SOME YEARS AGO, in a workshop, I wrote about my sister’s self-destructive adolescence. I recounted her recklessness with boys and alcohol, the anger that erupted like a geyser inside her, and her hell-bent desire to run away—which she did by joining a traveling carnival when she was 16. The scenes brimmed with my own shock and confusion, and, as difficult as the subject matter was, I was sure it was the best thing I’d written. But in class, a writer I deeply respected made some general comments, then leaned back in her chair. She nudged the manuscript on the table away, as if proximity itself was a problem.
“It’s too much,” she said, shaking her head sadly.
Instead of feeling drawn into the narrative, she was repelled by it. The…