In May 2012 I went back to school because at 90+ credit
hours, it was kind of dumb not to finish. I switched my major from Respiratory
Care at Texas State University to English with an emphasis on Creative Writing
from the University of Missouri. I changed schools because we moved, and I
changed majors because I’m terrible at math (absolute truths proven by
inviolable laws) and pretty good at literature (saying pretty much anything you
want in a way that sounds plausible). At the time my wife and I were expecting
our first child. I had written about three chapters of a middle grade
children’s novel, but I didn’t know if it was any good. We were new in town,
and didn’t have any real friends though we did have acquaintances that showed
some promise. I didn’t know about Aldi, Hot Box Cookies, or where exactly the
Hinkson joined with the Katy Trail. I learned some things.
I learned about annotated bibliographies and the precise
amount of pucker needed to properly kiss professorial bohonkus. I learned a
little about how to use a research engine, a lot about Chaucer, and that most
instructors are so tired of reading the same thing in every paper, they are
typically appreciative of a little self-aware sass. I learned how much time it
takes to get to any given section of campus on foot; walking, running, or flat
out sprinting. I learned about the Stith-Thompson motif index, in text
citation, and the sensitivity of liberal arts professors concerning the value
of what they teach. I learned that clever prose and flowing style will only get
you so far, but it’s usually far enough. I learned that literary types love Tobias Wolff’s “Bullet in the
Brain” because, they claim, it is an excellent example of time suspension as
literary device. This time suspension just happens to occur while a bullet
pierces a literary critic’s skull and painstakingly shreds through his dura
mater. On a completely unrelated note, I have learned that plot oriented wish
fulfillment is a cheap way to manufacture interest and is in fact frowned upon.
Speaking of that, I learned a ton about writing.
The majority of what was said in my fiction classes
regarding craft made so much sense, and I was gratified to go through my
previous work and find I did a lot of things right. Then again, I did a lot of
things wrong. The workshop can be a terrifying and embarrassing time for
inexperienced writers as they are systematically disabused of the illusions
they, and perhaps their friends and family, have engendered about their writing
ability. I have been concerned about this from the beginning, especially after
I read the work that others put forward. Some were ok, some were pretty bad,
only two in my first class had what I considered to be potential, though I take
issue with a lot of the stuff that is published so I apparently don’t know
anything about good literature. I was typically one of the last to go, but my
work was always well received. I had kind instructors who never shamed a
student for their work, even if it was objectively terrible. Still, I tried to
read my instructors and figure out which stories and authors they liked, and I believe I
was always one of those. I learned many things about writing, both craft and
theory, but perhaps the most valuable thing I picked up in my entire college
experience at Mizzou was confidence. Every creative writing instructor I had
encouraged me to pursue publishing. One English/Anthropologist professor asked
to use my paper as an example for future students to emulate. A folklorist
suggested I submit my final paper to a contest. A religious studies TA tried to
talk me into grad school based on my essays. A medievalist did both. Of course
I’m not going to grad school. I’m out of money, I have no desire to be a
permanent academician, my wife would kill me and my kids would continue to
wonder where I was. Basically no one at this address wants me to do any more
school.
Now what?
I have no idea. After spending a lot of time reading, researching
and thinking, I’ve decided literary success is a combination of skill,
marketability and luck. Any book sold has at least a little of each, and if you
want to sell enough books to make a living, you’d better have a lot of at least
two. I’m doing my best with skill and marketability, both of which have dozens
of layers and nuance and are tough to nail down. Public tastes are always in flux, and
currently the book market is also in turmoil. Then remember that I haven’t
finished any novels ever, which might be a problem. It’s safe to say that the
odds of being able to make a living writing fiction is roughly equivalent to
successfully training a duck to operate heavy equipment. That is to say, it’s
probably possible, but I would have to devote a lot of time to it and success
is no guarantee. Maybe I will get a real job, maybe I will stay being a full
time dad. Whatever options present, however, I will write. It’s just what I do.