The Tammy Story- go for it?

[thehefner]

Mom seriously thinks I should just submit the Tammy story (that is to say, parts one, two, three, four, five, and six) as one single work. By which I mean, NOT as part of a larger, much bigger Hefner Monologues book as I currently have it planned.

She and Gordon (Gordon amazingly, the man whose highest compliment comes in the form of "Mwell, not bad") have said that Tammy is a "magical" character. She is utterly enthralling, a marvelous person to read about, and whether it's the person or how I write about her (both, I suppose), the end result is a person who, for all her very human faults... is "magical." Mom and Gordon are afraid that if this is just a story that's going to be followed by the much bigger stories of my father, of Dave, of Misty, that Tammy's going to be overwhelmed and drowned out. And I think they're absolutely right.

I've run it by Kevin, Katie, and Bloo, all of whom agree that the Tammy Hefner Monologue could work as a single story. Now to my mind, I don't entirely know how it reads on its own (as a whole from all the parts I posted above). I was writing the entire book with the overreaching theme not to tell the stories, but to explore why I tell these stories, you see? So the Tammy story, to me, feels like... like it doesn't "accomplish" much. I worry that as it stands, it's just more like an anecdote. What do you guys think?

Another problem is that it's too short to be a book. A novella, probably. But not a book, and I haven't really idea idea how to flesh it out or what I could add. Still, Mom thinks I should submit it to the agency that turned down my detective novel. I have to say, I really think my literary livelihood rests in the Hefner Monologues. Should I go for it, even as it stands now?

And if it does go through, particularly as one main "Tammy" volume, I am definitely gonna need to get in touch with her to get written permission to use her real first name. I mean, ok, I'll have to change several names as it stands, without question, but I think it's really important that Tammy be Tammy. I mean, it's the same deal with Misty, what other name could possibly suit either of them so perfectly? Dad thinks Tammy would be embarrassed by the story and urges me to change the name, while Mom and I both think she'd really like it, perhaps even be touched. I found out that she has a myspace page, so if I have to I can always end up going there, but I'd rather avoid that if I can help it. I'm fairly certain she wants to keep me as a sentimental memory, and she's still capable of giving me heartburn at times, so I think we both would rather keep any further contact between us to a minimum.

But all that is a worry I should address until after I've come up with a great, sellable final product. Which may be what I, more or less, already have.

Any thoughts, ideas, or suggestions?

Comments

[fishymcb.livejournal.com]

Well, you already know my thoughts. I will go on the record as saying it again - go for it. As far as using her name, I would cross that bridge when you come to it. You don't need to do it today. Although honestly, I'd never underestimate the thin skin people can have, and I would lean toward agreeing with Gordon. If it were me, I'd probably just change the name and avoid the whole can of worms.

[whimmydiddle.livejournal.com]

I think you are limiting yourself by thinking only in terms of books. Journals & magazines are a great way to break into the field & establish a reputation with shorter pieces. One of my favorite writers is Jeanne Marie Laskas, who writes personal stories as you do, and she made her way from magazines to books in this way. I think John Irving (whom I idolize) went that route with his early shorter pieces too. And then later in your career once you get sufficiently well-known, those short pieces get collected into a book.

My impression is that it seems a little easier to get your stuff in print by starting small in this way. The Tammy piece could be serialized, but you might want to push some pieces smaller than that & prove your worth before asking a publisher to make that kind of commitment.

There may even be online journals that would be appropriate. Doesn't Salon.com publish that sort of thing?

[bimmin.livejournal.com]

So, in a moment of Herbert West like enthusiasm I have put your pieces together in one massive MS Word piece to see how it works. If I catch you later I'll bombard you with my thoughts.

BOMBARDMENT!!!

[tompurdue.livejournal.com]

Salon doesn't really do fiction.

