IF YOU go to dental school you will take a state exam when you finish and, upon passing, you will be given a license to practice dentistry. In order to take the test, you must have first submitted to a rigorous course of study, done thousands of hours of supervised work in people's mouths, taken hundreds of exams, and paid a lot of money. When you're finished, you will be called "Doctor," and your cup will runneth over with drilling, filling, and billing. If you do good gold crowns, play soft music in the waiting room, have a receptionist with a sympathetic smile and a soothing voice, you may even become rich.
In the course of your studies you will have been transformed from an ordinary citizen into a Doctor of Dental Surgery. You will even begin to think of yourself as something more than an ordinary citizen. Someone will ask you who you are and you will say, "Sam Smoot, Doctor of Dental Surgery."
For novel writing, unlike dentistry, there is no course of study you can pursue and, when finished, say "I'm a novelist." You can get an M.F.A. in creative writing, or a Ph.D. in the modern novel, but that won't make you a bona fide novelist. To be a novelist, you have to get published.
Being an unpublished novelist has about as much social acceptability as being a shopping bag lady. Should the word get out about you, your friends will snicker. Your neighbors will whisper about you. Your Uncle Albert will try to talk you into becoming a chiropractor. Your Aunt Bethilda will take you aside and lecture you on the grim realities and responsibilities of adulthood. Your creditors will break out in hives. Your mother will be sympathetic, but late at night her eyes will flood with tears as she tries to figure out where she went wrong.
It's a sad fact of life, but to be an honest-to-goodness novelist you must have that honor conferred on you by a publisher. But remember this: each and every bird is first an egg, and each and every published novelist is first an unpublished novelist—even the great ones, Ernest Hemingway, Leo Tolstoy, Virginia Woolf, and James Joyce included.
There are several strategies for avoiding the stigma attached to proclaiming yourself a would-be novelist. One is to tell people you are a writer, but not to admit that what you're writing is fiction. Suppose you're writing a murder mystery in which the victim is a prostitute and the murderer is a college professor. You can tell everyone you're writing a book about sexual mores and morbidity in academia. That sounds like a good subject for a nonfiction book. Your friends will be impressed. It's okay to be a nonfiction writer because it's assumed that nonfiction writers are hard-nosed practical people who take life seriously. Besides, it is popularly believed—possibly with some justification—that anyone who can spell well can write a nonfiction book, so no one will doubt that your project has merit.
Another way to camouflage your novel-writing pursuits is to enroll in an English Literature degree program someplace and take only snap courses. As long as it looks as if you're working for a degree no one will ask what you're doing locked in your study all day and half the night. If they ask you why you're banging away so hard on your typewriter, tell them you're writing a thesis. Everyone knows that's a sensible thing to do.
Some novelists at the beginning of their careers go completely underground. These "closet" novelists tell no one. They hide their manuscripts behind the refrigerator. They write in longhand so no one will hear the clacking of typewriter keys. Nobody knows the closet novelist even reads novels, let alone writes them. Their spouses may think they are keeping a lover in the basement or the garage, or wherever it is they "do it."
Any of these methods will work. The alternative, the "John Wayne Solution," is a bit tougher. The John Wayne Solution is this: grit your teeth, rock back on your heels, stick your thumbs in your belt, and just say it—I'm writing a novel, and if you so much as smirk I'll punch your lights out, pilgrim.
You get the idea.
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