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Well, I've finished rewriting it from scratch from the ground up at any rate. It's still a rough draft, and at the same time I didn't just compose it, either.


It existed previously. The raw material text for both GenderQueer and for That Guy in our Women's Studies Class was generated as part of my autobiographical tome that I wrote between 2010 and 2013. I extracted and edited and named That Guy in our Women's Studies Class as long ago as 2014. I even sent out some query letters!

But honestly it just wasn't a very good book. Whereas I would proofread and edit GenderQueer with pride, Guy in WS kept making me wince. And at some point I recognized that it belonged in a trunk, perhaps to be revised and redone at some future point, and I focused on getting GenderQueer published.

I came back to it in May of 2019. At the time, I was mired down in my efforts with the main book, and I needed a project, something to give me a sense of progress and accomplishment.

In my writer's group, Amateur Writers of Long Island, I quit bringing in excerpts from GenderQueer, which I considered to be a finished book, and began bringing in my work in progress, Guy in WS, the way the other authors were doing, so that I'd get feedback on what I was currently focusing on as a writer.

GenderQueer was accepted for publication in September and for a lot of the following four months I was pretty narrowly focused on that. But during the Coronavirus era, with my book out but no prospect for addressing audiences as a guest speaker, I dove back into it.


That Guy in Our Women's Studies Class (second beta version)

95,000 words in three large units. Chapter divisions to be created later. A mostly autobiographical account of my years in college trying to utilize women's studies as a means to speak and write about my different gender / experience with society's notions about what it means to be male / being a sissy, etc.

It's not quite as absolutely nonfictional as GenderQueer is. In broad strokes, it is, but I took more liberties with moving conversations and discussions into contexts where they made a more interesting story line. Where GenderQueer is about 98 % truth (or as much so as I'm capable of remembering it), Guy in WS is around 85 %.

If you have any interest in being a beta reader of what is still really a work in progress, shoot me a personal message or email and let me know.


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You're secluded in quarantine, and all the performances and events have been cancelled, so it's a good time to read a book!

My book, GenderQueer: A Story From a Different Closet, has been published by Sunstone Press. It is available on Amazon and 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

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ahunter3: (Default)
I was so painfully self-conscious.

In the book I’m working on, I’m writing about dropping in at Identity House, circa 1986. So I’m conjuring up the memories. Coming up the stairs and opening the doors and then being afraid to make eye contact with anyone.


“Hey there, welcome”, said a thirty-esque guy with wire-frame glasses.
“Hi”, I nodded back at him. I broke eye contact and glanced around. A woman with spiky styled blue-tipped hair and wearing snug dark blue jeans was sitting on the arm of a couch, watching a red-haired girl stapling paper to a large green sheet of construction paper. A black guy with large oval earrings was singing softly along with his radio over in the other direction.

I felt awkward, as I often did in gay and lesbian environments. Didn’t want to display overt interest in the attractive girl; lesbians presumably don’t come to gay and lesbian centers to be stared at by guys. Didn’t want to focus attention on any of the guys, lest they get the wrong idea. Stupid social clumsiness. Like they’re going to think anything faintly approaching friendliness from me is an act of sexual aggression. Yeesh.


Do you want to know where that came from, that overwhelming fear of being perceived as person with [gasp!] sexual lusts and interests and appetite? Here’s what that has to do with being a sissy –

Let’s start with the boys. As a sissy I was periodically accused of harboring sexual interest towards my male classmates and other acquaintances. I’m using the word “accused” advisedly – the notion that I had any such feelings was addressed with significant hostility, contempt, outright hatred. If I had indeed felt such feelings, these attitudes would have made it difficult for me to feel comfortable with my identity and my nature, and I would have had to wrestle with that, I think. In my case, I didn’t; if I had ever been inclined to find males sexually attractive, any such signal was rapidly drowned in the noise of being accused of it, mocked for it, having my face rubbed in it, so to speak. After a few years of that, I was less likely to be friendly, to be curious or interested, to expect to be included or welcomed. Standoffish and snobbish elicited their own forms of the same basic hostility, so I was trained to a mild and non-judgmental presence, neither recoiling from them nor paying any attention aside from getting out of their way.

