Quoted:
As someone who has been in much lesser conflict and written a story recounting events, I don't put any stock in that.
The burden of accuracy I felt was severe. I never even published my book for fear bastardizing it to the point of being interesting
would simply not accurately reflect the history of my guys. There was no way I would piss on the memory of anyone with a flawed
account, and I'm sure he felt it far more strongly than me though his story, recounting majorly one isolated few days of time, makes it
easier to tell without chopping up while still captivating readers. I would expect him to remember the events. In high adrenaline
situations the brain seems to work better, memories are more vivid, and time often seems to slow down assisting the memory recall.
It talks about how even two days later he's writing on his leg to remember details- details which with a high degree of accuracy
enabled the rescuing unit to trace the battle and find the missing soldiers. He's a recon man- and a sniper- a person trained to
remember in great detail in stressful situations. There's no doubt the book is highly accurate. The ghost writer may be able to
inject little details around the greater story itself, but the outline of the story has got to be Luttrell's and is probably very accurate.
I hear you. The only difference I would suggest is that you wrote your own book and, thus, maintained control of those decisions. Luttrell sold the story rights and his participation, not the book itself, so he really never had legal ownership of the work to control such things. Even if he remembered events with crystal clarity, if the publisher felt any particular details were less than exciting, they would have been perfectly within their rights to deviate from them. Not saying it's a string of lies by any means, but the publisher owned the story before the book was written, it's theirs to tell, not necessarily his. Because Luttrell co-wrote the book as a work for hire rather than wrote his own book on spec, the veracity of the work simply cannot be trusted as historical fact. The only way to maintain that integrity would have been to write his own book,
then sell it with editorial authority built into the deal.
I run into this all the time in the screenwriting world, it's a core concern that permeates the whole process of adapting any work of non-fiction. A book or story or magazine article is purchased for adaptation and the studio hires a screenwriter to adapt. The person or people from that source material, whether it be the participants or author or both are made available to the screenwriter for research and the inevitable balance begins; honoring the facts vs maximizing commercial potential. These source material subjects that are unfamiliar with this process and conflict usually assume the studio is interested in "telling it like it happened" and become incensed, sometimes rightfully so, when the project goes in another direction. Many uncomfortable situations occur from that conflict, but inevitably the studio gets what it wants.