The Alchemy of Estrangement: How being estranged from my family of origin informs my fiction

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First things first: I’m not looking for condolences, “I’m sorrys,” or advice about forgiveness. I’ve done all that. If you can’t resist, if unsolicited advice is your currency, know this: I keep boundaries like talismans. Cross them and the door closes.

Boundaries are what led to the estrangement. It didn’t happen all at once, but person by person. And while I thoroughly grieved each loss, I’ve made peace with them all.

My dad: We’ve been estranged since my youngest son was two. He’s now 35. When I tried to talk about my childhood, my dad shut me down: “You can write to me about what your kids are doing or about the house [my then husband and I were building a custom house], fine. But if it’s about any of this other stuff, don’t bother me.” He also told me he had “a new family now.” I took him at his word and wrote one last letter saying the door would always be open if he ever wanted an honest conversation. Thirty-three years later, it’s still open.

My mom: Our falling out was slower, with repeated “come back” attempts, always on her terms, always at my expense. Her well-disguised narcissism unraveled when I could no longer pretend. The final break came in 2017.

My younger brother: Our estrangement fell between the two. Ask him why, and he’ll tell you it’s because I’m crazy. That’s all.

So, why am I sharing this?

First, because I’m often asked when I do public readings: “Is this autobiographical?” (A bad question, in my opinion. I’ll say more about this in a future post.)

If I wanted to write my autobiography or memoir, that’s what I’d be doing. Writing fiction is a choice I’ve made for particular reasons. In short: fiction is a superior form of writing, in my opinion. (More on that, too, in a future post).

Another reason I’m airing my dysfunctional family estrangement is because:

  • being abandoned by them taught me resilience. It shaped me into a tenacious, self-contained, resourceful human who isn’t afraid of doing life alone. That has been pure gold.
  • it’s taught me that “Love conquers all” is only an adage. In my experience, shame and fear often outweigh love. (That doesn’t make me jaded. It makes me a realist.)
  • maybe most importantly, this is the soil where my fiction grows.

These experiences—loss, resilience, the complicated messiness of dysfunctional family dynamics—are the threads I weave into my fiction. Writing is where I transform the raw emotional material of my life into story, where pain becomes meaning, and where characters walk paths I recognize.

So, when people ask me, “Is this autobiographical?” about my work, the answer is always “no.” I don’t write about myself. I don’t need to anymore. Because I have the perspective… The distance needed to make meaning of human dramas and the human condition on a wider scale, to make my stories universal.

I let my characters have their own struggles, I walk beside them the way a parent does a child, and I serve as a guide on their path to meaning making about the human dramas readers identify with, which leads to recognition, validation, and connection.

And in the end, it leads to healing.


Hi, I’m Johnnie Mazzocco—Word Witch, Story Alchemist, Sage. I’m here to heal the world through stories, whether the ones I write and tell or the ones I help others write and tell.

Have you worked with a real word witch before? It’s time.


More to come about my family and how it has informed my fiction…

No, My Novel is Not My Diary: Stop asking me if my fiction Is autobiography

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There’s one question that makes me want to roll my eyes so hard they disappear into the back of my skull and give you a great big fat face palm:

“So… is this autobiographical?”

Let me rant for a minute.

First, it’s invasive. You’re not asking about the story, you’re asking about me. You’re trying to sniff out where my scars are, which characters are my family in disguise, and whether I secretly had an affair with the villain. And honestly? That’s none of your damn business.

Second, it’s ignorant. Fiction is not autobiography. If you want autobiography, that’s called memoir. Different shelf. Different project. Different set of artistic responsibilities. If I wanted to do that, that’s what I’d be doing. I’m interested in making meaning of human dramas, not navel gazing (does the world really need yet another Eat, Pray, Love?).

Third, it’s naive. Because even when fiction grows from the compost heap of a writer’s lived experience (and it always does), that doesn’t mean the story on the page is “about me.” It means I’ve alchemized the raw material into art.

Here’s what differentiates fiction from autobiography (and why it matters):

Fiction is transformation. 

The writer takes life—their own, other people’s, the collective human mess—and distills it, reshapes it, stretches it until it becomes something larger than a single lived experience. Memoir looks inward; fiction radiates outward.

Fiction is universal. 

In memoir, the writer is the protagonist. In fiction, characters are vessels—archetypes, shadows, mirrors—crafted to invite the reader into the meaning-making.

Fiction is freedom. 

In memoir, the author owes allegiance to what “really happened.” In fiction, truth lives in the emotional resonance, not the factual accuracy. Fiction allows for invention, exaggeration, metaphor. It gives us worlds we’ve never seen, time machines, and whole families who never existed but feel achingly real.