Well, that left the girls. Here’s the situation with the girls: they made observations about unwanted and intrusive sexual attention from boys, observations that were the precursors of #metoo, that lots of boys were sexually creepy, with “hands problem”, selfishly pushy about sex. And also that, within relationships or on dates, boys would press for sexual activity, not caring about the girl as a person, and what self-respecting girl would want to get close to that? I, as a self-respecting sissy, most assuredly didn’t want the girls thinking of me that way. I wanted the girls to respect me as they respected themselves. Oh, I wanted sex, all right, no question about that, but I wanted it to mean something. I wanted a girlfriend. I wasn’t opposed to the idea of casual sex, but if it was going to be casual sex it had to be mutual, and it had to take place in such a way that both of us felt OK about our participation, and not like we’d been throw down into the sewer.


I go through life walking on eggshells terrified that someone’s going to think I’m sexually interested in them. That’s part of my experience as a sissy male, that people react to the possibility of me being interested in them with disgust and irritation.


In an LGBTQ context, like Identity House, you might think it would be easier, right? But although I was for once not in a context where males having sexual interest in other males would be stigmatized as something disgusting, I was walking into that situation with a lot of unease and lack of general comfort about people thinking I had sexual interest in them. I was afraid the boys, if they misread me and got the wrong idea, would later think I was being judgmental or prudish or rude; I didn’t have a well-developed repertoire for turning aside sexually interested people gracefully. Then there were the girls, of course. It was easier, to be in a situation where they’d be less likely to assume any guy they encounter was likely to be on the verge of expressing unwanted sexual interest. But on the other hand, most of them would be lesbians and I was afraid that it might be especially annoying to a lesbian to encounter some guy in a place like Identity House and pick up on him being attracted, because presumably she isn’t hanging out at gay and lesbian centers in order to be stared at or focused upon by males.


This was the situation in which I found myself as a young adult. It was very much an empowering insight to rethink that situation, for the first time, by comparing it to that of women my age. They were widely considered (and expected) to be, to varying degrees, wary and cautious about expressing their sexual interests and appetites. It was socially understood that even when they did, in fact, feel sexual interest towards a person, they might have ambivalent attitudes and feelings about acting on it, including the act of letting that interest be known and perceived. (Admittedly, they seemed to do a far better job of coping with unwanted attentions, but perhaps that came with practice)

Here was a model for accepting this kind of hesitant and uncertain sexuality without regarding it as pathetic, damaged, unhealthy. In fact, being aware of one’s own complex feelings about sexuality was often portrayed as a sign of a good healthy respect for one’s self, in contrast to which enthusiastically availing one’s self of sexual experiences whenever the opportunity held some degree of appetizing attraction was seen as a possible sign of lacking sufficient standards or appropriate boundaries. In my case, it was liberating to be able to view myself as a non-pathological sexual creature, ambivalences and wariness about my own sexual interests included. Maybe it wasn’t a very practical way to be in the world if one were male, but when I considered it this way, it looked like I would be not so far outside the normal if I had been female. Or if I considered myself to be the same kind of person that they were.

And it meshed with the rest of how I saw myself. It immediately fit. I’d always emulated the girls, admired them, measured myself against them as my role models.

I stopped feeling ashamed and stopped worrying that I was sexually broken, some kind of basket case. I liked who I was and now that could see my sexual nature from this vantage point, I liked my sexuality as it was. And I realized I wasn’t going to find a suitable expression of it within any of the behavioral models offered to men. If I were going to make it work, I would do so by looking at how women, the people who were most like me, had made a successful go of it.

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ahunter3: (Default)
I'm still plugging away on the second book to be extracted from my autobiographical tome. This is a complete rewrite; the original text of the autobio is not directly usable, unlike the portion I used for the first book, so I just reference it for notes and reminders. With the scene that I wrote yesterday, I'm up to 96 pages, which should come out to be roughly a third of the final manuscript.

I'm a participant in an author's group where we bring up to 1800 words' worth of our work-in-progress and read it out loud to get feedback. That's helping immensely, not just for the direct advice but for the overall sense of connecting to an audience and hearing that yes, they find the story entertaining and engrossing.

Plotwise, I'm at a point where my main character (that's me, of course) is in the first year of women's studies classes, a college freshman, successfully making an impact with professors and connecting with some of the other students, but hasn't yet been able to explain the whole "male sissy" thing in such a way that people understand what these social issues are all about.

In the second year I will show him (i.e., me) getting established on campus as an outspoken political type, with a reputation mostly associated with militancy about pyschiatric rights and homelessness, and known for being that guy who is into feminism. He (i.e., me) also gets a romantic interest! The second and third year together should be no more than another third of the book; the first year section is longer because it has a long retrospective backstory portion and has to do a lot more initial setup.

