The Journey of a Manuscript, or, Trying to Fit a Circle into a Square

Something quietly extraordinary is happening. How to put this simply? I have been working on a manuscript that I call Searching for the Heart Radical for well over a decade, and I finally feel close to bringing this process to a close.

It is hard for me to say definitively when I started working on this book, for many of the stories and themes in the manuscript have existed in various incarnations for many, many years. I suppose I have had the feeling that I am actually working on a book ever since I took off on my second trip to China in 1999, even if I wrote the bulk of the pieces at least five years later, while in grad school. Most of the oldest writing has been cut by now, but some ancient passages still remain, cut and pasted into newer forms.

For years I worked on individual pieces, writing when I felt called to explore a particular story or theme. I saw how the pieces could one day all be linked together, but I didn’t worry about the greater whole. I wanted to see what kind of structure they fell into naturally instead of trying to impose structure from the onset.

Gradually, I started to get more serious about writing and publishing. I became a better editor, and held my writing to higher standards. I went to grad school and got my MFA, I learned about the competitiveness of the industry, and started to think about how to market my book.

Somewhere along the way I heard (from several ