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The Dead Man I’m Not Praising

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Department Of The Partridge Of The Week

It’s that time of the year again. As has become a tradition much maligned anticipated in our neighborhood, moiself  is hosting a different Partridge, every week, in my front yard.   [1]

Can you identify this week’s guest Partridge?

 

 

*   *   *

Department Of Dissing Remembering The Dead

Dateline:  11-21-23.  Longtime friend and college apartment-mate SB posted a link (on social media) to an obituary:  HG, a fiction writer and one of our college’s part-time professors, had died at age 99.

SB’s post sent me on the express train to memory-ville, and I commented with the first thought that came to mind when I read the news:

“Didn’t know he was still alive.”

But I’d edited moiself’s  reaction, which was, in its entirety:

“Didn’t know he was still alive…
I’d assumed he’d died decades ago,

crushed under the massive weight of his own self-regard.”

If I’d read HG’s obituary (I didn’t), I’m sure I’d have run across the compliments from those who liked HG and/or his work.  Still, I doubt that any of the praise and adoration typically cast upon the departed would have equaled or exceeded HG’s own high opinion of himself.

I’d not taken a class from HG, but two of my college apartment mates (SB, and GG) did, during Winter quarter of SB’s and my sophomore year.  During that quarter moiself  heard their stories of HG’s class.  Then, one oh-so-memorable night, I met HG when he came to dinner at our apartment, after which I thanked the gods and my lucky stars – none of which I believed in   [2]   ­– that I was not in his class.

Y’all may be thinking, Wait a minute: a professor came to his student’s apartment, for dinner – for any reason?  How did that happen?

 

 

Yep, he did.  And there’s a wee bit o’ backstory to the how did that happen  part.

 

 

Fall quarter of my sophomore year I took a beginning Creative Writing class.  During the last weeks of class its professor, FT, encouraged me to sign up for another CW course, this one taught by HG:  You have to apply for this class, by submitting a sample of your writing – check with the English department but really, any of your stories that you submitted in my class will get you in.    HG’s class was considered the next step up for those interested in writing fiction, FT told me, and he thought that that was the class for me (It’s obvious you’re no beginner).  I thanked FT for his compliment and encouragement, but told him that although his CW class satisfied a requirement and had fit into my schedule – not that I didn’t enjoy every moment! – I didn’t have room in my schedule for another class that either wasn’t required for my major or didn’t satisfy another degree requirement.

But you will have room for it – this class will be taught in the evening, FT countered.  He asked me about my major.  When I told FT that I was pre-law,   [3]   he affably ribbed me (You’re a writer, not a lawyer).   During the next couple of weeks FT kept asking me if I’d signed up for HG’s class.  I knew his persistence in the matter was in fact a compliment, but I didn’t like revealing my financial situation to those whose business it wasn’t.  The fourth or fifth time FT asked me if I needed a suggestion as to which story to submit for HG’s class application, I told him the truth.  It wasn’t just the class time I had to juggle; I was working to put myself through school.  My days were busy with classes and with my two jobs: my official job at the library, at which I worked both day and evening shifts, and my “unofficial” (read: under the table) job, typing term and research papers for other students   [4]  .  And I needed time for my own homework and papers and a sanity-preserving social life….

My teacher’s persistence hit a nerve.  I loved writing fiction, and he knew it – what better excuse to take the time to do so than to have a class where it was required?  A day or two before the deadline I went to the English department, filled out the very brief application for HG’s class, and gave The Secretary In Charge Of Such Things my sample story.  The secretary told me that HG would read the applicants’ stories by a certain date, and that I should check back on that day for the return of my story and the enrollment decision.

 

My interest in writing was as strong as my dislike of my own typos, as demonstrated in my high school’s journalism class office.

 

I had not asked FT which of my stories he thought I should use.  I decided to submit the one both FT and my CW classmates had voted as “the best,” in a class contest organized by FT.  Years later I would look back upon that contest win (which I found somewhat flattering and mostly embarrassing) as my introduction to that most ubiquitous and vile literary publishing practice: contests, for any and everything, on any and every subject (even on the personal and/or demographic characteristic of the writer), so that you – along with any and every writer, it seems – can, eventually, declare yourself to be “an award winning writer.”   [5]

Once again, I digress.

