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= July 10, 1982 (Nine Days Before) =



I sighed and trudged yet again down the Athens General Hospital corridor, my still-unfamiliar stethoscope sliding around where I’d looped it around my uniform collar. Cardiac monitors dinged and glucose IV admin machines beeped from rooms on either side of the hallway. Plastic pill cup in hand, I knocked politely on the door of Room 337, two patient beds, part of my current rotation assignment. Hearing no answer, I stepped in once more and approached the bed on the right. James Samperson. Age 87, diabetic, renal failure, multiple amputee due to circulation shutdown, do not resuscitate order on file. Prescriptions in his chart for Lasix and Digoxin and Lopressor and a few other such medical substances, none of which I’d managed to get him to swallow on my previous visit. Antiseptic whiff of Betadine overlaying a nasty undersmell of terminal organic rot.

“Mr. Samperson?”, I said, peering around the edge of the plastic ceiling-hung privacy curtain. Mr. Samperson hadn’t budged since I’d been here before, still glaring into the empty hospital air above his bed sheets, his dentureless lips pouting. He didn’t acknowledge my presence, let alone confirm his identity, so as per protocols I once again turned the plastic arm band on his wrist to a position where I could read what was printed there. Yep, still him.

I’d thought of attempting to discuss his predicament with him, but the nursing supervisors don’t like us to bring up death and dying if the patient hasn’t done so first. And coming from me, a 23 year old white male nursing student in good health, it could come across as absurd and pretentious: what could I possibly know about how it is for him?

“Mr. Samperson, your doctor prescribed the medications in this cup. And it’s my responsibility to bring them to you and explain what they’re for or answer any questions you’ve got...”

I stepped closer, into his space, watching his face. I spoke more quietly, “Will you take your medications? However you want to do this. I can give them to you one at a time, or all together... I have some of this applesauce, if that makes it easier to go down...?”

Lips compressed into a tight frown, Mr. James Samperson jerked his head an inch to the side, away from me. Then back, and repeat. *Uh uh. No.*







* * *







“I *did* try again. He’s refusing. He’s not incompetent so we can’t make him. It’s not going to make any difference in his outcome. He’s dying. He knows it, his doctor knows it, we know it. It says so in his charts. This floor is where he’s been put to live his last days, and his dignity is all he’s got. He doesn’t want to take the pills.”

Ms. Thompson, my nursing instructor, did a long exhale and stared at me. She snatched the pill cup from my hands and aimed the leading point of her nursing cap in a directional jerk, a familiar signal to follow her back down the hall. She entered 337 and chirped, “Mr. Samperson? Good afternoon, hon. Okay, we’re just going to swallow some pills, all right sweetie? This won’t take but a moment.” She pushed a finger past his tightened lips while pressing the edge of the plastic cup. His mouth opened and Ms. Thompson’s wrist tipped. In went the capsules. “Now let’s drink a little water, dear, so those won’t stick in your throat.” She poured a splash and he swallowed convulsively. “That’s good. Now you can get back to resting and we won’t bother you for awhile.” She looked over at my face. The message on hers was pretty plain: *See, now was that so hard?* “Now you need to get his bed sores treated and give him a bath and get some food into him. You saw what I did.”

“It’s not right to treat him like he’s a child. I’m not comfortable making him do things once he’s refused.”

“Well”, she said, “that’s going to be a problem.”



= July 11, 1982 (Eight Days Before) =





I pressed down on the wet brown mass of tea leaves with the back of the spoon. Additional rivulets of coppery brown concentrated tea ran down through the strainer and into the waiting glass pitcher. I’ve known some people who would wince if they saw me doing this, claiming it was making the brew bitter, but Grandma and Grandpa had been parents during the Great Depression and this was how they wanted it done. You have to squeeze things and get more out of them.

I placed the tea pitcher on the dining table. “Can I do anything else?”

Grandma shook her head. “You go sit down and relax. There ain’t nothin’ else until these sweet potatoes get done. I’m just about to put some of those turnip greens on the stove to reheat and this kitchen don’t have room for more than one person.”

So I went back into the living room to hang out with Grandpa. He was eased back in the broad comfortable blond leather chair that had *always* been his chair, Grandpa’s chair, as far back as I could remember. He was resting now, but had just come in from mowing the lawn about ten minutes ago. Something he officially had no business doing, not since his electrolytes got all messed up and he’d had to be hospitalized. His balance and his strength were still impaired and might never recover, and in theory I was here to take care of him, not just to be a freeloader living in their home. But Grandpa had decided that the handle of the lawnmower was about the same height as the grip of his walker, and would hold him up just fine while he pushed it around the yard.

Grandpa gave me a cheerful nod. He wasn’t a person easily discouraged, not that he’d argue with anyone but you’d turn your back for a moment and he’d be out mowing the lawn. It’s kind of hard to fault a 76 year old diabetic who’d rather behave like he was still alive and kicking than accept limitations.

“How was that? You feel okay?”, I asked him.

“Tolerably well”, he stated. “It’s nice out. And how’re you doing yourself?”

I gave a brief answer that skimmed over the complexity of that particular situation and sat back on the living room couch. Or, as my grandparents would refer to it, the settee.

I’m comfortable with companionable silence or conversation, but after a moment Grandpa leaned forward, rose, and switched on the television and it responded immediately with the cash-register dings and applause of *The Price is Right* so after a gameshow question or two I put on headphones and cued up some Rimsky-Korsakov to drown out the noise.



The phone rang. I didn’t hear it right away over the strains of classical music. Grandma answered it and after a couple minutes called out to me. “Derek, it’s Kate, wanting to talk to you.” ‘Kate’ meaning my mom. Her daughter. I knew what this was about. Okay, let’s get this over with. I accepted the sturdy black Bell Telephone receiver Grandma was offering me.

“Hi, Mama.”

“Hi. Well...? Have you heard anything from them?”

“Yeah. They’re suspending me from the nursing program. Ms. Thompson says if it were up to her, they’d see about letting me finish my clinical rotation at a different hospital, but her colleagues see me as not enough of a team player.”

My Dad’s voice broke in. “You don’t know how sorry I am to hear this. I thought this was working for you, that for once you were going to finish something you had started and get on with your life. Now here we are again, and I just don’t know what to do with you at this point.” I visualized him on the other extension, probably the one in the bedroom while my Mom held the wall phone while seated in the kitchen. Parents with a mission to perform.

“I wish you’d never gotten involved with those people doing drugs”, my Mom sighed. “You used to be such a good student, and so responsible. Now I’m afraid you’ve damaged yourself to the point you can’t do anything any more.”

“That’s unfair! I told you what happened! I do fine in the classroom. I’ve got nearly perfect grades. And my patients like me, Ms. O’Neill used me as an example when she was discussing how to do the daily care, and my chart notes too, even Ms. Dixon says they’re detailed and clear and professional. The only problem is the same as before, I’m not comfortable treating patients like they don’t have any say-so about themselves. Last time it was a woman on postpartum who didn’t want a male nurse examining her episiotomy incision. Both times the nursing instructor said it’s part of the job, so just do it. Well, maybe it’s better to know going in, that I don’t want a job where I push people around!”

