke feelings and a visual impression. One caveat however: Since my voice was a youthful one, it was important that the impressions I used were not from an older narrator; they were, instead, tapping into my characters' impressions at the time the book took place. It's a very tricky line to walk and easy to slip out of the creative dream you're creating for the reader.

CM: You reveal a lot of personal information about your mother and her relationship with your brothers and your father. How difficult was it to put to paper some of the more negative details of someone else's life? How concerned were you about how your family might react to this portion of Got to Make It?

JE: It was truly the hardest part about writing the book. However, when an early editor suggested I "write from your pain" to make the story come alive, I did, and was glad with the outcome. I think the operative word here is "respect." Treat your characters truthfully, but with respect. That's the best you can hope to do. As a writer of a memoirs, it would be a disaster to make all characters Pollyanna — it's just not real life.

CM: How did your family react to their portrayals in the book? What did you twin Brother Tom have to say?

JE: Haven't heard from my Twin on it, but have gotten positive response from all other characters.

CM: Throughout the book, you, the narrator, turn and speak directly to the readers and even address them as "you." This follows a very casual, conversational approach you took with the book, such as often using words or phrases as "Anyway," or "As I was saying." How did you decide to take this approach? Was it conscious?

JE. Absolutely. I love the book Catcher in the Rye and wanted to emulate that kind of "in your face" narration where the reader can feel infinitely close to the character. It also makes the book read very quickly.

CM: When and how did you decide you were going to sit down and write this story?

JE: When I found out my old band had been rediscovered in Eastern Europe, I thought the story was so fantastically unlikely, I had to write it down. I think that's the key to a really special memoir. The whole story cannot just be "this is my life." We all think our lives are so-o-o-o interesting but our stories need to have some of the elements of great fiction, primarily a compelling "storyline" and strong theme to carry it along.

CM: Who would you say your audience is?

JE: For Got To Make It, I think there are two markets: those who lived through the sixties and those who are much younger and want to know what they were really like. That's based on the feedback I've gotten thus far, at Amazon, signings, etc.

CM: What differences are there in songwriting from writing a memoir? Is one easier than the other and if yes, how so?

JE: Totally different. Songwriting is much more akin to poetry, except you're dealing in two dimensions, lyric and music, which must merge. A memoir is taking a life and pulling out of it the elements that resonate a single chord that might be interesting to others.

CM: How long did it take you to write this book?

JE: Probably four years, plus or minus.

CM: You published with Vantage Press, a subsidy publisher. How did you decide to go this route and to what other writers would you recommend a subsidy or vanity press?

JE: I went with Vantage for Got To Make It and for several other books, to (a) practice at the job of being a writer and (b) using my books as leverage with bigger presses: "If I can do this well on my own, just think of what you (the bigger press) can do with me." I have yet to see if that strategy worked, though I have gotten some favorable openings with a few agents.

CM: What is your daily routine when it comes to writing?

JE: I write 3-6 hours a day, during the day. The same time every day, the same music, the same routine. It trains you to be obsessed! The sameness is important, no matter when you write and for how long.

CM: What book is currently on your bed side table?

JE: I have quite a few, from Lord of the Rings to Grisham's The Painted House.

CM: What tip or piece of advice would you give to a writer pounding away on his or her first memoir?

JE: Take copious notes about your memories, interviews with characters, and spend time finding out what your memoir will be about, all before you write a word.

About the Author

Jack Eadon wrote his first book in fifth grade, then a short story in seventh. Subsequently he spent a decade with the band Khazad Doom, writing most of the songs with a poetic sense, usually encompassing a moralistic drama of sorts. He left the corporate world with his MBA in 1983 and now writes and photographs, his second great love.