Smith speaks to the nonfiction nature of Fires in the Mirror, specifically referencing how it is part of a larger project to interrogate the nature of the American character. This project, started in the 1980s, was inspired by Smith’s classical training as an actress in a conservatory despite the fact that it is meant as a reflection of contemporary life. Smith remembers a quote from a Native American poetry book reminiscent of her grandfather, who spoke about the importance of words in shaping identity: “‘If you say a word often enough, it becomes you’” (xxiv). Smith remembers memorizing a Shakespearean soliloquy for class once, repeating the words over and over until their rhythm and imagery became evocative of the character herself. This makes Smith believe that if she pays closer attention to people’s words, she can better portray them as an actress.

Smith reflects on the physical sensations actors tie to memories, and how if she says a word enough, it would become her, and the movements would follow. This went against the way she was trained—psychological realism—in which “characters live inside of you and that you create a character through a process of realizing your own similarity to the character” (xxvi).