[sharrainchains.livejournal.com]

I think the stories are wonderful, but I think they would be just as wonderful to people who don't know you both if Tammy were "Pammy," "Cammy," "Lisa," or basically anything-but-Akira. The same for Misty, who could be Brandy, Candy, Mandy, or anything-but-Keiko.

I am glad that more people will be able to read them, and I wish you the best of luck in finding the right forum for publishing them.

[fishymcb.livejournal.com]

I also recommend that you don't re-christen her "Mate Mernstein". Just sayin'.

[chickenhat.livejournal.com]

And reality is stranger than fiction... that's the thing that's nigh freaky, the Hefner Monologues are autobiographical truth.

[tompurdue.livejournal.com]

Whoops, that's right: it is non-fiction. But it's personal writing, rather than political, and they aim mostly at political writing. When they venture out of politics it's usually into advice-column territory.

Sorry, Hef, if I insulted you by lumping it in with "fiction"; I was there and I know that these are as real as pententiary steel.

[thehefner.livejournal.com]

What concerns me is the length. It's too long for any sort of literary magazine I've ever seen (which is sorta to say, the kind that people actually read). Now, I could edit out, say, part 2 and re-work stuff of part 1 into the major bulk heart of the story (parts 4-6), but even still, I fear the length would be too much for, say, the New Yorker or the Atlantic Monthly.

Yeah, I think if I could make each of these stories stand alone and sellable, that might be the route to go. I'm just concerned about length, because let's face it, I'm a long-winded bastard.

But I gotta say, just as I did to those who suggested I save printing cash by doing the Bub and Johnny comic book as an internet comic... I just really want something that I can hold in my hands and call my own, an actual book. Well, I suppose I'm gonna have to work up to that.

[thehefner.livejournal.com]

Ok, fair enough. It just makes me uncomfortable. I'd hate to be doing a performance or reading of this and have this other name come out of my mouth when it's the other that is so completely tied to the sincereity of the story. I dunno how to explain it.

... Trixie, maybe.

[thehefner.livejournal.com]

Pff, no sweat. That's a great poetic imagine too, I rather like that.

And yeah, from what little I know about Salon.com, I'm not sure my stuff is right for them. If the story weren't so frickin' long, I'd shoot for the New Yorker.

[thehefner.livejournal.com]

Good advice. So I guess I should also discount Mammy Maistrick and not do Misty Mristensen.

... wait...

[fishymcb.livejournal.com]

See, I used to substitute "F"s for people's names. But you may want to steer away from Fisty Fristensen, too.

[thehefner.livejournal.com]

Why? It's a good biblical name.

[fishymcb.livejournal.com]

Hey, it's your funeral. Hmmm...Fammy Faistrick...that's kinda exotic. Almost like "Famke".

[interdisciple.livejournal.com]

have you considered any MFA programs in creative writing?

[2sick2pray.livejournal.com]

you could submit it to that site that published Yancy's eye surgery story. i forget what it's called now, though...

[thehefner.livejournal.com]

Y'know, I've learned that I kinda hate writing classes and other writers in general. I can get along with pretentious actors, but the pretentions of the writing world really pisses me off, and it doesn't help that what I write is so rarely what they want me to write (in every writing class, I have a good 1/4 who really, really love what I did, proving to me that I am destined to have cult status hopefully).

So I've since decided that I can improve my own writing just by reading more books and writing more frequently. I'm going to focus my education on acting, because that is definitely something I need professionals to train me.

That was a long-winded way to say "no," but there you are.

[bimmin.livejournal.com]

Today's entry is a response to this post. Check it out. *^_^*

[interdisciple.livejournal.com]

I'm with you on supporting your desire to not lose yourself to the demands of others. I do think, however, that pretention has its benefits. Pretentiousness isn't the benefit in and of itself, obviously, b/c it comes from a place of arrogant, intolerant, and cynical self-importance, but often times, there's a wisdom behind that self-importance that, were the self to back off of its nastiness, could actually be communicated in a useful and constructive way. The reason the other 3/4 of the audience matters is that you seek somewhat mainstream outlets for publication. Unless you self-publish or go seriously underground, your cult style will have to inevitably be subjected to the (market) demands of the other 3/4 of the audiences to whome you'd equally have to appeal. Again, you could shrug them all off and go indy, but I'm sure you're well aware of the pros and cons there.