Two of my apartment mates, SB and GG, also applied to HG’s class.  I assumed that the majority of the applicants would be the Serious Writer® wannabes: pale young men in black turtlenecks who would be submitting their imitative, Cheever/Roth/Updike-styled novel excerpts in which their descriptions of suburban angst, vacant sexual encounters, and hipster misogyny would be mistaken for edgy, clear-eyed commentary on contemporary American mores.  I decided to go for something different.  Figuring HG would like a reprieve from all the derivative, Great American Novel aspirational prose, I submitted something shorter, and humorous (the story which had won my class’s contest).

When I returned to the English department on the appointed day the secretary flipped through the stack of students’ stories on her desk, handed me my mine, and said that I had not been chosen for the class.  I quickly flipped through the pages; my story was unmarked.  “Did HG give a note – any feedback, about why he didn’t like my story?” I asked.  “No,” she said, “it’s not that he didn’t like it.  He didn’t read it.”

“He didn’t even *read* it?” I sputtered.  The secretary’s eyes radiated equal parts pity and frustration as she pointed to several other stories in the pile, stories whose paper clips were stretched much further apart than the one holding my manuscript pages together.  “He didn’t read those stories, either.  All of these” – she gestured at the manuscript in my hand, then at the bulging tomes on her desk – “violated the guidelines.”  She reached into a manilla folder on her desk from which she withdrew the guidelines for HG’s class’s story submissions.  She placed the paper in front of me and tapped her index finger over the second line of the guidelines, as if trying to gain the attention of a third grader with ADHD.  I saw that the guidelines, which I’d not bothered to check, were that stories had to be between 1500 and 4000 words.    [6]   My story, as per the word count listed in the upper right corner of the title page, was 200 words short.

 

 

Part of me was embarrassed that I had been so careless and cavalier; part of me was relieved that I wouldn’t have to do even more time/schedule juggling. Another part of me was soon to become amused beyond expectation, when SB and GG both made it into HG’s class and began relating their experiences therein.     

After the first meeting of HG’s class, when SB shared her rundown of her classmates, it turned out I was right about the guys in black turtlenecks.  By week two of HG’s class, I’d noticed something else about the attire of another of HG’s students – a something else which both amused and confused me, as it was GG’s…outfits.

As GG left that evening for HG’s class I stopped moiself  from asking if she was skipping class and going to a party instead.  Week three, there it was again.  If this had been happening in modern times the present, I would’ve been surreptitiously taking pictures of her with my cell phone and having a petty giggle about it later with my boyfriend.  Instead, by weeks three and four I made sure to invite “witnesses” – select male friends who also knew GG –  over to our apartment, 30 minutes or so before GG left for class.  Their observations confirmed that it wasn’t just my imagination:  no matter what GG had been wearing during the day, she, uh, pimped her ride, as those wacky kids of today say.  Translation: she upscaled her clothing and makeup for HG’s class.

 

 

I tried to come up with a defense for GG to counter my friends’ snickered theories – which were all variations on the theme that either HG was flirting with/hitting on GG and she was responding to his attentions, or that *she* was the one soliciting her professor’s attention.    [7]   Maybe it’s…subconscious?  But soft-fuzzy, form-fitting sweaters, perfectly coiffed hair, makeup and *lipstick* (this was the late 70s; students didn’t dress up for anything, certainly not for class, and although GG had always spent a lot of time on her hair, there was no other class for which she wore *lipstick*)?  Such frills do not unintentionally adorn a person.  Subconscious?

 

Nice try. 

When SB would leave for HG’s class she’d look like her normal self (attractive, casually attired, jeans-and-tee student), while GG looked as if she were going to an audition for a glamour camp counselor.  And the more stories SB and GG told about HG’s class, the more I squirmed to consider that my witness-friends’ observations might be spot on.

The winter quarter rolled on; then one weekend GG announced that professor HG would be coming to our apartment for dinner later that week.  She would make dinner, and she wanted all four of us (SB, moiself, and our fourth apartment mate, LM) to be there.  Ummm…okay…?  GG was obviously eager to host HG; I tried to be supportive, and feigned enthusiasm even as I wondered why, after full day’s work  (or maybe not; I didn’t know HG’s schedule), a grown-ass professor would want to spend time (and have to eat an amateurishly cooked dinner) with four undergraduates….  Ah, yes.  Make that, four twenty-year-old *female* undergraduates.