“I understand that”, Daddy replied, “but you have to find something! You can’t turn your nose up at everything and say it’s not for you! You’re 23 years old now. Do you realize that when I was that age, I was married and you’d already been born? I was taking on adult responsibility, and you need to do the same!”

Mama chimed in, “We’ve... we keep financing you for school. We paid for you to go to University of Mississippi and you dropped out. We paid for you to go to UNM even though it’s not the school we thought was best for you, and you got yourself kicked out. Now you’re suspended from the nursing program. It’s getting expensive and we’re not exactly getting any return on our investment!”



“That’s not fair either!”, I said, exhaling heavily. “I finished the auto mechanics school, and did my best to get jobs and support myself when I got out. And I didn’t ‘get myself kicked out’ at UNM. They had no right to sign me into that place, I hadn’t done anything to hurt anyone or threaten anyone, it was all a misunderstanding and it wasn’t my fault!”

“Nothing ever is, is it?”

Daddy interceded. “I don’t think it’s productive to talk about blame and fault, that’s not the point. We need to think about what’s next. We’re not giving up on you but we can’t just keep repeating the same things that didn’t work the first time and expecting different results.”

Mama said, “Mother says you’re a real help around the house and you’ve been taking care of your Grandpa a lot better than the home attendants ever did, so you’re pulling your weight, and I’m glad you’re there with them, they need you. But we were so hopeful that you’d turn this into an opportunity and that nursing would suit you. We love you and we want what’s best for you. We’re just frustrated because we don’t know what that is.”


————

I'm seeking feedback on my book Within the Box right here, one chapter at a time.

I'm hoping people will read it and comment on it as I go. I'm hoping that if they like it, they'll spread the word.

When I get to the end, I'll start over with the first chapter, by which point I'll no doubt have made changes.

Meanwhile, I'll keep querying lit agents, because why not? But this way I'm not postponing the experience of having readers.



—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.




Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on Substack and LiveJournal. Please friend/link me from any of those environments on which you have an account.

————————


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ahunter3: (Default)
I really like my current work-in-progress book, Within the Box. It's another autobiographical narrative: in 1982, Derek is a femme, one of the males who is more like one of the girls. Derek's worried parents are putting him into a fancy rehab facility, the kind of place where high-end psychiatrists try to reprogram people — but this time the shrinks may be biting into more than they know how to chew.

Within the Box is a psychological suspense tale. The reader is invited along to wonder who is right, and whether the institution is benign or awful, whether Derek is arrogant and stubborn or bravely resistant.




I had that particular experience and I wrote about it, and in my writing I wove all the concerns and intentions that I had at the time.

I believe it is entertaining.

I also believe it is a very good mirror into the experiences of a person that the lit agents haven't mapped as a perspective they should support. No one else has said it yet, not like that. It overlaps with stuff they've heard of and know about, but it keeps making sudden turns, usually without signalling.

"Publish it" is still the boilerplate first-tier response to "how do I get folks to read my book?" But how?? I've sent out 652 query letters to lit agents about it and have scarcely received anything warmer than a form-letter rejection in reply.

For my first book, GenderQueer: A Story From a Different Closet, I sent out 1474 queries before giving up on lit agents and switching to querying small publishers. Eventually landed a contract with hybrid publisher Sunstone Press.

Going with a hybrid publisher meant it was up to me to inform the rest of the world that these books existed. To promote and publicize them. Sunstone Press had no budget for doing that. I thought I could — I hired an experienced publicist, I bought ads in major newspapers and bought a ream of internet ads; my publicist got me speaking engagements and discussion panel appearances; I emailed libraries, making the case for them acquiring copies of my books; I blanketed organizations and associations whose purpose tied in with the themes of my book. I spent roughly $50,000 on it.

Dozens of people bought my book.

I think I'm going to publish Within the Box right here, one chapter at a time.

I'm hoping people will read it and comment on it as I go. I'm hoping that if they like it, they'll spread the word.

When I get to the end, I'll start over with the first chapter, by which point I'll no doubt have made changes.

Meanwhile, I'll keep querying lit agents, because why not? But this way I'm not postponing the experience of having readers.



—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.

I am still querying my third book, Within the Box, and seeking advance readers for reviews and feedback. It is set in a psychiatric/rehab facility and is focused on self-determination and identity. Chronologically, it fits between the events in GenderQueer and those described in Guy in Women's Studies; unlike the other two, it is narrowly focused on events in a one-month timeframe and is more of a suspense thriller, although like the other two is also a nonfiction memoir. Contact me if you're interested.






Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on Substack and LiveJournal. Please friend/link me from any of those environments on which you have an account.

————————


Index of all Blog Posts
ahunter3: (Default)
In the querying of my third book, a new record has been set, and I suspect it will not be broken.

I received a canned rejection letter ("I'm sorry, but your project does not sound like a fit for me at this time...").

Date I sent the query: 7/4/2023
Date I got the response: 1/7/2026
Interval between: 918 days (2 years, 6 months, and 3 days)


:: shakes head ::


Why would you bother to send a reply to a query that's been backburnered that long if you're only going to send a standard form rejection letter? I would expect at least a "Dear Author, my admin assistant found your vintage-2023 query letter where it had accidentally been transferred to our Deeds and Property Management inbox. I want you to know we did give it serious, if belated, consideration, but I don't think it's a project I could sign on for", or "Dear Author, I have been recovering from the consequences of a head-on collision that left me in a whole-body cast for years, and I'm only now catching up on my querying inbox..." or something?!?

The usual advice I've seen is "If you haven't received a reply within 3 months of sending a query, that's a pass". Lots of lit agents only reply if they are interested. So yes, of course I'd marked it as "NoReply 3Mos" and was no longer treating it as an outstanding query.

----

I still work on the book. Recently, I marked two places in my manuscript where I told my readers about something that was occurring in that timeframe, but didn't provide the dialog and interactions -- what we call "telling, not showing". And I made a note to myself: "If these are important to the story, do these as real scenes; if they aren't, get rid of these references!"

I decided in both cases to develop them. The first one in particular appealed to me as something the book would benefit from actually having: I had stated that in my day-to-day interactions with the other rehab patients, I occasionally made fun of certain behaviors in ways that some of them found offensive.

I decided I wanted that, to show myself not only opening up to them but also caring enough about their feelings that it would make me feel embarrassed and apologetic if I offended them.

The other "throwaway line" was where I made passing reference to an uneventful psychodrama session involving one of the women I was kind of developing an interest in. Well, if I was becoming interested in her, why wouldn't I have found the psychodrama session immersive? Yeah, I should either write the scene or discard the mention. I decided to write it and it does flesh out here character more to have that in there.



So, some people might have the attitude "You should not be querying your book until it is FINISHED." Well, David Gilmour has continued to perform music that Pink Floyd was performing back when I was in high school, and he occasionally finds new ways of presenting the material, small changed in how he expresses this or that section. That doesn't mean it wasn't fit for musical consumption back in 1976. I doubt I'll quit modifying the book until it does get published, but it has long since become a good book that's well worth reading for entertainment and enlightenment and good shivers.


—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.

I have started querying my third book, Within the Box, and I'm still seeking advance readers for reviews and feedback. It is set in a psychiatric/rehab facility and is focused on self-determination and identity. Chronologically, it fits between the events in GenderQueer and those described in Guy in Women's Studies; unlike the other two, it is narrowly focused on events in a one-month timeframe and is more of a suspense thriller, although like the other two is also a nonfiction memoir. Contact me if you're interested.






Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on LiveJournal and WordPress. Please friend/link me from any of those environments on which you have an account.

————————


Index of all Blog Posts
ahunter3: (Default)
Hello! I'm an author; I have an unpublished book, WITHIN THE BOX, linked here as a PDF: https://www.genderkitten.com/WS4/ah3files2/Within%20the%20Box,%20by%20Allan%20D.%20Hunter%202.4.16.pdf.



I have two published books published under my name, Allan D. Hunter.



I have a blog site, https://ahunter3.dreamwidth.org/, in which I discussed my ongoing intentions and processes in writing all three of these books, and there are a few reviews and comments on the internet, but I'm not famous or anything.



I would like to hear your predictions about how WITHIN THE BOX would be perceived, how people would react to the storyline and characters and plot (it's a memoir but I'm marketing it as a book that tells a story as entertaining and compelling as any fiction). I would like you to construct some reviews the way you think people would write them.
ahunter3: (Default)
Last week, I participated in Berkshire Choral International's rendition of "Considering Matthew Shepard" by Craig Hella Johnson at the National Cathedral in Washington. This was the culminating event after months of at-home practive (memorizing my part in five momements and becoming familiar with the remaining ones) and a very intense week of rehearsal with the other 150-someodd vocalists.

As you might expect, this piece drew an abundance of LGBTQ singers. (Not that there don't tend to be a significant number at any given BCI event, but not to this extent).

Because of the current political climate, and because transgender people in particular are being targeted for political victimization, I for once put my self-immersion on hold and made a real attempt to blend, both as a vocalist and as part of the LGBTQIA+ rainbow, instead of putting a lot of effort into representing my specific identity as a genderqueer male femme. And although I didn't feel perceived and recognized for exactly who I am within that coalition rainbow, I felt embraced welcomed and, for once, part of things, part of the community.

We put on a hell of a good concert. Our conductor, Jeffrey Benson, was exceptional, and polished us as a group to precision detail.



Maybe the sense of affinity and belongingness touched me and started some deep-inside-the-head process, I don't know, but I've been experiencing emotional extremes a lot in the days following Berkshires. I went for one of my 25-mile walk excursions and dredged up a lot of misery and foreboding and feelings of defeat, and chewed on them until they dissolved. Later, I sat on our porch steps and smoked some weed and contemplated for an hour or so, and at the end of that I found something pathetic and vulnerable lurking in the dark corners of my head -- the attitude that it's only okay that I am the way I am if I change the world. That effecting social change, successfully establishing this gender identity I've claimed as my own, makes that identity okay.

That is a bit short of real self-acceptance, if you see what I mean. It has to be okay to be who I am and not change the world.

Not that I don't intend to continue to try, mind you. What that unhealthy attitude really indicates is that I'm not as insulated from caring about what other people think of me as I tend to believe I am. I think I'm pretty immune from being hurt or troubled by what this acquaintance or that stranger thinks of me, but in the aggregate I still want to explain myself to the rest of my society and get a nod of understanding and acceptance. OK, I don't think that's necessarily an unhealthy desire. But when it leads to thinking badly of myself, thinking I'm not trying hard enough, or making harshly critical assessments of my skills for engaging with people, that's essentially kicking myself over and over for not being a successful activist. It's basically punishing myself for being who I am without changing the world.


—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.

I have started querying my third book, Within the Box, and I'm still seeking advance readers for reviews and feedback. It is set in a psychiatric/rehab facility and is focused on self-determination and identity. Chronologically, it fits between the events in GenderQueer and those described in Guy in Women's Studies; unlike the other two, it is narrowly focused on events in a one-month timeframe and is more of a suspense thriller, although like the other two is also a nonfiction memoir. Contact me if you're interested.






Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on LiveJournal and WordPress. Please friend/link me from any of those environments on which you have an account.

————————


Index of all Blog Posts
ahunter3: (Default)
I'm still querying literary agents in hopes of hooking my book up with a commercial publisher. I don't blog very often because querying has been so dismal and discouraging. I mean, it always is -- I hated the querying process for my first book, GenderQueer -- but at least for GenderQueer I got some encouraging comments, and an occasional nibble.

It hasn't been that way for Within the Box. Nothing but a long string of form-letter rejections and one-sentence "not for me thanks" turndown replies.

Until this week.


Opened my email and found this:


Hi! First, let me apologize for taking SO long to get to your submission. Once I started reading, I couldn't put it down! That being said, I shared it with my interns as well. We had a few discussions about it and talked about the strengths and areas for improvement. Ultimately, I feel it's just not ready, and would need substantial work for me to find it ready to submit to publishers. Therefore, I'm afraid it's a pass for me. I'm so sorry it's not better news. But I want to share feedback, and hope you find it helpful.

First, I love the main character and his voice. You've done a wonderful job at drawing in the reader. It's a compelling story, but the beginning and end both felt too short and not fleshed out enough. The middle section felt too long. I had questions about the parents and their motivates, too. I'd want more closure with them. Your secondary characters were a great addition, the people in the hospital with him. However, I'd like more insight on the head of the hospital who really seemed to have it in for your protagonist. Was he just evil, or a narcissist, did he have any redeeming characteristics that would make him more 3-dimensional? Also, what is the ultimate point of the story? Is it primarily to show the journey of your protagonist, or perhaps a slice of life to show the problems with mental health facilities? I'm not clear as to the reason for the story, mainly because the ending was rushed. (I loved that he made his way in the world though. That made me so happy!)

I want you to know this pass was a very difficult decision. I'm a fan of your writing and welcome any future submissions from you! You're very talented, and I appreciate you letting me read this story. I hope my decision does not discourage you from continuing to work on it and send it out. It shows real promise!!! Take care and please keep in touch.



I really needed this. Some sign that what I wrote just might, maybe, have appeal within the mainstream book market. Some sign that it's worth continuing to fish and see if I can get a bite.

This came from Tina Schwartz of the Purcell Agency. I'd originally sent a query in to Bonnie Swanson there, and instead of receiving a reply from her, this came in from her colleague Tina Schwartz:


Dear Allan,
I have read your query for WITHIN THE BOX and found it interesting. Please follow the instructions below to upload your full manuscript. I'm looking forward to reading it.


That was encouraging at the time -- a request for the full manuscript is rare and always a hopeful sign -- but then time ticked on and I figured if she's seen something she liked I'd have heard about it. Many lit agents don't bother sending rejection letters at all. "If you haven't heard anything in a few months consider it a turndown". My assumption is 3 months.

I'd rather have someone take their time and get to my material when they can, if they engage with it like this!



—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves. Hardback versions to follow, stay tuned for details.


My third book is in post-first-draft corrections and is being circulated to beta readers for feedback. Provisionally title Within the Box. Contact me if you're interested.






Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on LiveJournal and WordPress. Please friend/link me from any of those environments on which you have an account.

————————


Index of all Blog Posts
ahunter3: (Default)
I've been window-shopping for a paid-for editing service, getting a set of experienced editor-eyes on my manuscript with a focus on making the leading edge of it, in particular -- the first XX pages that get requested as sample, in other words -- as marketshiny as the storyline will accommodate in hopes of getting more nibbles from lit agents.

