I’ve received a flurry of rejection letters lately, which is never fun but is a fact o’life in this kind of ambition. Mostly they’re for various Fathers and Sons stories of mine (though two have been close calls for an independent story, “Been Lonely So Long,” that included some very positive comments from the editors).
This has added to my growing consideration lately that perhaps I should not be submitting these Fathers and Sons stories for publication as one-offs. I do write them as complete in themselves, and they could stand on their own as whole stories. But they are part of a larger universe, which supports and illuminates both the parts and the whole. And since that universe is still under construction, the independent stories just may not be in final form until the whole is in final form. Does that make sense?
For example, a rejection I received last week was for my original Fathers and Sons story, “Death of Superman.” In the chronology of the stories, it takes place near the very end, but in my grand vision of a published collection, it would be the very first story, setting up a tension that would infiltrate each story that followed (going back in time), only being resolved in the revelations of the very last story (which I’m calling “Little Gray Birds”).
I’ve mentioned here before that I had originally written “Death of Superman” as a stand-alone story. I had no idea at the time that a universe of stories would spring from it. (There are twelve of them at the latest count. Some are finished and published while others are still just a collection of notes.) But as the other stories began to flow from it, and as I grew to understand the characters better, I’ve revisited “Superman” and revised it so that it better fit in the whole. One example is the narration. “Superman” is a first-person story. My character David is telling the tale, and it’s a reflective story. The trouble is that David, as he has evolved in the other stories, is not a particularly articulate or insightful man. (He is a good man, though.) And so I had to “dumb down” the quality of his narration from what I had originally written. That’s fine. It’s still a good story, and the fact that David misses so many messages in the course of the story helps allow his epiphanies in later stories.
And other similar things. There are certain tropes and devices that are cropping up in the stories. One example is cotton flannel shirts. They are a sort of uniform between two of the fathers and sons and a symbol of benign rebellion by the third. The title “Little Gray Birds” is itself a reference to a fleeting but important moment in an early story.
But the “Superman” submission that was rejected only last week was submitted nearly a year ago. (Such response time being the subject of a different post.) The story had gone through several revisions in that time, and the one submitted was quite different from the more integrated version now.
My point is that until all of the stories are written, I’m not sure that their influences on each other will be settled and clear. And so if I get them published now, I fear that they will be carved in stone and immutable. Thus an opportunity to better integrate the story will be lost.
That’s lofty and noble, but it’s advice I’m unlikely to heed. Practical Paul says that a published collection is a worthy but possibly overly ambitious dream while actual published stories are tangible and get free beers for the writer. (Never once!) Plus, I’m not sure how “immutable” stories are even after they are published. So I’ll likely continue to submit them even as I wring my hands over their internal influence and integration.
In other news: My legs are still a little wobbly after Sunday’s epic half marathon. I took a run yesterday that was a mess, but I intend to give it a go tomorrow. Gotta get my miles.