 

 

Moiself’s  curiosity was stoked; I no longer needed to feign interest in meeting SB’s and GG’s professor.  Assuming my cultural anthropologist mode throughout the before/during/after dinner banter, I spent the evening taking mental notes more than I participated in the conversation.  [8]    Oh, did I mistakenly type, conversation?  It was more of a presentation, just short of a lecture, from HG.  HG was obviously used to and expectant of female adoration.  He evidently and thoroughly enjoyed holding court, attempting to impart his…what was he attempting to impart?  Yeah, okay, he’s been to so many Esalen Institute and other Big Sur retreats he’s lost count, but how indiscreet can he be to think that we are interested in his opinion of Joan Baez’s sexual preferences?  Every story he told practically megaphoned,

Can you believe how cool I am, who I’ve rubbed shoulders
(and other body parts) with; what I have seen and done…
and here I am, in *your* apartment, you lucky lasses !

HG was SB’s and GG’s teacher.  What did he teach that night?  Although I found HG’s demeanor and anecdotes jaw-droppingly pretentious at the time, my recollection of them did serve me, eventually.  Many years later I modeled a character in one of my stories after HG: “Patrick Glasson,” a professor of creative writing.  The story’s protagonist, Colleen Kiernan, a student in Glasson’s Advanced Fiction Seminar, incurs Glasson’s thinly disguised wrath by challenging his critiques, not being deferential to him, and mostly by being different from the rest of the graduate students in his class, the “pretty young things and scowling young men” who either worshipped Glasson or feared him.  In this excerpt, Colleen approaches Glasson at the end of the class to discuss one of her stories.

…. Glasson tossed Colleen’s manuscript on top of his desk. “What is this?”

Colleen Kiernan fingered the hollow between her collarbones. “The title is on the first page.”

The professor snorted. “So it is.”

Pretty young things and scowling young men gathered their papers and book packs. Colleen’s Seminar in Advanced Fiction comrades scuttled off to their three o’clock classes, pretending not to notice that, once again, their guru and his apostate were at his desk, at odds.

“It’s unfinished, obviously. You said initial drafts were acceptable if…”

“I should have chosen a smaller facility.  A class of thirteen hardly fills this cavernous hall, which might explain the echo. I hear myself reiterating our group’s paradigm — our mantra, if you will.  If you want to be ordinary, write ordinary.”  Professor Glasson exhaled lustily. “No academic preparation is needed for mainstream publication. There are a plethora of How to Write A Damn Fine Novel tutorials.  Check the trade magazines.”

“Check the trades.”  Colleen feigned writing a memo to herself.  “Almost forgot that one.” She set her briefcase on Glasson’s desk, and caught the glint in his bleary eyes. He made no attempt to mask his disdain for the tatty brown canvas attaché Colleen favored over the jewel-toned, Gore Tex shoulder bags that were the totes of choice for pretty young things.

“As I was saying, you said drafts were…”

“This is no class for the conventional. What I have been saying, what they are saying…” Glasson tapped his hirsute finger on the stack of books atop his desk, “is as profound as it is simple. Tell the stories that need telling.” Glasson steepled his fingertips in front of his nose. “If you’d been paying attention you’d have picked up at least the concept of narrative nuance. Post-Joycean streams of interior monologue do not a nuance make.”

Narrative nuance? Hard to discern these past weeks, over the thunderous crash of names dropping from lofty, literary heights. The adventures of Patrick Glasson, erstwhile Swingin’ Sixties Author and B-list celebrity. How many names fell from the Big Sur retreat, where our hero encountered a celebrated folk singer from yon times, and discovered that the angelic soprano was a lesbian predator who pursued pretty young things with banshee-like ferocity?…. We mustn’t forget our hero’s dialogue with the bards frequenting a Bay Area pub notorious for its clientele of IRA sympathizers, said pub having been named for an exploit of his, recorded in his first novel, in which he, his third wife, and a gaggle of second generation Beats revitalized San Francisco’s waning sex-for-poetry scene.

Reverent gazes, front and center. Imagine the thrill of being Him, back then.

