In 1997, I was a junior in Humanities at Lewis-Clark State College in Lewiston, Idaho. The journalism program was defunct, and since I had just become a 27-year-old widow with two young daughters, I switched to creative writing and enrolled in my first creative nonfiction class. I just wanted to learn how to write.

I wrote my first nonfiction piece when I was about five. It was a typed paragraph, and the paper I used ended up with a small coffee stain in the right corner. The text read something like, “I asked my father for money, but because we don’t have a lot, he said no. But at least I have a new mother, and I love her!!!!!” My father found and folded the letter, and hid it in his safe for years. In 1989, when I was in the navy, he sent me the letter with a sticky note that said, “I hope you still feel the same.”

At age 20, I did not feel the same. As a matter for fact, after my beloved older brother Tony was killed in a motorcycle accident in 1987, my father turned to his wife not me, to grieve. I blamed his wife for Tony’s death. She had been an abusive monster when we were growing up. My brother turned to drinking and drugs, I turned to men. The night my brother died, my grief trickled out into absolute hatred for my stepmother.

I mention the letter because it shows how long I’ve been in love with writing “the truth.” As I came of age, even when I wrote fiction, I used the first person “I” and described events from my actual life. Write what you know they say. As a teenager, I knew blackheads, bullying, and boys. If my stepmother had ever caught me writing negative things about her, she would have shown them to my father and I would have been punished. I was the “big mouth” who complained all the time.

When I was 13, a woman I babysat for gave me the memoir Mommie Dearest by Christina Crawford, actress Joan Crawford’s adopted daughter. My life was never the same. Mommie Dearest is an expose on child abuse. Christina’s biological mother had given her up (just as mine did) and she was being beaten, ridiculed, and shamed by her “new” mother. I had no idea that other kids suffered abuse. No one at school EVER talked about it, and when I told Tony our stepmother was mean,” he said, “Shut up. Dad doesn’t need to hear that shit.”

By the time I was in college, and had gone on to graduate school, writing my “truth” left some of my colleagues unsettled. “How can you write such nasty things about your family?” they asked. I wrote the truth, nasty or not. And since my father had divorced my stepmother in 1998 and she lived 3000 miles away, I felt somewhat safe. Writing about people who hurt us is no new debate. If you’ve read This Boy’s Life, The Liar’s Club, Hungry for the World, or Mommie Dearest, imagine the criticism those authors faced.

If anyone cares to know, writing nonfiction for me is telling the truth of my experience to the best of my memory. My father once paid me an enormous compliment after reading my work, and I keep that in mind when I write. He said, “I remember it differently, but those are your memories.” For a man with a high school education and shoe-repair man’s apprenticeship, I thought he sounded damned professorial.

And speaking of professors, my first writing teacher, who is also a dear friend and mentor, once said, “No one is all evil or all good. You have to show them as a rounded human being.” Believe it or not, rounding out my stepmother is not that difficult. Writing about my brother Tony, however, whom I worshipped until the day he died, that’s a whole other story. I was his patsy, his sidekick, Laurel to his Hardy. One day, I may sit down and write the truth of our story. But I’m still working on it —