So when you ask me if my work is autobiography, you’re not appreciating the craft. You’re reducing it. You’re tugging the focus away from the architecture of the story, the themes, the imagery, the impact, and you’re sticking your nose into my personal life.

And honestly? That’s lazy reading.

If you want to read a writer’s work deeply, ask better questions:

  • What themes haunt this book?
  • How does this character’s struggle illuminate my own?
  • What did this story stir up in me, and why?
  • What questions does it leave me holding?

That’s the conversation worth having.

This is the soil where my fiction grows: experiences transformed into meaning, pain transmuted into art, threads woven into something bigger than myself.

So no. My fiction isn’t autobiography. My fiction is fiction. And if that disappoints you? Maybe you’re more interested in gossip than literature.

My fiction doesn’t reveal me. It exposes you—if you dare to pay attention.

10 Banned Books That Might Shock You

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Banned Books Week reminds us that stories are powerful enough to scare people into silencing them. The reasons books get banned often reveal more about a culture’s fears than the books themselves. Here are 10 books you might be surprised to learn have been banned or challenged, along with when they were published and when they sparked controversy.

Fahrenheit 451 by Ray Bradbury (1953)

Ray Bradbury’s classic about a future where books are burned was ironically censored itself. In 1967, a school district in California cut words like “hell” and “damn,” and schools in the 1990s challenged it for “offensive” themes.

The Adventures of Huckleberry Finn by Mark Twain (1884/1885)

Praised as a great American novel, Twain’s work was banned almost immediately—Concord Public Library in Massachusetts pulled it in 1885 for being “trash.” More than a century later, it continues to be challenged for racial slurs.

Gender Queer by Maia Kobabe (2019)

This graphic memoir has become the most banned book in the U.S. since 2021. Schools and libraries have pulled it hundreds of times for its frank exploration of identity and sexuality.

The Bluest Eye by Toni Morrison (1970)

Morrison’s debut novel has been challenged since the 1990s, and it remains one of the most frequently targeted works of literary fiction today. Its themes of race, beauty, and trauma still make readers—and censors—deeply uncomfortable.

The Satanic Verses by Salman Rushdie (1988)

Rushdie’s novel was banned in India the year it was published, and soon after in more than a dozen countries. In 1989, Iran’s Ayatollah Khomeini issued a fatwa calling for Rushdie’s death—turning the author into a global symbol of the risks of free expression.

Alice’s Adventures in Wonderland by Lewis Carroll (1865)

In 1931, officials in China’s Hunan Province banned this whimsical tale, arguing animals should not be given human speech. Nearly 70 years after publication, Carroll’s fantasy still unsettled authorities.

The Hate U Give by Angie Thomas (2017)

Thomas’s bestselling YA novel was challenged just a year after publication. Schools and parents objected to profanity and its depiction of police violence, even as young readers embraced it as a voice for their own reality.

Persepolis by Marjane Satrapi (2000/2003)

This graphic memoir was banned in Iran immediately upon release. In 2013, Chicago Public Schools removed it from classrooms, sparking national debate, and it continues to face challenges in U.S. districts today.

Where’s Waldo? by Martin Handford (1987)

Believe it or not, this children’s puzzle book was first challenged in 1989. The “offending” image? A tiny topless sunbather hidden among the crowds—proof that sometimes bans are more absurd than alarming.

The Diary of a Young Girl by Anne Frank (1947/1995 full edition)

Anne’s diary was first published in 1947, but even her voice hasn’t escaped censorship. In 1983, it was challenged in Alabama for being “a real downer,” and in 2010, a Virginia school objected to the unabridged edition for “sexual content.”

Why it matters

Books get banned for being dangerous, uncomfortable, or subversive. But isn’t that what great literature is supposed to do? Banned Books Week isn’t just about defending the freedom to read. It’s about remembering that every time someone tries to silence a story, it’s because that story has power.

Do you have a work in progress that could risk being banned or challenged if it fell into certain hands? 

I sure hope so. 

Follow me for writing support. 

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Alchemy of Writing

Why Writers Need Pre-Writing Rituals (and How Famous Authors Used Them)

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Writers are creatures of ritual. For some, it’s as simple as a cup of coffee at the same time each morning. For others, it borders on the eccentric, like hiding their clothes to avoid distraction or even lying in a coffin. But whether practical, mystical, or downright strange, rituals serve a purpose. They signal the mind and body that it’s time to write. Below, you’ll find a collection of the ways famous authors prepared themselves to face the blank page.