Also, I don't buy the idea that reading and writing alone can help you get sufficiently trained any more than watching actors on TV, in theatre and in the movies and practicing acting on one's own can sufficiently train an actor.

In any case, keep all of the above up. Just consider that training in every realm--especially by a skilled AND caring trainer--will be paramount to artistic growth.

[thehefner.livejournal.com]

If there were classes that were open to my style and tastes (more genre writing that's inspired by a lifetime of movie-watching, comic reading, and oral storytelling), rest assured man, I'd go there. But the average literary mindset is more interesting in hearing observations that I don't make. These are not the people who should be training me, people who tolerate my writing but not connect with it, you know?

If I could find classes or programs run by more geeky people rather than tweed-coat-wearing snobs of "high literature," I think I would benefit far more. As it stands, I get some technical help, sure, but not enough to justify me spending the time, energy, and money in a class like that.

It actually *is* a very common school of thought among writers to improve my constant reading and writing. In fact, I think it's almost universal, isn't it?

[interdisciple.livejournal.com]

You might want to listen to the following David Foster Wallace interview, where he addresses the pretention of fiction writers who write off popular culture as a somehow lesser art form: http://www.theconnection.org/shows/2004/06/20040625_b_main.asp

DFW has done great work, both fiction and non, on why and how pop culture is a mainstay, an undeniable and critical part of our environment... in much the same way that an automobile was an inseperable and non-corrosive part of the Great Gatsby or On the Road. Refuting traditional MFA profs of yesteryear who think today's hipsters' referencing of mass media and televisual culture is somehow gimmicky, he rejects with incredible deftness and insouciance--the sheer raw force of his ideas paired with a mastery of writing that probably trumps his most esteemed mentors--the notion that Alf, Captain America, and Homer Simpson are any more dating (ie, less timeless), any less a part of our genuine environment, than the factory, the automobile, or anything that isn't simply two people speaking in an empty space (what such purity of environment can be found these days?!? and what are the implications of holding onto such falsities when fiction and writing is at least in part supposed to comment on our condition???)...

I can't recommend any writer more highly than I recommend David Foster Wallace. Seriously. What I wouldn't do to train under his tutelage.

[interdisciple.livejournal.com]

also, i'm definitely not saying that reading and writing won't help you improve. that'd be absurd to say or think. but, it also won't provide the direct and hands-on training that can take that raw skill to the next level in the way that the right (not necessarily the "average") mfa workshop can.

and just in case you ever change your mind, never pay for an mfa program. if they don't take you with a grant or fellowship or assistantship of some sort, it's definitely not worth the investment.

and finally, never go to a course just to get editing help. it helps to have your stuff not in need of much edit, if you're serious about wanting to be able to get published... but that's what editors are for, and considering an mfa simply to get your editorial ducks in a row would be cRaZyTaLk.

[thehefner.livejournal.com]

Wow, this guy sounds totally up my alley! Thanks for the heads-up!

[thehefner.livejournal.com]

Well, I certainly can't argue with that. I just wish I could find a teacher or a mentor like, say, David Foster Wallace. He sounds incredibly awesome. Hell, I'd totally fit better in with half the contributors to This America Life than I would most other folk in the literary world.

Still, I'm gonna focus my mfa, if and when I get to that, on drama. Becaue I seriously need more training there. All that above is great advice, I'll definitely be keeping all that in mind should the time come.

[interdisciple.livejournal.com]

anytime...

[interdisciple.livejournal.com]

i just want to live vicariously through you, as it seems my creative-writing-mfa door has been shut for now. you never know what the future holds, though...

best of luck in all your pursuits.