The big challenge all along was whether I could manage a sufficient balance between complex intellectual ideas versus interactive personal stuff with conversations and characters and all that. So far so good, I think.



By the time of the events in this story begin, I had come out in 1980 as a heterosexual sissy, a person with an identity that was different in the same general way that gay & lesbian and transsexual (see next paragraph) people were understood to be different, but, well, different from those identities. I had even written a book by 1982, The Amazon's Brother. But I was very isolated; I wasn't connecting with anybody who understood WTF I was talking about and I had no one reading what I'd written. I hadn't succeeded in getting a publisher interested.

The scene that would later be called the "LGBT" community did not include gender variance back then, not really. It was all gay rights. I viewed gay people as allies (particularly lesbians who were likely to be feminists) but not really comrades in the same cause. Transsexual people -- yes, that was the word in use back then, nobody was saying "transgender" yet -- were people who transitioned by getting operations and taking hormones, and there was no sense of other kinds of trans people who didn't want to align their physical sex with their gender identity, so I didn't see myself as fitting in with them either, aside from which their presence in the community was mostly just hypothetical. They were so thin on the ground number-wise that a person did not actually encounter them at community centers and so on; officially there was probably starting to be some inclusiveness, some mention on fliers about them as part of what gay and lesbian centric organizations were about, but really it was all gay and lesbian, and mostly gay guys for that matter.

I hitched to New York to become a women's studies major in college. (The book's backstory section covers how I made the decision to do that, and my adventures getting there). I figured that the things I wanted to talk about -- that the expectations for people of a given sex were socially created, not built-in natural, and that the intolerance for people who were different was sexist -- would be right on topic for the women's studies classroom.

And besides, my head was deeply into feminist theory by this point anyway. I felt like the whole way society is set up, its overall values and structures, is a direct consequence of how gender is set up, that society is a machine and it runs differently depending on how gender gets configured. And feminist theory, especially radical feminist theory, made the same claim, that this was the political axis around which all social issues revolved. Not class, like the socialists believed. Not race, like the 60s activists had mostly believed. This. And that insight, incidentally, is something I still find missing from most gender discussions even to this day -- we do a lot of identity politics about who is marginalized and oppressed and unfairly treated, but not so much discussion about whether global warming, the military confrontations and economic deprivations, or the buildup of religious intolerances and so forth are all the way they are as an outcome of how gender is socially organized on this planet.

The trajectory of this book will bring my main character (i.e., me) to the limits of the role that a guy can authentically play in women's studies and in feminism, just as he's getting an academic article published and burning his final bridges with the graduate school department and leaving without a PhD to go figure out some other way of approaching all this.



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I am part of an author's group where we read 1800-word excerpts or installments (or, for the poets and short-article writers, the entire thing) and give each other feedback. For my own selections I have been bouncing around a bit, getting feedback on portions from all over the book, but also gradually getting a sense of people's reacion to the overall message, and it's a positive one, they're getting it. Even carved up into snippets delivered in random order, sufficient exposure to what I wrote is conveying the concept of being a gender invert to an audience of people who aren't particularly familiar with MOGII* identities or gender issues. That's all good news.

Most of the others who are working on long, novel-length books are bringing in their latest chapters and therefore picking up where we were left off at the previous meeting. That has got me thinking about returning to work on my second book, provisionally titled That Guy in Our Women's Studies Class, about my undergrad and graduate school experiences as a women's studies major and about trying to explain my peculiar sense of identity within the framework of feminist theory.

It's been a long time since I worked on it. The autobiography certainly covered that portion of my life, but it's less easily lifted and edited and repurposed as a book than the eighth-grade-through-coming-out portion that became the first book. To render it as an interesting entertaining read, and to tell the story I want to tell, I'm going to need to rewrite it from the ground up and just rely on the autobio as a reminder of events and situations I might otherwise not think to use.

I started doing that, briefly, back in 2015 but didn't get very far because I've been so immersed in trying to get this book, GenderQueer (aka The Story of Q), into print.

I'm hoping the discipline imposed by wanting to have a new selection to read to the group will keep me going this time.

