WHAT’S NEW? (2.0)

It almost always comes as a surprise to me, and I suspect this is true for most fiction writers, which of my stories — whether novels, novellas or short stories — are most read and best liked. Sometimes the reaction is downright incredible: a story I may have put into a drawer (actually onto a stack or into a box full of other stories) because I thought it had no chance of pleasing anyone, not even myself, eventually gets read and praised and very possibly published as well.

“Pigeons,” one of my latest short stories, turned out to be just such a surprise. I liked it well enough, but that was partly because I had been highly motivated to write it, so intrigued was I by an encounter someone had related to me that occurred in a drug store when she was looking for something to…enhance her motility. I had to write the story (actually to bring forth the story the anecdote kindled deep in my imagination, which developed in its own way independent of the anecdote I had been told) for my reasons I at best only dimly understand. Stories get told because they demand to be, something drives one to write them. Others lie fallow for years or forever because whatever it is that causes one to express them never reaches a point of combustion.

Had I not chanced upon a magazine that solicited material from older writers (55 and up), “Pigeons” might still be lying in a box unread. But the story seemed tailor-made for The Feathered Flounder (since defunct, I regret to report; and there’s a good true-life story there), and it was accepted within days instead of the usual weeks or months. More importantly, it was immediately popular and I was told by more than one person who had read other stories of mine that it was my best work.

I found readers’ reaction to the story gratifying, of course, but also perplexing. The story seemed to me similar to others I had written — similar in the sense that even I can see I handle certain themes one way and others in another way, and that sometimes I succeed in making a story engaging and satisfying and sometimes I don’t. But I could see no special virtue to anything about this one, and still can’t, at least beyond the satisfaction that I achieved what I “intended” — whatever that may have been — in its creation.

Look at Me Now, my novel published in 2007, had a very different fate, though it too started from an anecdote, a series of anecdotes actually, though I was cautious at first not to assume it would amount to anything longer than a single short story, which became two, then three, then Look at Me Now Graphicclearly was turning into something that was going to stretch out much further, all told in the voice (it’s in diary form) of a woman in the process of leaving — escaping, really — her husband of twenty years.

I find first-person narratives the easiest and most enjoyable to write (as long as they are not autobiographical). They seem to be pre-written in my subconscious. All I need do is take dictation from that source with little active effort from my conscious mind. I write as much as I can on any given day for as long as I can — not all that much, really, and never enough to empty out my imagination, so that I can take up where I left off the next day — it’s amazing how easy it is to continue a story if I can recall what the next sentence is to be, and how difficult when I have to start without anything like that to prime the pump.

I tend to underestimate, though, what is involved in these relatively painless acts of creation. While the process energizes me in ways I still find surprising — increased confidence, a generally heightened sense of my environment, even increased libido — all that masks the drain I also experience. I sometimes think this is what a medium must feel like after a seance, assuming the medium is not a charlatan and actually does go into a trance, whatever the value of what s/he claims to communicate while in that trance. I also feel justified, made whole and unapologetic for my existence and for the life I have led — in a word, happy.

The initial reaction to Look at Me Now was encouraging. Two agents took it on, one saying the book had changed her life — which I took to mean she was undergoing some sort of marital crisis and was influenced by the way my character Deirdre dealt with hers. That reaction to the book was flattering, as well as frightening (I didn’t want to be responsible for the breakup of a marriage in real life, however indirectly; I knew someone who proposed to a woman because of some lines in a movie he had seen). But the agent’s reaction was also confusing because it seemed oddly unprofessional, like a doctor telling you about his youthful experience of STD, when all you wanted was some medication for a bladder infection.

But it wasn’t until later, after I had published the book with a writer’s collective, my two agents having failed to place the book, when I put the book up for review on LibraryThing, the online reader’s review site, that I got both positive and decidedly negative reactions that changed my entire mindset about the book and also divested me of what I will call my literary virginity.

