The Doctor Is In

Every Friday I turn my blog into a couch and let Dr. Sue O’Doherty take over and offer some Writer’s Therapy. Dr. O’Doherty invites writers to send her questions at Dr.Sue at mindspring dot com

I’M A WRITER, NOT A PUBLICIST

To the unpublished author, publication is the longed-for destination, the glorious end to an arduous journey. Below, a reminder that the end point of our pilgrimage can be a strange new world whose inhabitants are not always welcoming.

Dear Dr. O’Doherty:
The publishing world is drastically different from the insular and internally-driven, private world of the novelist. Can you recommend ways for us to maintain our stability and sustain our self-esteem when faced with fierce competitiveness, daily dismissals, and what seem like endless voices devaluing the writer and her work? Once a writer leaves her precious sanctuary and enters the back-biting and often grossly unfair fray of publishing, this is no easy task. How does a writer protect herself? Some do it by shutting themselves off from the business, some by developing immunity to the slights and aggression of others. For those of us unable to function well in business and who are not, in fact, business people, and those of us who'd much rather close the door and just write, do you have any suggestions?
Reclusive Writer

Dear Reclusive,
For many of us, one of the attractions of writing is that we can close the door and make the world go away. This is a condition we are temperamentally suited for, and it’s the job we thought we signed on for. The demands that we suddenly change our personality types from introvert to extravert, that we develop thicker skin, and that we become expert negotiators can feel brutal and shocking, no matter how prepared we thought we were.

Unfortunately for us shrinking violets, the modern author too often must choose between getting involved in the post-publication life of her book, and allowing the book to sink. Not much of a choice, is it?

It is unlikely that you can switch personality types or grow a new skin—or that you would want to. I imagine that the same attributes that make public life difficult and painful for you—sensitivity and attentiveness to internal stimuli—are assets to your creative process. What may help is to channel some of this creative ability into promoting your book.

Create a fictional character who resembles you physically and is like you in most important ways—but is outgoing, hardheaded, and thick-skinned. Treat this creation as seriously as you would a character in one of your novels. Make up a history for her, including a family and friends, but call her by your own name. Place her in fictional situations where her kick-ass attitude is shown to advantage. Get inside her as you would any of your characters. Write her story in the first person. Explore what it feels like to be her. When you feel comfortable with her, take her out—to the grocery store, the Laundromat, a cocktail party. Practice interacting with others as this character. If someone is rude or thoughtless, react as she would. Then, at home, write about the encounter.

After some practice, you should be able to pull this character out and use her in situations that your “writer’s personality” wants to shrink from. She will provide the tough, protective front that allows the real you to go on with your important work. Don’t worry that you are courting neurosis or multiple personality disorder. You create and inhabit new characters all the time in your work. Using your talents to expand your real-world responses will only make life in the material world a little easier.

Susan O’Doherty, Ph.D., is a clinical psychologist with a New York City-based practice. A well-published author herself , she specializes in issues affecting writers. Send your questions to her at Dr.Sue at mindspring dot com

Comments

[Simon Haynes]

I've been working in small business for over 15 years, handling everything from aggro customers to suppliers to printers and staff. I have to say that I'm really enjoying th promotion side of getting published, except that everything seems to happen in slow motion (over weeks and months instead of days or hours.)
My advice: do what you're comfortable with.

[Leora Skolkin-Smith]

I love this advice,Sue. It turns it into something much more playful and less intimidating. What an idea...Thanks!

[katharine weber]

Various writers use public appearances required of the writer to play with a fictional persona that is really just an extension of the writing. Jim Crace is a master at this, and he makes up all kinds of stories and responses to questions, none of which are in any way literally true or based on his own life or actual events. Michael Chabon has done this as well.

Given the reading public's insatiable hunger for the personal and real that can somehow explain or reveal the "truth" of the fiction, offering up beautifully crafted stories and responses that satisfy this demand allows the fiction writer to work with his talents without being dragged reluctantly any further into the limelight than he or she wants to be dragged.

[Susan O'Doherty]

Simon, that experience sounds like wonderful preparation for your current role promoting your book. Unfortunately, as MJ reminds us, "Do what you're comfortable with" isn't sufficient anymore for more retiring writers. Now it's more like "do what's necessary to keep the book afloat."

Katharine, that's a great observation. The novelist's gift of using fiction to uncover and explore deeper truths has been applied in imaginative and deeply satisfying ways.

And, Leora--thanks!