* MOGII = marginalized (or minority) orientations, gender identities, and intersex; an alternative formulation I prefer over LGBTQIA+ or QUILTBAG (queer/questioning, uncertain, intersex, lesbian, trans*, bisexual, asexual, and gay)

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It's been almost exactly a year since I made that announcement the first time around after receiving a letter from Ellora's Cave informing me that they'd like to offer me a contract.

Ellora's Cave went out of business last fall , and I was back where I started from.

This time the offer letter comes from NineStar Press, a fairly new publisher that focuses on LGBTQIA titles. My book fits in better with their lineup than it did with Ellora's Cave's array of steamy erotic romances, and they don't appear to have any skeletons in their closet the way EC did with their public and rancorous dispute with their authors.

I'm relieved; I feel more or less the way I do after a really long hike when I finally stumble into the train station to catch the ride back home. I'm tired of pitching and querying. I wasn't close to giving up or anything but I am happy to stop. I just went to the Rainbow Book Fair at John Jay College last weekend, trundling along a box of 3-page handouts and business cards, hoping to meet some new LGBTQIA publishers, and did, but most of the tables were authors selling their books and most of the publishers were fiction-centric or poetry-centric or were otherwise not interested in a memoir. It's so hard not to become jaded and I worry that I broadcast it, that they'll be able to read between the lines and sense that I don't expect them to want to publish me, you know? So good riddance to that portion of the endeavor, it's nice to put it aside for now (and hopefully for a long while to come, at least until the next book).

Speaking of next book, NineStar included an inquiry about anything else I may have, so (assuming of course that this all pans out) I'll be giving them first crack at That Guy in Our Women's Studies Class when I finally get it ready for the light of day.

I also feel excited, of course, but it's a cautious excited. I've been in this position before and I have no published books sitting on my bookshelf to show for it. In addition to the prospect of NineStar going belly-up after the fashion of Ellora's Cave, unlikely as that may be, it might transpire that NineStar's editors and I reach some kind of irreconcilable impasse or that something in the contractual specifics turns out to be a dealbreaker for me. Or I get a follow-up letter "Oops, we had a board meeting and unfortunately we are rescinding our offer of a contract to all authors not born under water signs". None of this is at all likely but I am wary, twice-burned already (back in 1982 an interested 'publisher' turned out to be an opportunistic vanity press that had somehow learned I was querying), and uninclined to fully count my unhatched chickens.

What else? Impatience for sure. I'm craving the beginning of the editing process and getting all the preliminaries and learning when my book will be coming out. And then gearing up for the promotional activities and trying to obtain book reviews. I wanna get this show on the road.


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On March 12th, I will be giving a presentation at Life In Nassau at their regular monthly meeting in Woodbury NY, titled "Gender Inversion, being Genderqueer, and how Kink facilitates stepping away from gendered assumptions".

I'll be using a lot of the material from my Gender Isn't the Same Thing as Sex blog posting, including the visuals you see there (I had them printed out on sturdy posterboard to use as visual aids). I've done a run-through with anais_pf kindly sitting in as audience and I covered the material in my notes in 25 minutes. It should be more like a one hour presentation, so I need to go back through and insert anecdotes and examples, describe things in more detail, flesh things out more. That should make it a better talk anyhow. I tend to worry that I'm going to go way over so this time I sort of overshot... undershot? I did too good a job of compacting my message and now it's too short! Anyway, my first venture into lecturing since speaking at the Boston College Women's Center in 2010.

Hey, y'all, I'm building a platform!

I'm going to try to take this show on the road, give the same talk elsewhere, and then diverge from there, expand on it and so forth.



Last weekend I attended a one-day seminar called "The Editor's Eye", presented by Francis Flaherty, a former NY Times feature editor and geared towards helping people edit their own work more effectively. I thought it was well-presented and although some points were self-evident and not exactly news to me, overall I think it gave me a fresh sense of how to approach revamping my own work.

From my notes:

• insert ACTION to make paragraphs pop: sometimes by describing the present as a harbinger of the future, using language that anticipates, use metaphor, set up the future as a consequence of current processes and describe those using ACTIVE verbs.

• similarly use vivid action-inclusive metaphors and similes in describing your characters' mental processes

• describe decisions; don't have your characters float through time passively with things happening to them, be explicit about their decision-making process. Decisions are active

• embed yourself in each scene as if YOU were interested in what was going on at the time; if you are (or were) bored, your readers probably will be too

• sensory descriptions, especially other than visual (although in my case my writing actually does not tend to describe how things look, I'm NOT a very visual writer so in my case all 5 senses need to be punched up).