I reached out to some editors I had prior contact with from one of my previous books. One of them got back to me after requesting and receiving my current synopsis and 1st 3 chapters, about 45 pages.

"There was enough in the storyline to keep me turning pages", I'm told. "I was sufficiently invested in wanting to see what happens next. And the solid quality of your writing kept me going. My biggest concern is that I didn't find myself reacting well to your main character. He comes across as distant and cold, someone who doesn't care about any of the people he's in contact with, and as a result I found myself pretty apathetic about the character."

insert comic timing pause

It's autobiographical.





Well, that's consistent with the story I'm telling, actually. At one point within the book I relate the tale of trying to transition from childhood to adulthood in the employment zone, only to find that...


Basically, they don’t like me. Teachers mostly did. Classmates mostly didn’t. And now that I’m an adult, employers mostly don’t. Why?


... and as a child I'd had a similar bad time of it in school, not that I never managed to have any friends but that I was so widely hated:


Jan [my sister] didn’t easily fit in everywhere. Whenever we moved, or changed school systems, I think she had to work at it to make new friends, get people to accept her, avoid being the kid that other people leave out or make fun of. I think she put some effort into tucking in any odd corners so people couldn’t see. Popularity was important to her; I don’t mean she was super popular, most popular girl in the class or anything like that, but popular enough. Accepted. But that wasn’t an option for me. I wasn’t merely some kid who was seen by some as having something about them that was a little different. I was the kid that everyone in the school heard about from the other kids before they ever saw me. I had a reputation that had stuff that people made up about me added to what was already there, and being stared at was not something I was going to be able to avoid. I remember kids from other classrooms bringing their friends with them to point me out through the open classroom door, you know, ‘See, over there, that’s him’. So I have a lifetime of training that’s made it pretty much invisible to me.



So my main character -- i.e., me -- comes across as uncaring:




Mark Raybourne [my assigned individual counselor] wants me to think about whether my tendency to not give a shit whether or not other people approve of my behavior is a tendency that has unhealthy components. Okay. You can consider it a defense mechanism, but you can also consider it the necessary attitude if you’re going to move forward. I couldn’t afford to care. I was under attack. I had to believe in me. They had to be wrong. Yes, that installs the worry that this is a coping mechanism. Yes, I’ve worried about that. That maybe my default assumption that I was right to believe in me and reject them as wrong was...incorrect, and I...for some reason...deserved this.




I definitely would not describe my main character as more tolerant than their classmates. I wasn't. I was judgmental all through the worst years, elementary and junior high school, just outnumbered very badly, so yes their intolerance was pretty nasty to deal with, but I wasn't a better person or anything.

So my main character is problematic: pushy and with a practiced "I can't afford to care, it hurts too much" attitude towards whether or not other people like me.



The editor who gave me the feedback may still have a good point. First let's make a split between whether the person I was as the main character is not a good main character or it's my painting of that me, how I'm written as that character, isn't a good representation of me. If I want to stick to the factual (regardless of whether I'm marketing it as fiction or as nonfiction) I can't retroactively fix who I was, even if that character needs fixing. But giving the editor a lot of leeway to make a reasonable point here, yeah, my book could be difficult to market because I haven't represented the character as well as I should.

To my way of thinking, it's a selling point that my book actually addresses so many of the editor's critical comments. The editor hasn't read the whole book and would not have seen that yet. I mean, yeah, they're totally relevant issues, but I've attempted to include them in the book. Trust me, I'm narcissistic. I may be vain and self-immersed, but I promise you it's not an unexamined life.


—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.

I have started querying my third book, Within the Box, and I'm still seeking advance readers for reviews and feedback. It is set in a psychiatric/rehab facility and is focused on self-determination and identity. Chronologically, it fits between the events in GenderQueer and those described in Guy in Women's Studies; unlike the other two, it is narrowly focused on events in a one-month timeframe and is more of a suspense thriller, although like the other two is also a nonfiction memoir. Contact me if you're interested.






Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on LiveJournal and WordPress. Please friend/link me from any of those environments on which you have an account.

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Index of all Blog Posts

Nibble

Jan. 30th, 2025 12:42 am
ahunter3: (Default)
Current stats on the querying process for Within the Box:

total queries to lit agencies: 498
rejections: 401
outstanding: 97

Until a couple days ago I was getting bogged down by the unrelenting turndowns, with nobody expressing any interest. The closest I had come to a positive response was an agent saying "This looks interesting but I don't handle this genre so I'm forwarding this to So-and-So my colleague". From whom I never heard a subsequent peep.

But over the weekend I opened a reply email that said "I really like your premise, but the writing didn't send me quite as much as I'd hoped. I can't offer you representation but please feel welcome to requery me if you revise it".

That may not seem like the kind of reply that would send me over the proverbial moon, but let me unpack it a little.

Lit agents might have been uniformly turning me down because they knew the market well enough to conclude that no publisher was going to go for a book about that stuff, at least not from someone who isn't already a market draw. Which would mean I couldn't fix the problem, nobody was going to agent this book. But she was saying she liked the premise.

Lit agents also might have been turning me down because of my lack of a Platform. It's something that they want from their nonfiction authors, that you already have a built-in audience, a following likely to buy your book. It's not something that they tend to look for from a fiction author (although they still care very much whether you've been previously published, and by whom, and how well it sold). I think it's stupid that they grade autobiographical memoirs by the same criteria that they evaluate a stock market portfolio management guide or a chronicle of the people who settled a Pacific island. Memoirs ought to be split into Famous Person Memoirs and Representative Memoirs and Expertise Memoirs and Memoirs That Entertain. If people have heard of the author, it's a Famous Person Memoir, and agents can sell those the easiest. Representative Memoirs are where you don't need to know the specific individual so much as you need to know about the Group, the collective cluster of people associated with some known social phenomenon — soldiers of the Vietnam war, the first women elected to American political office, the software developers of the first wave of widespread personal computer use, these are all identities where if you knew the book was about what that was like, you might want to read it. Expertise Memoirs come from really qualified experts in their field, publishing nonfiction for them is like gettting published in a relevant academic journal. You need to show the publisher that you are regarded as someone who really knows your topic. That leaves Memoirs That Entertain where it's a well-told story that just happens to be nonfiction, it's a person's actual experience, but it's entertaining whether despite or because it's true. I mean, that's how I'd divide Memoir up, but of course I'm not a lit agent.


My book falls into Representative Memoirs, using my system, because I write as a genderqueer sissy male coming out in the early 1980s. It's not about Allan Hunter, it's about the social experiences that eventually yielded words like "genderqueer". But it's also a Memoir That Entertains. It's a fun story, it's as good as a movie, it has drama and tension and characters and dialog and concepts and danger and escape and an unreliable narrator and a reason to question what is or is not actually happening here.




So...::coughs:: the query that elicited this reply was the FICTION version of my query letter, pitching it as a psychological suspense tale, to a lit agent who doesn't handle any nonfiction.

"I really like your premise, but the writing didn't send me quite as much as I'd hoped. I can't offer you representation but please feel welcome to requery me if you revise it". ——> as a work of fiction; she's saying that about it as if it were a work of fiction. The nonfiction agents have shown no interest. Oh, and I would guess that 90% of my queries describe the book as memoir, nonfiction.


