Stitching a contemporary plot

I now have three partials out to agents, which puts me at a crossroads as far as my completed novel goes. I could continue to query additional agents, but my gut says to hold off. See how this goes.

Which means that now, I wait. For quite awhile, probably. Months, probably.

So, the next question becomes: what do I do in the meantime, in my “for me” writing time, while I wait?

I’ve got two other novels outlined that feature the same protagonist as my finished ms, but I am inclined to go off, right now, in a completely different direction. This is partly by choice. I want to add another basket for my eggs. But also, a new character introduced herself to me over the weekend, and tonight, I met one of her companions.

I’m going back to them in a minute. But in the meantime, I am actually feeling a bit nervous, because I don’t know where these two are going to take me.

Contemporary literary fiction, being post modernist, is often stitched together by absurdity; absurdity serves as a kind of surrogate plot. I don’t aspire to be a literary novelist, however. I want something much simpler (ah, yes, “lower,” lol): to tell stories. I want to tell stories and get out of the way in the telling.

So I have this woman. She’s divorced, I can see where she’s landed, I can hear her voice. But I don’t know her story. That’s what makes me nervous. It would be easy to fall back on absurdity, and it’s funny to find how tempting that is, at my age, this distant from my twenties & from college. I’m having to make myself not write, as I hunt about for the story, lest I begin filling up pages with absurdity, which will pass the time, but what good is passing time when the end of it all is a select all/delete?

Novels: an exercise in subjective judgment

Yesterday’s Publisher’s Lunch reported on a bit of gotcha journalism by the London Times, “one of those periodic ambush articles”

in which the reporters make themselves feel wonderfully superior by submitting two Booker-winning novels from the 70s anonymously to 20 publishers and agents. (One is VS Naipaul’s IN A FREE STATE; the other is Stanley Middleton’s A FREE STATE.)

Surprise, surprise, none of the publishers offered the anonymous submitters a $1 million advance.

Publishers toss Booker winners into the reject pile.

What would be really interesting, though, would be to resubmit a couple of novels that didn’t quite make the Booker Prize grade and see if they could land a deal.

Mrs. E.D.E.N. Southworth had a nice run in the late 1800’s. How about submitting For Women’s Love?

Rothsay left the talkative hackman and passed on. [ed. No, Mrs. S. didn’t mean to suggest he died.]

A hand touched him on the arm.

He turned and saw old Scythia, clothed in a long, black coat of some thin stuff, with its hood drawn over her head.

Rothsay stared.

“Come, Rule! You have tested woman’s love to-day, and found it fail you; even as I tested man’s faith in the long ago, and found it wrong me! Come, Rule! You and I have had enough of falsehood and treachery! Let us shake the dust of civilization off our shoes! Come, Rule!”