Skip to main content

Imprimatur

I remember reading, a long time ago, the biography of Thomas Merton.  Merton was a Trappist monk who grew very fond on Buddhism and eventually became famous in his own lifetime.  His Seven Story Mountain is a kind of classic.

Merton didn’t grow up Catholic, and as he narrates his story he tells of finding a book with an imprimatur.  He was so angry he wanted to throw the book out of the window.  What right did a group, even so large a group as the Catholic Church, have to declare a book fit for print?  It riles the creative sensibilities.  Of course, he went on to become a monk.

The concept of imprimatur is one that all writers face.  Publishers, Catholic, Protestant, Jewish, or any kind of religion or secular, hold the imprimatur.  There are the successful self-published of course.  I’ve read enough self-published books to see the value in what publishers offer.

Still, publishers get to decide what the world reads.  It’s a necessary evil, perhaps, but like a young Merton I react strongly to the idea of imprimatur.  Perhaps it’s because these days of internet noise make it hard to stand out.  Any Joe or Jane with a keyboard and web access is a writer.  Millions, probably billions of us.



I started writing before the internet was invented.  Problem was, I didn’t start trying to get published then.  By the time I finally screwed up the courage to send a story to a literary magazine, submissions were only accepted online.  I was now just one of the countless wannabes.

The imprimatur of the publisher is no guarantee of success, but it is a way of having someone at least try to get your name out there.  You can publish over a dozen stories and have no one recognize your name.  I read books all the time from authors I’d not previously heard of.

The difference: they have an imprimatur.  The publisher is the gatekeeper.  I’ve read enough early Stephen King to know that his protagonists tend to be authors.  They have success because he has had success.  The pope of writers.

I’m holding out on the self-publishing end of things, but I’m getting to the point where it’s starting to look attractive.  I’m a non-conformist, but I just don’t have the energy to promote myself and still write books and stories.


Perhaps it’s time to enter on my knees and kiss that episcopal ring.  Maybe with a miracle my novel will finally be published.

Comments

Popular posts from this blog

Dusty

  My, this thing is dusty.   My fans—hi, Mom!—perhaps believe me to have perished in the pandemic.   No, it was nonfiction’s fault. Since the pandemic began I’ve had two nonfiction books published and have written a third.   With a nine-to-five job something’s got to give.   Unfortunately it’s been fiction. Well, the groundhog didn’t see his shadow yesterday, so it must be safe to come out.   I shuffled away the rejection notes and began submitting again.   I’ve got a backlog of weird stories and maybe some new publishers have emerged? The thing is, don’t you just hate it when you’re in the mood to submit and some lit journal has its window for submissions firmly shut?   My last story, “ The Hput, ” was published about three years ago.   Oh, I’ve submitted since then, but with no traction.   Well, it is winter. I’ve got a lot of stories lined up.   I’ve been sending them out again, dreaming of making a dime at what I love doing best.   When you’ve been writing for half a century, you l

Too Much Writing?

  Has this ever happened to you?   Have you written a story that you’ve completely forgot?   Not only completely forgotten, but made unfindable?   I play games with my stories and sometimes the joke’s on me. Okay, I suffer from graphomania.   I write constantly.   I do try to keep organized—I use a spreadsheet that has all my submissions on it.   It has rejection/acceptance dates (mostly rejection).   Lots of information. I decided to list on it every story, whether finished or in process.   There are far too many (mostly in process).   When I finish a story I often submit it.   If I get burned, I’m shy about resubmitting.   I often rewrite at this stage.   Then, when I feel brave enough, I try again. The spreadsheet is color-coded.   There, in the color that indicates finished and ready to submit is a story cryptically titled “The Password.”   I don’t remember this story.   I can’t recall what it was about or why I thought it was ready to publish. Looking through my electronic files,

The Same Old Story

After a story is rejected from a literary magazine—a rather frequent occurrence—I always revise it.  For stories rejected half a dozen or more times—a rather frequent occurrence—the stories can shift substantially.   In a version of the old saw that “this is the axe used by George Washington to chop down the cherry tree; it has had five new handles and three new heads,” I wonder if the story is the same after such revision.  I write in the flush of inspiration.  The story comes to me roughly complete. The literati say “no,” and I assume the fault must be my own.  I knuckle down and start trying to revise to their liking.  The action changes.  The ending changes.  The characters change.  Is it the same story? Is the fault that my addled brain seems to have trouble telling a story someone wants to read?  Is it the curse of an internet that makes writers of anyone with fingers to type?  I started writing fiction four decades ago.  If I’d tried to start publishing then, perhap