• Example A is about emotional human face of an abstract theoretical idea. Insert emotional content even if at the level of metaphor throughout the scenes of the book. Add body language: yours, that of other characters

• For trimming, think of your main message as a bullseye target. In each section look at paragraphs in terms of how close or how far they are from the bullseye. Trim more aggressively on parts that are farther from the bullseye.




I opened my my email as usual on Wednesday and saw another email reply from one of my query letters. The overwhelming majority of these are "Thank you for querying but after due consideration we don't think your title would be right for our line, sorry, best of luck" type letters so as I was double-clicking it to read it I was mentally already opening my query database to mark another rejection, yet I found myself staring at this:

> Dear Allan,
>
> Thank you so much for your query and we apologize for the delay in
> getting back to you. Is your manuscript still available? If so, we
> would be happy to read the first fifty pages or so of THAT GUY IN OUR
> WOMEN’S STUDIES CLASS. If you could send them as an email attachment
> with the word REQUESTED as the subject line, that would be wonderful.
>
> Thank you so much, and we look forward to the reading.

I blinked. Wait a minute. Oh wow, this is about BOOK TWO, which I haven't sent queries out about since last April. Heck, I haven't even been reporting my second book figures when I've posted my stats on # of queries sent and all that. The original idea behind book two was that, firstly, one way to get your book published is to get a different book published, then you're a published author; and, secondly, that I could directly query academic presses about the second book while still being able to say, honestly, that the main book has not been sent to any editors yet. But not too long after I'd started sending out query letters for the second book, I decided the book needed a massive restructuring and rewrite of its final 30%, that I had made it too much about a pissy argument with my academic advisor when I should have focused on how it led to me deciding I could not pursue a career as a feminist theorist in academia, that as a male person I could not theorize in directions that feminist women were not already pursuing, since trailblazing inevitably brings conflict and that in turn would lead to me arguing with feminist women about how to properly pursue the enterprise of feminist theorizing. Anyway, book two has been dormant and virtually forgotten. Except that now I have a request.

Fortunately, the first 50 pages are prior to the section that I think needs the radical surgery. I just finished applying some of my newly-honed editing skills, cutting some chaff and tightening the narrative.

Only 22 queries for book two were ever sent out. This is the one and only reply expressing interest and asking to see additional material.



Current Stats:

THE STORY OF Q

Total queries: 536
Rejections: 466
Outstanding: 66

As NonFiction—
Total queries: 348
Rejections: 332
Outstanding: 16

As Fiction—
Total queries: 188
Rejections: 134
Outstanding: 50

GUY IN WOMEN'S STUDIES

Total queries: 22
Rejections: 21
Outstanding: 0
Under Consideration: 1

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ahunter3: (Default)
Is there any legitimate role for a male activist to play within feminism and women's studies?

Derek is an angry genderqueer activist who wants to go to college and major in women's studies so badly that he hitches to NY and even withstands a year of homelessness to get into the school of his choice.

He sails through his undergrad career cheered on by his teachers who wave him on to graduate school, encouraging him to believe he can pursue his genderqueer politics there. But then things deteriorate. He faces off with the only Sociology professor doing feminist theory: another male. The professor expects to take students under his wing and mentor them, while Derek is used to doing theory as an active (and political) verb and doesn't respond well to being spoken to as if he wasn't already a theorist.

The Sociology professor tells him that he should be embracing socialist feminism instead of radical feminism, and when Derek disagrees, what begins as an intellectual correspondence degrades into a pissing contest, eventually to their mutual embarrassment.

Derek's interactions with the school's interdisciplinary women's studies program start off on a better foot but eventually lead to another disagreement, this time between poststructuralist feminist theory and radical feminist theory. This puts him for the first time in the indefensible position of being a male telling women professors they're doing feminism wrong.

THAT GUY IN OUR WOMEN'S STUDIES CLASS is a 93,000-word memoir, providing an entertaining story in the "fish out of water" genre, with interpersonal conflict and conflict between personal aspirations and institutions. It also explores serious political issues of interest to feminist theorists: the implications and limits of male participation in feminism, of course, but also the tension between egalitarian elements in feminist theory and the hierarchical relationship between students and teachers as well as between faculty and institution, and the role of theory itself (subject matter to be studied? personal understanding of the world in which we live?) in a college student's life.

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