 

 

Cutting to the chase:  moiself  found HG to be the most pompous, preening, gossipy, arrogant, name-dropping lech I’d ever met.  He was blatantly “after” GG; his practiced air of seduction gave me the impression that he’d pursued other females in his CW classes and would continue to do so.  The charm and panache he oozed seemed habitual; thus, he even (if ever-so-briefly) focused his powers of seduction on LM and moiself   [9]    after he caught LM shooting me a sympathetic eye roll when I failed to sufficiently mute my WTF  snort at the end of one of HG’s I-did-this-really-cool-thing/know-these-really-cool-people stories.  And by trying to win LM and I over, HG revealed his cards:  he was one of *those* kind of men.  Those Kind Of Men generally view and deal with womenfolk in one of three ways.  There are women they want to fuck, women they don’t want to fuck, and women who remind them of their (or other people’s) mothers.  HG wasn’t sexually interested in LM or moiself ; still, we were females, and had presented him with a challenge by indicating that we were in not in awe of his mere presence nor dazzled by his attentions.

What better way to secure the attentions of Pretty Young Things® who have an honest interest in creative writing than by telling them that he, a Published Author ® , thought that they had potential as a writer?  HG essentially broadcasted that modus operandi.  My feminist sensibilities were both annoyed and embarrassed by GG’s evident hero-worship…and a part of my heart ached for her.  GG had asked me to read several of the stories she’d written for HG’s class assignments.  I honestly liked the majority of what she showed me, even as I cringed on her behalf to imagine what HG was saying to her – how, in so many words and/or gestures and body language, he was giving her the impression that it was getting into her prose, and not into her pants, which interested him the most.

 

 

I hadn’t thought of that HG story in some time.  Today we have more information regarding gender exploitation and what in people’s backgrounds and circumstances makes them vulnerable to abuse (or to being the abuser).  I wish I’d had a more nuanced understanding of the situation, other than what went through my mind at the time, when I was concurrently concerned for and judgmental of a friend (“HG is a lecherous douchebag; why doesn’t GG see it?!”).

The MeToo movement brought the HG story to mind, and had me briefly wondering: if HG were still alive, would he be subject to scrutiny and outing from former students?  Or maybe…whether or not HG offered grades/privileges for sexual attention, maybe he was just a run of the mill/par for the course, approaching middle-age, narcissistic skirt-chaser, unaware of and/or unconcerned with the power imbalance dynamics and ethical violations inherent in pursuing his female students?

 

 

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Freethinkers’ Thought Of The Week    [10]

 

( Taslima Nasrin, Bangladeshi author, physician, civil rights and freethought and  feminist activist, living in exile since 1994,
after receiving repeated death threats from Islamists and Al Qaeda-linked extremists. )

 

*   *   *

May you be able to speak your mind sans death threats;
May you have no heroes to worship;
May you always remember to check the *#!?%#* guidelines (geesh!);
…and may the hijinks ensue.

Thanks for stopping by.  Au Vendredi!

*   *   *

 

[1] Specifically, in our pear tree.

[2] Although it would be years until I was “out” as being religion-free, I was always openly “lucky star” free.

[3] Specifically, a Criminal Justice major.

[4] Looking back, I should have charged so much more for typing the papers for those students whose handwriting was practically illegible (surprisingly, they were mostly engineering majors, not pre-med).

[5] I lampooned the phenomena in one of the few non-fiction pieces I’ve published, the essay, “You Can Be (Or Already Are) An Award-Winning Writer!”  One editor to whom I submitted the essay said he liked it very much and wanted to publish it, but was overruled by his fellow journal editors, and because of that he felt he should warn me that “this will be impossible to publish — everyone (as in, literary journals and magazines) has a contest !!!  and they do not have a sense of humor about that…or themselves….”  Despite his warning I kept submitting the piece, and it was published twice, once heavily edited to remove much of the contest-related snark, and the second time in its original form.

[6] Or the range may have been 1200 – 4500… I can’t remember the exact numbers, only that in my rush to be concise and clever I’d forgotten to check the guidelines.

[7] One of them “asked around,” he told me, and had heard that HG had a reputation for…that.

[8] Yes, it can and has happened.

[9] Although not for a second did I think he would have been interested in us.