Time-Based Rituals

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Toni Morrison – Woke before dawn, drank coffee, and watched the sunrise before beginning.

Isabel Allende – Always began a new book on January 8, a personal sacred date.

Simone de Beauvoir – Started at 10 a.m. with coffee and wrote until 1 p.m., then resumed in the late afternoon,

Stephen King – Writes every day (even holidays) around 8–8:30 a.m., treating it like “creative sleep.”

Ernest Hemingway – Wrote first thing in the morning, when his mind was clear and no one could disturb him.

Haruki Murakami – Up at 4 a.m., writes for 5–6 hours, then runs or swims; repeats daily.

Anthony Trollope – Wrote for exactly 3 hours each morning before work at the post office, using a stopwatch.

Place & Environment Rituals

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Maya Angelou – Rented bare hotel rooms, lying on the bed with only a Bible, dictionary, thesaurus, sherry, and cards.

Virginia Woolf – Used a tall standing desk, arranging papers around her like an artist’s palette.

Gertrude Stein – Wrote in her parked car while her partner Alice B. Toklas was nearby.

Agatha Christie – Had no set writing desk; often wrote anywhere—on a kitchen table, in a bathtub, or perched in bed.

Edith Wharton – Wrote in bed every morning, tossing pages on the floor for her secretary to collect.

Truman Capote – Called himself a “completely horizontal author,” writing while lying down with coffee and cigarettes.

Roald Dahl – Wrote in a small shed at the bottom of his garden, in a sleeping bag, on a yellow legal pad.

Mark Twain – Wrote in a billiard room to keep away from household noise.

Objects & Talismans

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Maya Angelou – Bible, cards, bottle of sherry, dictionary, thesaurus.

Gustave Flaubert – Surrounded himself with strange objects and exotic art for inspiration.

Charles Dickens – Needed his writing desk arranged with specific objects: paper knife, blue ink, fresh flowers, and figurines.

Victor Hugo – Had his servant hide his clothes to prevent him from leaving the house; he wrote wrapped in a blanket.

Friedrich Schiller – Kept rotting apples in his desk drawer, claiming their smell fueled his creativity.

Nabokov – Wrote on index cards, storing them in boxes so he could shuffle and reorder scenes.

Body & Rhythm Rituals

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Joyce Carol Oates – Handwrites drafts in the morning, before talking to anyone.

Muriel Spark – Drank coffee before writing but allowed herself a glass of whisky afterward.

Honoré de Balzac – Drank up to 50 cups of coffee a day to sustain long writing marathons.

Jack Kerouac – Lit candles before writing and prayed to his “Creator” for guidance.

W. H. Auden – Took Benzedrine (an amphetamine) daily to maintain productivity, then downers at night to sleep.

Edgar Allan Poe – Wrote best with a cat on his shoulder.

Dame Edith Sitwell – Began writing while lying in an open coffin to sharpen her focus (!).

Regularity & Discipline

Image by Gerd Altmann from Pixabay

Ray Bradbury – Wrote every single day, believing quantity was the only path to quality.

Anthony Trollope – Timed himself with a stopwatch, writing 250 words every 15 minutes.

Henry Miller – Followed a strict daily schedule that included both writing and other creative or physical activities.

Flannery O’Connor – Kept her writing time short but steady due to lupus; two hours each morning, no excuses.

Kurt Vonnegut – Wrote from 5:30 a.m. until 10 a.m., then exercised, swam, did chores, and drank Scotch by 5 p.m.

The rituals of writers are as varied as their voices. Some needed stillness, others motion. Some relied on objects, others on strict schedules. The common thread is intention: each found a way to cross the threshold from ordinary life into creative life. 

You don’t need to rent a hotel room like Maya Angelou or drink Balzac’s 50 cups of coffee, but experimenting with your own pre-writing ritual—a place, an object, a time of day—might help you slip more easily into your writing flow. After all, the ritual isn’t the point. The writing is.

Looking for support in your writing life and tips on creating your own pre-writing rituals?

Learn more about Alchemy of Writing.

Sending you mad writing mojo…

Happy writing!

Johnnie
OOOO


Watch my YouTube video about pre-writing rituals.

6 Essential Types of Backstory (and How to Use Them to Write Better Fiction)

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Backstory is one of the most powerful—and fun—tools we have as fiction writers.

It deepens character, enriches the present action, and helps readers make sense of a character’s motivations, desires, and emotional complexity. When done well, backstory doesn’t interrupt the flow of your narrative—it enhances it.

In this post, I’ll walk you through six key types of backstory, how they show up in fiction, and how to use them strategically in your writing.