The thing about positioning this book as a work of fiction is that it puts me up against fiction authors. They get to structure plot for the purpose of making a good story. I'm competing with them while trying to relay what actually happened when I was in the hospital that I alias as Elk Meadow in the book. I'm not going to say that I didn't take any liberties when writing Within the Box. I'm describing hour-to-hour events that actually took place in 1982. Of course I'm painting specific renderings of things I only remember in the general, same as when we're in conversation and I'm telling you what I said to someone yesterday in the drug store or the supermarket, we all know I'm not claiming to recall each literal word of each sentence, but I was like this, yeah? It's an honest memoir in that sense. I did move a couple of events because they helped paint people's character even if that's not when (or even to whom) they happened.

A lot of fiction authors are drawing from real-life events. "Write what you know", we're advised, and so of course fiction authors are people who draw inspiration from events and experiences they've been there for.

We could dive into a whole philosophical treatise about what is fiction and what is nonfiction, but that's actually not my focus — I'd be happy to market it either way. Rubyfruit Jungle didn't lose any impact because it was positioned as a work of fiction.

Third major observation: the lit agent's instructions for querying had said to upload a query letter, the first ten pages, your "about the author" self-summary, word count, ever been repped by an agent before, have you ever been published, synopsis, one sentence pitch, descrip of potential audience, and a short list of comparable books. Most of those I have a limited ability to modify, especially given that I'm not a great author of short little "bumper sticker" summaries. But it says that "the writing didn't send me quite as much as I'd hoped" is after reading ten pages.

I have reached out to three different significant contacts to ask for recommendations for an editor. I want to consult someone who can help me shape it as a work of fiction. Especially the first 50 pages (the max that they tend to request shorter than the whole manuscript), the first 30 within that, the first 20, first 15, first 10. First 5, god help me, and lately a tiny handful of them only want to see the first 3.

I'm nervous about going up against fiction authors. This is their craft, and I just picked it up the best I could because I think I have stuff to tell. I just have to hope that I've told my own story really well.

And I'm off to get some help with that.


Those of you who write: do you spend a lot of time wondering how to position what you've written? What to call it?

Do you like selling it, the experience of marketing what you've written, however you go about it? I'm thinking more in terms of "do you feel utterly inept at it and have no sense of how to go about doing it", rather than "do you feel like you've prostituted your skillset and you feel exploited" but really however your thinking is on it, the experience of getting the publication world to opt in?


—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.

I have started querying my third book, Within the Box, and I'm still seeking advance readers for reviews and feedback. It is set in a psychiatric/rehab facility and is focused on self-determination and identity. Chronologically, it fits between the events in GenderQueer and those described in Guy in Women's Studies; unlike the other two, it is narrowly focused on events in a one-month timeframe and is more of a suspense thriller, although like the other two is also a nonfiction memoir. Contact me if you're interested.






Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on LiveJournal and WordPress. Please friend/link me from any of those environments on which you have an account.

————————


Index of all Blog Posts
ahunter3: (Default)
Blogging: A Self-Evaluation


communication, frustration, grandiosity, platform, literary agent, listening

I started blogging in earnest about 12 years ago, mostly because I kept running into the idea that all nonfiction authors have to have a "platform" if they want to snag a literary agent. By "platform" they mean a pre-existing audience already following what the author has to say whever it is that they say it.

But it was kind of contagious, this process of making these diaryesque entries, entries which rather quickly morphed into classroom lesson materials, with me playing Dr. Hunter, PhD in women's and gender studies, you know? I mean, that was the stuff I wanted to talk to the world about via the mechanism of my book, and presumably the lit agents not only want you to have a following, they want you to have a relevant following. Well, that was my thinking at the time at any rate. Besides, I wanted to put a lot of that stuff into words, to practice expressing it, to get it down. And ideally to reach out to people with it, share these concepts.

It turns out that people don't flock to a blog where they are lectured at, at least not unless they get a grade and some class credit for doing it. I had a handful of people originally, reading my blog posts, mostly other bloggers. But some of them drifted away from blogging and those who are still around have mostly stopped commenting and interacting.

Well, I'm also in a Facebook group someone set up, and the person who set it up keeps asking questions instead of providing lectures, and she gets much better interactive discussions going on.

I think it's been meaningful and appropriate that I've slowed my own blogging pace this last year. It's not that I'm giving up on this "communicate with other people" thing so much as thinking "this isn't working" and step enough back from what I've been doing to see what I'm doing wrong.

One thing I should try is asking questions. Creating space for the people who read what I've written to talk about what they think about various things.

I really am a self-immersed person, and here in this case I think it isn't so much that I haven't been caring what anyone else might think but that I somehow expected that me making a bunch of declarative expository intellectual content and flinging it out there was how you started a conversation. I thought people would talk back at me. But I didn't bother to invite anyone, just sort of assumed they'd show up!

I still have a lot to learn about this "communicate with other people" thing. I feel like I'm awful at it. Or I guess I'm reaching for a lot more than I'm able to grasp. Anyway, I've never been satisfied with how well I do it.


—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.

I am still querying my third book, Within the Box, and I'm still seeking readers for reviews and feedback. I think of it as a jam session at this point: sure I'd like to get it published, just like a musician wants to get their song recorded, but in the mean time the musician's still gonna want to play it for people. Same for me as an author! So come read what I've written! It is set in a psychiatric/rehab facility and is focused on self-determination and identity. Chronologically, it fits between the events in GenderQueer and those described in Guy in Women's Studies; unlike the other two, it is narrowly focused on events in a one-month timeframe and is more of a suspense thriller, although like the other two is also a nonfiction memoir. Contact me if you're interested.






Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on LiveJournal and WordPress. Please friend/link me from any of those environments on which you have an account.

————————


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ahunter3: (Default)
Coming to Terms With It


I don't have the power to make the things I say and write be important to you. To be relevant and capable of explaining a lot of things that you were concerned about.

I think that a lot of the things I say and write are important and powerfully explanatory, but for the most part I don't have what you could call a following. It's an interesting word, following. When I was a juvenile, it had a kind of stuffy "congregation of the church" official kind of vibe, but now I'm more likely to associate it with TikTok and FaceBook and YouTube, places where you get other people to follow you and listen to your videos or read your posts.

I am frustrated because of this. Obviously I want the experience of being regarded as important. Let's be upfront about that, I definitely have an ego invested in this. It would be fun and would feel really satisfying to wow people. Musicians have that, the desire to really affect an audience, to have so many people tuned into you. Oh, and incidentally I am a freaking musician and I think more people should be listening to my music because once again I think I'm better than the miniscule size of my audience ever gave testimony to.

So in terms of desire and me putting focus on it, I'm definitely craving the experience of feeling important and connected to a set of listeners.


Please treat all the preceding paragraphs as Item 1. The observed fact that I crave that kind of attention. You're invited to be cynical. Children do that, but we don't necessarily give them attention because we agree with them that their ideas and opinions and perspectives are important. We often regard it as immature, but cute and some of us regard it as selfish if it persists in adults where it is a lot less cute. So here's Flouncy Derek, getting all frustrated because he's not getting the attention he craves.