[10] “free-think-er n. A person who forms opinions about religion on the basis of reason, independently of tradition, authority, or established belief. Freethinkers include atheists, agnostics and rationalists.   No one can be a freethinker who demands conformity to a bible, creed, or messiah. To the freethinker, revelation and faith are invalid, and orthodoxy is no guarantee of truth.”  Definition courtesy of the Freedom From Religion Foundation, ffrf.org

The Platform I’m Not Building

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As referenced in a previous blog (1-20-23) …

Department Of Here We Go Again
Sub-Department OF Preview Of Coming Grievances Attractions

Sub- Department explanation: This is part two of a three-part series dealing deal with various aspects of The Writing Life As Moiself  Sees It ®)  …

Parts one and two feature essays I wrote several years ago. The essays have the following commonality:

(a) I was satirizing certain aspects of the writing/publishing life;

(b) More than one editor to whose journal(s) I submitted the essays wrote, in their kind and complimentary rejection letters, that although they personally liked the article they could not publish it and, added that they felt it incumbent to warn me that that the article might be unpublishable due to my making fun of the process  (i.e., gnawing at the hand that was supposedly feeding me – despite the essays being clear intended as satirical):

“You realize that many people in this world   [1]
do not have a sense of humor about what they do….”

 

 

*   *   *

“Writers should be read, but neither seen nor heard.”
( Daphne du Maurier, English novelist and playwright )

A long time ago in a galaxy far, far away, moiself  began to admit to moiself a not-so-pleasant realization about moiself:  my growing disappointment with and even contempt for the literary publishing world.  It seemed that publishers had forgotten, or deliberately discarded, du Maurier’s sage advice, and were determined to celebritize authors.  This gradually devolved into pushing for (and in some cases contractually binding) the authors to celebritize themselves, with no resulting increase in royalties to the authors for taking on what is the publishers’ job – publicity.  Publishers did this by convincing authors that they must turn themselves into brands, and construct platforms.

 

 

 

 

For many years the literary world has been riding the towering (and crashing) waves of the relatively new universe of internet/ebooks/digital publishing.  Many publishers (mostly nascent, but also established/aka “traditional” publishers) have formed or remodeled themselves as essentially hybrid publishers, thus avoiding crucial aspects of the traditional work of publishing    [1].  These publishers describe this shift as providing “more opportunities for publishing and more author involvement in the publishing team!…”

 

 

…which translates as, more work for the writer, besides actually writing.     [2]   And the new “opportunities” provided by the internet and e-publishing has also created more opportunities for piracy/theft and downloading of your work without compensation. 

A writer I know, “WK,”    [3]  has published several nonfiction books on a certain technical topic.  WK posted the following on social media as an explanation as to why he’d reluctantly decided that his latest book would be his last.  This explanation was in response to a fan/reader who’d written to WK, praising his most recent book and asking for more books on similar topics.  

WK:
I’m glad you like my books, thanks. But I’m not going to write any more. There is too much piracy of my (and many other people’s) books. Within 1 month of my last book being published, I found dozens of web sites where people could download free copies of the e-book. There’s no point in writing a book if people are just going to steal it.

If thirty-plus years ago (when I began to write [primarily] fiction for publication) moiself’s  crystal ball had foretold how the publishing business would shift to the writer-does-publishers’-duties model, I would not have pursued writing for publication.

All righty, then why am I doing this, I asked moiself? Turns out I didn’t like my answers.  Thus, I took a hiatus – not from not from writing, but from submitting work for publication.

( Self-publication…is not a respectable” option, IMO, for me.  I will deal more with that in part three of my series.   [4]  )

 

 

On to the essay at hand.

*   *   *

WHAT WE TALK ABOUT WHEN WE TALK ABOUT ME

Branding the Un-brandable – a Fiction Author’s Dilemma

I tried blinking several times and even considered rubbing my eyes with sandpaper, but it was too late. I recognized the alphabet, the language…I had read the article. Alas, nothing could remove the images contained on the paper before me. It was the latest edition of one of my writer’s magazines containing the latest piece of prose extolling the virtue – nay, the necessity – of writers “developing and controlling their brand.”

“When we’re shopping at the grocery store, we tend to purchase the same variety of cereal, week after week. When it comes to household goods we waste little energy in thought as we push our cart down the aisle – it seems as if our favorite brand of laundry detergent leaps into our cart on its own. When we’re on a road trip, it doesn’t matter that it has been less than an hour since breakfast – our children beg to stop for lunch when they see the logo for a familiar fast-food restaurant on the highway’s exit signs.”

