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Keep in mind that you do not own that person's memories; therefore, you may not use the information a relative tells you at your own discretion. Get written permission to use the material if you plan to publish or distribute parts of the interview.
I also try to put my interview victims at ease by telling them that they do not have to answer all the questions I ask. If it's too personal, just tell me. And if they later regret telling me something, they can let me know and I won't include it.
My aunt was one of those reluctant interviewees. She dreaded coming for a visit because she knew I wanted to interview her. By the second day, however, she was loving the attention. Usually, once the reluctant narrator sees that I'm not asking for facts -- especially about people long dead and buried -- but instead stories about her life and her memories of her parents and grandparents, the victim relaxes and thoroughly enjoys the experience.
An interview should not last longer than one to two hours at a stretch. It's tiring for you and the person being interviewed. If you are only with the relative for a day or so, take frequent breaks during the interview, since an intensive interview like this can last from six to eight hours at a stretch.
As you are conducting the interview, listen.
Ask a question, then wait and listen to the response. While the urge to interrupt -- to clarify a point or ask another question -- is great, don't. Make a note of the item and come back to it. Do not interrupt or correct the narrator. Even though you may have documented proof that contradicts a story you are being told, let your relative tell you the way she remembers the event. You can make a note of the discrepancy.
17 Best Gram images | Thoughts, Grandma, grandpa, Messages
Show interest in what she is saying by nodding, using appropriate facial expressions, or occasionally saying "uh-huh. To me, some of the best questions are the personal ones -- ones that may be slightly embarrassing or may make the narrator laugh or cry. The flowers in the heirloom ledger, which Millar inherited just before moving from Arizona to New York in , informed the pastel floral motifs applied to sweaters in his spring collection.
Millar's fall men's collection confronted the process of coming out and fitting in as a young gay man. This season, the designer's mind shifted to matters of love, commitment, and family. When you come out, you still can, but it's different," he says. The question of familial legacy always arises in these situations. Chris Chatterton.
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