Back to me not having the power to make the things I say and write be important to you. Communication is a competitive market. I'm not doing well in that market. I don't seem to have the skillset. I don't think that should be terribly amazing to anyone, insofar as I've been trying to explain myself as a marginalized outsider person. I don't know how to do the communication-market magic stuff. It's not that I am cynical myself about the process of selling what one has to say — I could admire the trait of being good at it, and I can definitely envy it — but my frustration does have me wondering if there aren't better ways to share stuff that you really want other people to pay attention to. Making it available to them is easy; but how do you make them aware of its availability when they don't already know what it is you're selling?

Say a shorter version of it, they say. Give me a Synopsis. Explain everything in one page. Please summarize what it is that your book says in one sentence. Give me the bumper sticker version.

This limits what one can say. I just applied to enter a writing contest.

(Admittedly Cynical Reason: claim another award in the text of my query letter)

I see a contest where nonfiction is eligible and what you submit is a full 1st 50 pages. After so many contests where they want you to submit 500 words, a page, 275 words, 100 words, etc, this appeals as a chance to communicate more. But on page two of the application, they ask for a Synopsis, 100 words maximum.

The usual description of Synopsis is "boil down your book into a single page; include all spoilers", which is a horrendously reductionistic request, but to do a 100 page version utterly defeated me. I wrote


1982. Derek, nursing student, is kicked out of program, refused to pressure patients to take medications. Parents think he has drug/alcohol problem. Sell him on idea of fancy rehab and life-coach facility.

Derek's genderqueer (sissy femme), wants facility to make him better speaker.

They're pushy, tell him he's in denial. Other residents initially resent him for being disruptive.

They're slickly manipulative, he's stubborn, they treat his femininity as pathological, he tries to get something out of the program but they're headed for a collision.

Want real synopsis? I need more than 100 words, I don't do bumper stickers.



That's a hundred freaking words.

There has to be a better communications process. I have my author's group where people read from what they've written and give each other feedback. What I visualize is something hierarchical but not in the sense of bosses and employees or captains and lieutenants and sergeants, but instead a hierarchy of communication itself, with little groups that meet often being a part of somewhat larger groups that meet a bit less often and concepts that get a lot of endorsement or generate interesting conversations are more likely to be brought forward into the larger group. Or something like that. I mean, I have more specific ideas but if we were to do this, I'd need to listen to other people's ideas pretty early on.

Call the preceding paragraph Item 2, if you will. This notion of a communications funnel. Local smallgroup passing on that which communicates in a meaningful sense to the next larger group.


That notion, Item 2 (even if it's not how our markets are really structured) suggests that I should select topics and insights that aren't mine or, even if they are, precede the stuff I'm attempting to publish, and trace back to some point where it's easier to make sense to people.

Circling back to Item 1, the ego stuff, ...I really don't know if it's how people in the publishing industry thing of it, but to me, it's like a conversation, very awkwardly conducted:

Author: I have stuff to say

Market: Who can you sell it to?

Author: That's what I was going to ask you, dammit!


Back to my lack of skillset.

Then somehow I'm supposed to leverage my sense of connection to those people so as to find the people to whom I could say more without losing them or failing to make sense to them.

God I hate this. I hate this process. Flouncy Derek: You people are hard to make sense to, I have stuff to say, I'm not very good at what I set out to do, and I'm very frustrated!!



Item 3: Acceptance


I once said — as recounted in the very damn book I'm trying to sell — that I think the Serenity Prayer should be inverted, like so:


God, grant me the wisdom to know the difference between the things I cannot change and the things that I can, the courage to change the things I can change, and when all else fails, the serenity to accept the things I cannot change.


I'm 65. Retirement age.

I actually retired once already from pushing this specific gender agenda. This whole notion that I had something important to say. I put it down when I left college, grad school, 1992. Not toting a PhD. Not having made a mark in academia with my ideas. Then I picked it all back up in the mid-2000s, intially just thinking and processing and rereading the things I'd written.

So I picked it back up and (again) pushed and spoke and wrote. (And yeah, again got all full of self-worship for how exquisitely damn GOOD it was).

But once again it hasn't caught much fire.

I don't want to use "acceptance" as an excuse for not trying any more. But if I'm going to keep doing this, I need some protection from how utterly frustrating and demoralizing the experience is.


Oh, as long as we're on the topic, here's the shit I usually append to the bottom of my blog posts. What is there about self-marketing that I don't get? It's like shouting into a void.
—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.

I have started querying my third book, Within the Box, and I'm still seeking advance readers for reviews and feedback. It is set in a psychiatric/rehab facility and is focused on self-determination and identity. Chronologically, it fits between the events in GenderQueer and those described in Guy in Women's Studies; unlike the other two, it is narrowly focused on events in a one-month timeframe and is more of a suspense thriller, although like the other two is also a nonfiction memoir. Contact me if you're interested.






Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on LiveJournal and WordPress. Please friend/link me from any of those environments on which you have an account.

————————


Index of all Blog Posts
ahunter3: (Default)
I appeared as a guest lecturer at the Psychology of Gender course at SUNY College at Old Westbury on Monday, reading selections from my various books and articles and stitching them together with introductory bits.

I had a really good audience! Another Women's & Gender Studies course came as well so the room was well-packed. They were very quiet and attentive and asked good questions at the end.

Class was around 60 or 70 percent traditional-aged students (people in their 20s) and the rest ranged up to mid-50s. The older students were more inclined to ask questions at the end but it was nice to see the younger ones really listening, not scrolling their phones or staring off into space or fidgeting. I may not have a flair for promotion and publicity but once I can get my material in front of people, it resonates!

A very pleasant break from querying.


—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.

I have started querying my third book, Within the Box, and I'm still seeking advance readers for reviews and feedback. It is set in a psychiatric/rehab facility and is focused on self-determination and identity. Chronologically, it fits between the events in GenderQueer and those described in Guy in Women's Studies; unlike the other two, it is narrowly focused on events in a one-month timeframe and is more of a suspense thriller, although like the other two is also a nonfiction memoir. Contact me if you're interested.






Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on LiveJournal and WordPress. Please friend/link me from any of those environments on which you have an account.

————————


Index of all Blog Posts
ahunter3: (Default)
Image


—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.

I have started querying my third book, Within the Box, and I'm still seeking advance readers for reviews and feedback. It is set in a psychiatric/rehab facility and is focused on self-determination and identity. Chronologically, it fits between the events in GenderQueer and those described in Guy in Women's Studies; unlike the other two, it is narrowly focused on events in a one-month timeframe and is more of a suspense thriller, although like the other two is also a nonfiction memoir. Contact me if you're interested.






Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on LiveJournal and WordPress. Please friend/link me from any of those environments on which you have an account.

————————


Index of all Blog Posts
ahunter3: (Default)
When I came out 44 years ago, I set out to follow in the footsteps of the social change agents I admired. I had a real and personal cause. Not that I'd been looking for one, I'd mostly been drawn towards social justice movements to distract me from dwelling on my personal life dissatisfactions so much; it felt good to care about someone else, and to feel drawn in to a righteous commitment, you know?