1. Context

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Context backstory provides readers with a look into your character’s past environments—both external and internal—through descriptive narrative.

These can be:

Spatial environments (e.g., the house they grew up in)
Temporal environments (e.g., a specific time period like the summer of 1978)
Emotional environments (e.g., the mood and feel of a childhood household)

Example:

“The old, rusted out car at the side of the house wasn’t just a car; it was a silent symbol…” *

In this example, the physical object (the car) becomes a container for layered meaning—a tool to deliver emotional and historical resonance without breaking the story flow. We see both the sweetness of childhood memories and the trauma of a life-altering accident in one compact scene.

*For the entire example, view my video on backstory on YouTube.

2. Memory / Recollection

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Backstory through memory typically emerges when something in the present triggers a character’s recollection.

Triggers can include:

An event (a funeral, wedding, or birth)
Another character (someone who resembles or reminds the protagonist of someone else)
An object (a necklace, a flower, a familiar song)

This can take the form of:

A brief expository recollection
A vivid flashback scene
A drip of information spread throughout the story

3. Flashback

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Flashbacks are full-blown scenes from an earlier time that interrupt the main story. Unlike descriptive context, flashbacks tend to be dramatized with dialogue, action, and vivid setting details.

Think of a flashback as a scene, not a summary.

Example from Miranda’s Garden:

“Her parents call again. Miranda takes one last look at her creation, wishes it well with a bow, and dashes back into the corn…” *

This excerpt plunges us into Miranda’s lived experience with rich detail and emotional intensity. The flashback becomes a living, breathing part of the story world.

*For the entire example, view my video on backstory on YouTube.

Novels that use flashbacks well:

The Girl on the Train by Paula Hawkins
Gone Girl by Gillian Flynn

4. Drip

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Drip backstory is when you reveal a character’s past in small, carefully placed bits throughout the narrative—never all at once.

This technique keeps readers curious and engaged, often building suspense or emotional impact.

Example from Miranda’s Garden

“Miranda lived with a kind of Illusion, which had infiltrated her awareness many years before, starting with the death of her parents when she was five…”

Just one line, and yet we glimpse a major trauma that shapes Miranda’s inner world. The reader wants to know more.

Novels that use drip backstory:

The Goldfinch by Donna Tartt
V for Vendetta by Alan Moore & David Lloyd
Station Eleven by Emily St. John Mandel

5. Exposition / Summary

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Exposition is the direct telling of backstory, either through the narrator’s voice or through indirect cues like action, dialogue, or setting.

This can be:

Direct: The narrator explains what happened.
Indirect: We learn through implication, mood, or metaphor.

Examples:

The Hobbit by J.R.R. Tolkien (direct explanation of hobbits and their lifestyle)
The Midnight Library by Matt Haig (direct)
One Hundred Years of Solitude by Gabriel García Márquez (both direct and indirect)

Use exposition sparingly—but don’t be afraid to use it. Sometimes, a quick summary is the most efficient way to ground your reader in the story world.

6. Dialogue

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Dialogue is one of the most natural and seamless ways to slip backstory into your fiction. When done well, it reveals history, relationship dynamics, and emotional stakes—without feeling like exposition.

Example:

“So, how do you know Marcus?” Rochelle asked.
“Oh, we go way back,” said Ayla.

“Let’s just say we got into some things…”
“What kinds of things…?”
“Think vacant houses, a secret club, and a vow to never tell anyone about any of it.” *

Here, the backstory unfolds like a game of cat and mouse. The reader becomes part of the conversation, piecing together history with every line.

*For the entire example, view my video on backstory on YouTube.

Novels that use dialogue-based backstory:

The Salt Witch by Martha Wells
• Your Fathers, Where Are They? And the Prophets, Do They Live Forever? by Dave Eggers

Final Thoughts: Why Backstory Matters

Backstory is more than filler. It’s an engine for character development, emotional resonance, and thematic depth.

When we as writers explore our characters’ pasts, we don’t just create richer stories—we come to understand their present-day fears, desires, and behaviors on a deeper level. And when we understand them better, so do our readers.

Backstory is where we connect the dots, where the emotional truth of a character is born.

Want to learn more?

My next flip book—What You Need to Know About Backstory to Write Good Fiction—is almost ready. In it, I’ll be sharing tips to help you decide which backstory approach best suits your characters, your genre, and your narrative structure.

To receive a notification about when it and other upcoming flip books are available, follow me on YouTube and Substack.

Until then…

As always, sending you mad writing mojo.

Happy writing!

— Johnnie