Till then I naively believed that we all read the same book if the words are all the same, however much we may or may not like it. But the dozen or so members of LibraryThing who received review copies of Look at Me Now showed me otherwise, and since then I have been all too aware that once the creature of my imagination is let loose for anyone to handle or manhandle there is no telling what they will make of it. (One reviewer happened to share the name of a well-known British actress I like and had an address in London. I was hoping she really was that actress. I still don’t know if she is, but her review was long, thorough and devastatingly negative.) Between you and me and some sour grapes, I think the reviewers expected to receive finished copies of the book instead of the Advanced Review Copies I sent out — in some cases all the way to Australia. I had gotten more that 700 requests for a review copy, which LibraryThing whittled down to the twenty best matches.

There were many good reviews, at LibraryThing and elsewhere, but it was the negative ones that showed me how subjective we are in our reading and how much we read into as read. The less sophisticated readers (unlike my possible famous actress) simply wrote things like, “The narrator reminds me of my sister-in-law, whom I hate.” But all of the negative reviewers displayed real animus, an emotional reaction they sometimes explained like the woman with the detestable sister-in-law but usually did not, leaving me to wonder what could make someone so angry about a novel which they, after all, had got for free and only needed to write a few sentences about for their trouble — or do nothing at all, as some of those who received free review copies chose to do.

I didn’t want to consider the possibility that any of the reviewers, who were almost all women, resented the fact that the author is a man. I write mostly in the voice of or about women. I won’t pretend to know why. I do it well, or not, but I don’t think I need apologize for trying. I don’t believe I portray women condescendingly or otherwise in a chauvinistic way. And none of the reviewers suggested as much. But I do know some women, like some men, resent authors pretending to understand what goes on in the heads of the opposite sex. By that standard, I suppose I should never try to write about anyone but men who fall into the range of my own particular masculine background — an absurd suggestion, I would say.

But you can be the judge for yourself if you care to have a look at the excerpt from Look at Me Now on this blogsite. By way of pleading my own case, Look at Me Now is far and away my best-selling book, in its ebook form, though I have no idea in the great majority of the sales whether the experience of reading the novel was worth the .99 the readers paid for it or not. In a few cases they returned it for a refund, which makes the fact that so many others have kept and, hopefully, read it — having presumably sampled it enough before buying to realize it isn’t chick-lit or a “Woman’s Novel” —  all the more enigmatic….

For them what cares, all my published work is available at Amazon – still the largest pool of potential readers despite their increasingly autocratic ways — Barnes & Noble and, most recently, Smashwords (.com), the latter being the new good guy on the block, at least for the present. Samples of each book are available at each of those venues. The Jew’s Wife & Other Stories is still currently free at Smashwords.com (available in eight different formats).

Happy reading.

About Thomas J. Hubschman

Thomas J. Hubschman is the author of Look at Me Now, My Bess, Song of the Mockingbird, Billy Boy, Father Walther’s Temptation, The Jew’s Wife & Other Stories and three science fiction novels. His work has appeared in New York Press, The Antigonish Review, Eclectica, The Blue Moon Review and many other publications. Two of his short stories were broadcast on the BBC World Service.

Posted on September 19, 2013, in Books, My Writing. Bookmark the permalink. 6 Comments.

  1. I loved Look at Me Now, right from the moment I started reading it. That voice! So memorable. And that book inspired and encouraged me to try writing in the female voice–with very little success, I should add, until I took those same stories and stuck a female pseudonym on them, and viola! ‘She’ gets into two anthologies in opposite parts of the world and requests to submit trickle in. Go figure. Great post, Tom. Thank you for being such an inspiration.

  2. What I find most interesting about this post, Tom, is your letting us get a glimpse of what it’s like to be inside the head of an author of fiction. I’ve written since I was old enough to construct a complete sentence, but I don’t write fiction. Even the small amount I have attempted is really autobiographical. Exactly the opposite of what you do.

    As you know, I’ve read, enjoyed, and occasionally reviewed many of the things you have written. But I still don’t know how you do it.

    But I’m glad you do.

  3. Thank you, Crispin. Coming from you, those words mean a lot to me.

  4. Thanks, Terry. I wish I did know how it happens, or doesn’t. Or maybe I don’t wish that. It might just queer the process for someone like me.

    • Seriously, I agree – understanding the process might just ruin it. I’m convinced that the connections in my brain between sound and what I would call my “Germanic intellectualism” is almost completely broken. And my hypothesis is that is why music can let me soar to places all my intellectualizing simply doesn’t permit.

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