I have obsessed a lot lately with the sense of not having made any impact despite 44 years of making the attempt. I do occasionally see that this isn't an entirely fair appraisal --

a) I may have been there in various times and places where I was supportive of someone else's self-investigations or where I was perceived as some kind of role model, and then someone *else* went on to make the social ripples I never made; and

b) There's a lot of aggregate accomplishment, of changing the overall zeitgeist of our society about gender, where the same forces that made it possible for me to develop my sense of identity drew strength from me and others like me and it made an environment where yet more people could come forth with variant identities

c) Certainly, having a vision of a differently configured society has been a great and wonderful shield, protecting and insulating me from internalizing and worrying about the views of the society I actually live in. And I have a powerful distrust of Missions where one sacrifices one's personal life and personal happiness for some Higher Cause that's all about bringing about a world that one never actually gets to.


How much of it is ego? Wanting the satisfaction of having an impact, of watching the ripples become waves? Certainly some of it and probably a lot. I like to sit at the piano and smash big powerful chords down loudly. I like to craft sentences and paragraphs that make ideas resonate with people. No doubt about it, and no room to pretend otherwise. I want to rock my world.

At least some of it is a sense of responsibility and even duty, though. I promised myself as a child that if I ever figure out why it's like this, why my presence seems to bring out the mean streak in other people and they mock me and express contempt instead of receiving me warmly, I would fix it, not just for me but for anyone else like me. Whether it's a misstep that I made in understanding life and people or something that the rest of the people have gotten wrong about or whatever, that it has to be fixed.

And that's the part that is reluctant to let me rest and keeps prodding me to try to Do Something, to figure out a new and different approach that might finally work.


—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.

I have started querying my third book, Within the Box, and I'm still seeking advance readers for reviews and feedback. It is set in a psychiatric/rehab facility and is focused on self-determination and identity. Chronologically, it fits between the events in GenderQueer and those described in Guy in Women's Studies; unlike the other two, it is narrowly focused on events in a one-month timeframe and is more of a suspense thriller, although like the other two is also a nonfiction memoir. Contact me if you're interested.






Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on LiveJournal and WordPress. Please friend/link me from any of those environments on which you have an account.

————————


Index of all Blog Posts
ahunter3: (Default)
Back when I was hawking my first book, GenderQueer (at that time with working title The Story of Q), I decided after a long run of querying it as a memoir with no serious nibbles to try selling it as a work of fiction. "Consider Rubyfruit Jungle", I'd say to people. "It's categorized as fiction but it's pretty clearly Rita Mae Brown's own story. Or my colleague Noretta Koertge's book Who Was that Masked Woman?, featuring a main character named Tretona Getroek -- pretty obviously herself. So why not?"

So I'm again at that stage. Within the Box is a well-written entertaining tale (I have sufficient feedback to feel confident saying so). But nary a single lit agent has expressed interest.

Here are the pro and con arguments for repositioning it as a work of fiction:

IN FAVOR: Most lit agencies and agents divide the lit world up into fiction and nonfiction, and memoirs fall into the latter. And nonfiction authors are constantly being told "you need to have a platform, an already-existing audience of people who pay attention to what you say in your field". Which makes a certain amount of sense if your nonfiction piece is about climate change, or the boom and bust cycles of the stock market, or the extensive searches for remnant populations of ivory-billed woodpeckers and thylacines and other presumed-extinct animals.

And I suppose it also makes sense if your nonfiction offering is a memoir about your experience as an already-known public figure. Where that's going to be one of its selling points, that it's about a person that folks have heard of in the news or whatever.

But Within the Box is only incidentally a true story. Nobody has heard of me and hence nobody is going to buy my book because of who I am, but it's an engrossing suspense tale.

Lots of fiction authors write engrossing suspense tales and they aren't instructed to describe their platform of reputation and expertise that makes them qualified to write what they wrote.


AGAINST: I always figured a strong selling point of one's actual story is that it is, in fact, someone's actual story, that it actually happened. And I'd be tossing that away in order to market the book as fiction.

My companion-partner mentioned that if I query it as fiction, I run the risk of some lit agent wanting to change parts of the plot, insert an element into the storyline that didn't really happen or change the personality and behavior of myself as main character. Which I suppose is true, but it's not like I'm forced to go along with that.

The truth is, I have no freaking idea what makes my book more likely to appeal to these folks. I've done my reading and I've participated in message boards for authors and I'm still in the dark.

But since I can keep querying it as nonfiction while also querying it as fiction to other lit agents, I see no downside to having a go at it.


Current querying stats:

TOTAL queries to lit agents: 307
Rejections: 250
Outstanding: 56


—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.

I have started querying my third book, Within the Box, and I'm still seeking advance readers for reviews and feedback. It is set in a psychiatric/rehab facility and is focused on self-determination and identity. Chronologically, it fits between the events in GenderQueer and those described in Guy in Women's Studies; unlike the other two, it is narrowly focused on events in a one-month timeframe and is more of a suspense thriller, although like the other two is also a nonfiction memoir. Contact me if you're interested.






Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on LiveJournal and WordPress. Please friend/link me from any of those environments on which you have an account.

————————


Index of all Blog Posts

Acquiring

Jul. 29th, 2024 02:01 am
ahunter3: (Default)
As a child I thought it a good thing that there should be a system. Like patriotism but nonspecific, just the general notion that there was an ideal way to do things and we were those who had sought it and acquired it. Or were in the process of acquiring it.

Always in the process. Always there in the process, acquiring it. Not a state of being there having acquired it. The act of becoming.
ahunter3: (Default)
Having that configuration of parts. Not for having decided to, just that you were born with them. A Privileged and yet involuntary situation, if you see what I mean. Gender is some nasty stuff.


Expressing it. Calling it something.

Realizing
ahunter3: (Default)
It's that time of evening when I open the email mailbox that's dedicated to querying, so I can mark a handful of lit agents as "Rejected" and the date I received the rejection.

I open the first one and the agent likes my query and wants to see the full manuscript!

This happened a couple times with my first book, GenderQueer, although it never resulted in being offered a contract.

But this is the first time it's happened for Within the Box.


—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.

I have started querying my third book, Within the Box, and I'm still seeking advance readers for reviews and feedback. It is set in a psychiatric/rehab facility and is focused on self-determination and identity. Chronologically, it fits between the events in GenderQueer and those described in Guy in Women's Studies; unlike the other two, it is narrowly focused on events in a one-month timeframe and is more of a suspense thriller, although like the other two is also a nonfiction memoir. Contact me if you're interested.






Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on LiveJournal and WordPress. Please friend/link me from any of those environments on which you have an account.

————————


Index of all Blog Posts
ahunter3: (Default)
I've overhauled my nonfiction proposal somewhat -- mostly on my own, but I did finally, belatedly, receive comments from the nonfiction author's association, courtesy of lit agent Jennifer Chen Tran. Most of these were highlighter boxes around individual words and phrases with suggested changes, and I mostly didn't understand why the suggested versions were better than the original wording.

As with query letters and the entire querying process, it all comes across to me as paradoxical: "Please submit your description of your book in a format that exactly meets our expectations of how an author who writes successful books in today's market would do it, but we're not going to specify what our expectations are. Emphasize how your book is different from what's already out there, but show us how it fits conveniently into an existing niche in the established market. Be original. Don't try to hand us anything we don't already know how to market to publishers. Please take time to write us a personal query that shows you bothered to familiarize yourself with our interests and track record, and why you picked us as a literary agency, but also be aware that we look at hundreds of these things very rapidly and reject nearly every one of them, so strip it down to just the facts, ma'am."