A graphics reminder popped up on my computer monitor:  a gender-free, ethnicity-inclusive, bipedal, Happy Face figure stretched and wriggled its limbs, signaling to me that it is time for an ergonomics break. I dutifully marched around my desk and circled my wrists for a few minutes, then returned to deleting from my email inbox yet another offer from yet another literary entity wishing to sell me yet another book and/or tutorial and/or seminar on how to use social media and/or professional and personal organizations and/or the skin off my children’s backs to transform myself into an author with an “established platform.”

 

Is this platform enough for y’all?

 

The mandate to create and promote a platform for one’s self was once almost exclusively confined to nonfiction authors, who were sensibly advised to, for example, establish their academic and professional OCD research and treatment credentials before attempting to interest publishers in their book, Seven Habits of Highly Effective Doorknob Fondlers. Increasingly, even fiction writers are told (read:  sold) variations of the following come-on, which I have received, in both hard copy and e-formats, from both long-established and pop-up writers’ journals and newsletters:

“If you are serious about being a successful writer in the 21st Century, you must establish, maintain, market and protect your brand;
you must build a platform as a writer and a content provider.”

Content Provider. Yikes.

But for fiction writers – excuse me, I mean of course, for those of us who are “providers of fictional content” – where the emphasis is (or should be) on the stories themselves, the platforms then become…what? The authors, ourselves?

Picture, if you will, just a few of the notoriously private authors whose works somehow managed to become beloved classics or must-reads despite their authors’ lack of “platforms.” Were those writers to be launching their careers in today’s publishing environment, their books might be seen as a tough sell due to the authors’ reticence for self-promotion. The J. D. Salingers, the Harper Lees, The Thomas Pynchons, the Emily Dickinsons, the Cormac McCarthys – I try to imagine them establishing and protecting and promoting their brands, like so many literary Kardashinans.

Aside from my personal antipathy toward what I call the celebritization of writing, the emphasis on the commercial and personal marketing of authors carries with it, I believe, a backlash potential. The publishing world’s push to adopt advertising concepts once associated with shilling laundry detergent and promoting Hollywood starlets can be off-putting to those discerning readers who care much about the stories to be told and little for the notoriety and fan worship status of the storytellers. One of the most prolific readers I know (herself a published author) put it thusly:

“I hate ‘brand building’ crap.
A writer’s brand is her writing, and she shouldn’t have to put out for every social media outlet like a $20 whore on Sunset Boulevard.

I know nothing about the writers I read. I don’t care. The only time I look someone up is when I think the writing is dreadful.”

I write neither memoir nor autobiography, and my fiction rarely employs the first-person narrative. Even so, I am advised to establish an All About Me platform. This concept applied to my literary life is literally (sorry) so odious to me, I just may construct an actual platform (Olympic competition height), if only to have one from which to jump off.

 

Budding author on his platform, on his way to the content pool.

 

Also, given what passes for noteworthiness these days, how will patient publishers and empathetic editors manage to brand the un-brandable me? The literary publicists’ failsafe archetypes don’t apply in my case. I’m a proficient writer with a substantial list of publishing credits; I can spin an interesting tale, yet there’s no mesmerizing hook upon which to hang my “As a” credentials (“As a writer of speculative haiku, Ms. Parnell, l’enfant terrible of the Pacific Northwest’s burgeoning Occupy: Poetry Slam scene….”).

Alas, I have no sexy back-story. I am not:

  • the rising young star of the future, who studied under full scholarship with A Famous Author ® at the Flannery O’Hemingway Iowa Workshop and who has been touted by Publishers Weekly as one of the “Five Under 25” (make that 35…45…uh…) to watch….
  • the erstwhile ___ (junkie; orphan; differently-abled parolee; gender-neutral sex addict), a survivor of ____(cancer; Catholic boarding school; Tea Party summer camp; the first documented Facebook mass un-friending) who escaped the mean streets of ___ (The Bronx; South Boston; Rodeo Drive; Lodi) after doing ___ (meth in El Paso; time in San Quentin; dinner theatre in Fort Lauderdale; the entire cast – stunt doubles included – of Oceans Eleven)….
  • the charismatic and exotic outsider, whose stranger-in-a-strange-land observations open a window into the perspectives on contemporary American culture that only an expatriate ___ (Afghani Atheist; Bicultural Bolivian-Botswanan Baha’i; Celebrity Chef Apprentice) can impart….
  • the ___ (reluctant; introspective; flamboyant; gluten intolerant) yet articulate spokesperson of her ___ (generation; subculture; dress size; assisted living villa)….

 

 

The who-I-am hook is likely a lost cause, publicity-wise (and words cannot fully express how fine I am with that). As for what I write, aka the content I provide, again, there are no simple classifications. Despite the self-proclaimed broad-mindedness of artists in general and the literati in particular, there are these boxes – exquisitely wrapped, variously sized, but boxes nonetheless – and people want to fit you into them.

I have written and/or published:

  • a short fiction collection and over seventy short stories, but I do not write short fiction exclusively;
  • a one-act play (for which I have received royalties), but I’m not a playwright;
  • poems for both the adult and children’s markets, but that doesn’t make me a poet;
  • a song (both music and lyrics), but that doesn’t make me a songwriter;
  • essays and opinion and non-fiction articles, but I am not a journalist;
  • a picture book and a juvenile novel, but I do not identify as a “children’s writer;”
  • a novel, but I do not call myself a novelist….

My stories’ characters have variously committed murder and other crimes, ventured in and out of love, encountered illusory beings, and lived in the present, the past and/or the future…but I am not a mystery/crime/romance/contemporary/historical/fantasy/sci-fi author. There’s no tidy genre label – nor the ready-made audience that seems to come with such – under which to file my work. I am simply a writer of literary fiction, who quietly, persistently and patiently (I will let that last adverb sink on its own merits) concentrates on writing good stories.

And that’s my mistake, it would seem. I should set aside the notes for my next three books, and instead note how to make myself more noteworthy.

 

 

Along with or in advance of a publication contract, publishers often send writers an AQ (Author’s Questionnaire) which asks about the writer’s background (“Is there additional information you can provide about yourself, to make you more personally appealing to our readers? Any anecdotes, for example, you might share at a reading?”). When presented with an AQ I typically weasel my way through questions I deem overly personal or irrelevant to the work at hand. No more. Perhaps it is time I contact my latest book’s publisher and submit my AQ addendum:

The distinctive silhouette was at once masculine and boyish. Dapper, graying temples, firm, chiseled jaw, roguish eyes and wickedly seductive grin – his beguiling features were illuminated by the waxing moonlight.
I felt a slight tremor of anticipation as his strong hands reached for mine; I found his grip surprisingly tender and reassuringly assertive as he helped me up onto the platform. *My* platform.

“Ladies and gentlemen, let me begin tonight’s reading by categorically denying the rumors of my affair with George Clooney.”

The End

About the author
Robyn Parnell lives and writes in platform-free Hillsboro, Oregon.

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Freethinkers’ Thought Of The Week   [5]

 

Taslima Nashrin, a Bangladeshi-Swedish author, doctor, secular humanist acphysician, feminist, secular humanist activist. She has been blacklisted and banished from the Bengal regions in Bangladesh (and the Indian state of West Bengal) and received fatwas for her writings on the oppression of women and her critiques of religion.

 

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May we be content with not producing content;
May platforms be reserved for divers and drag queens;
May we understand that brands are for cereals, not people;
…and may the hijinks ensue.

Thanks for stopping by.  Au Vendredi!

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[1] As in, they want or even require the author to do the lion’s share of the publicity for their book – without a publisher’s PR budget and connections.  And good luck finding the time to learn several new professions (including literary PR, press agent, booking and scheduling agent) while also finding time to actually write….

[2] Imagine going to your doctor for your annual physical, only to find that while her fee for service has not changed you are now responsible for doing your own urinalysis – which the physician’s billing office describes as “…giving you the opportunity to partner with your doctor and be more involved in your health care!

[3] Author of several books, including fiction and non-fiction, self-help, and tech manuals.

[4] I do think that, in the case of non-fiction works, self-publishing may be – and has been –  a viable alternative, for some authors.

[5] “free-think-er n. A person who forms opinions about religion on the basis of reason, independently of tradition, authority, or established belief. Freethinkers include atheists, agnostics and rationalists.   No one can be a freethinker who demands conformity to a bible, creed, or messiah. To the freethinker, revelation and faith are invalid, and orthodoxy is no guarantee of truth.”  Definition courtesy of the Freedom From Religion Foundation, ffrf.org