I do not think I would enjoy being a literary agent. Maybe I'm wrong about that but it looks utterly dismal from the outside. I like finding a fascinating book that takes me somewhere unexpected, and it's no more likely to have been written in the last couple years than to have been written twenty or thirty years ago. I think I'd hate to have to plow through a gigantic slush pile of query letters and proposals and first three chapter excerpts, looking not merely for a gem that hits my sweet spot as a reader but also one that I can get some market-driven publisher to consider.

You familiar with Stephen King's book Misery? Where the main character is an author being held hostage by a demented fan of his own book series' main character, and she keeps him prisoner until he writes a sequel that she likes? Well, maybe there's a market for a horror tale in which a frustrated unpublished author kidnaps a literary agent and ties them to a chair and makes them read their manuscript...

ANYWAY, as of today, Within the Box now has been the subject of 265 query letters, of which 228 have resulted in rejections or 3-month timeouts. The remaining 37 are still outstanding and could theoretically result in some type of positive response. Nary a single nibble yet, not a request for additional chapters or a full or anything else.

For the sake of comparison, for my first book GenderQueer I sent forth 1474 query letters to lit agents before I switched to querying small independent presses and hybrid publishers instead. I did get some interested responses, although never got offered a lit agency contract.


For all the subscribers and fans and regular readers of my blog who wonder why my blogging pace has dropped off from the once-a-week schedule I maintained until around October of last year, I apologize. And to both of you, I should explain that I started this blog because of all the advice telling me that an author trying to get published, especially a nonfiction author, really needs a platform. Meaning a base of already-attentive audience members who would be likely to go out and purchase a book by that author if one were to be published. But I think I only have a certain threshold tolerance for how much I can write and push out into the world and watch it not being seen and read. And right now I'm querying and it is soul-destroying enough without also writing blog posts that nobody reads.

I left Twitter nearly a year ago, never was on TikTok or Instagram or any of those other social-media critters, and I'm increasingly tempted to leave Facebook. I just don't find the short-attention-span popup-notification world to overlap much with what I regard as communication.


—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.

I have started querying my third book, Within the Box, and I'm still seeking advance readers for reviews and feedback. It is set in a psychiatric/rehab facility and is focused on self-determination and identity. Chronologically, it fits between the events in GenderQueer and those described in Guy in Women's Studies; unlike the other two, it is narrowly focused on events in a one-month timeframe and is more of a suspense thriller, although like the other two is also a nonfiction memoir. Contact me if you're interested.






Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on LiveJournal and WordPress. Please friend/link me from any of those environments on which you have an account.

————————


Index of all Blog Posts
ahunter3: (Default)
You ever notice how large a percent of the social argument is about whether to treat your difference -- the factor setting you apart from the conventional assumptions -- as a verb or as a noun?

I have noun hunger; I wish the way I am to be understood as a thing and not a behavior, an identity not a way that I am acting. I don't want to be an adjective or an adverb, a How You Are rather than a Who You Are.

I know enough to be cautious about seeking to be seen as innately different, though. I'm also a psychiatric survivor, a person who's been a resident of a place with bars on the windows and locks on the doors and they take away your shoelaces and your belt. They treated us as innately different. "Ruined useless brain-damaged crazy people, that's Who They Are." So it works both ways.

In my opinion, we of the sexual/gender identity variant sort have done a good job of setting forth how we want to be perceived, claiming the noun, I am this different kind of self. This isn't the entirety of who I am, but it's good shorthand starting point.

I get some pushback sometimes. Good. It's nice talking to the ones who agree with me but if you want to change the world you live in you've got to communicate with the ones who don't. I mean, it's why we push.

So I propose more testimonial personal descriptions of why marginalized people want the noun treatment. The difference in how it feels. Why shouldn't we be entitled to not having our selves painted as a behavior and, since we're variant, a misbehavior? That's the whole point, I'm not being different on purpose, I'm being me; maybe it happens to be different from you being you, however plural you may be and however singular and nonbelonging I am.

I'm not saying nobody ever gets to judge me, I'm accountable for myself. But "different" isn't wrong and you don't get to treat it as wrong.

—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.

I have started querying my third book, Within the Box, and I'm still seeking advance readers for reviews and feedback. It is set in a psychiatric/rehab facility and is focused on self-determination and identity. Chronologically, it fits between the events in GenderQueer and those described in Guy in Women's Studies; unlike the other two, it is narrowly focused on events in a one-month timeframe and is more of a suspense thriller, although like the other two is also a nonfiction memoir. Contact me if you're interested.






Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on LiveJournal and WordPress. Please friend/link me from any of those environments on which you have an account.

————————


Index of all Blog Posts
ahunter3: (Default)
I haven't been blogging very regularly in recent months. I suppose some of that is maudlin discouragement. Thinking nobody reads what I post anyway, or that my posts have no impact in the world.

But the mood doesn't come from out of nowhere. I'm trying to query. And I'm trying to research each literary agent and give at least a superficial reason for why I'm querying that specific lit agent when I send out my queries. That may not seem like much investment, but it's taking a toll. It makes me care that much more, because I'm writing to someone I actually have a sense of, and I can't help developing a hope that this one will actually want to represent my book. And so far, nobody does.


What else? Well, I signed up for a proposal course, a course in how to write your nonfiction proposal. So far I'm very very unimpressed. It's broken into three segments of 1 hour each, on consecutive Thursdays. So far, all of it is geared towards people who are experts in their field writing nonfiction guides or prescriptive recommendations. Which does, admittedly, cover a lot of nonfiction offerings. But my primary reason for taking the course was that as a memoir author I find it really hard to shoehorn what's closer to being a fiction suspense tale into a format designed for experts in their field giving advice.

I've said it's as if you'd written a politcal polemic about social justice and to get it published you have to format it as a legal brief to the court, obeying all the structural injunctions about what statutes you need to reference and what precedents you need to cite.

Anyway, the second session was entirely devoted to having a platform. Because, generally speaking, nonfiction authors need a platform, i.e., a bunch of people already tuning in to what you might have to say on your subject.

I'm familiar with the notion that as a nonfiction author I ought to have a freaking PLATFORM. That's why I have a goddam Facebook account. That's why I blog. It isn't working. I don't have a following. Telling me I need to have a platform, that I need to develop a following, isn't helpful right now. It's just depressing and frustrating.

What I want is help developing the best nonfiction proposal I can, given the platform, such as it is, that I do have. And the overview, and the review by chapters, and all the other shit that proposals involve.

I have one more session upcoming. We're supposedly going to get individual feedback on the proposals we have, and I'm going to be pushy about getting such feedback on mine. Otherwise, a complete waste of money and time.

—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.

I have started querying my third book, Within the Box, and I'm still seeking advance readers for reviews and feedback. It is set in a psychiatric/rehab facility and is focused on self-determination and identity. Chronologically, it fits between the events in GenderQueer and those described in Guy in Women's Studies; unlike the other two, it is narrowly focused on events in a one-month timeframe and is more of a suspense thriller, although like the other two is also a nonfiction memoir. Contact me if you're interested.






Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on LiveJournal and WordPress. Please friend/link me from any of those environments on which you have an account.

————————


Index of all Blog Posts

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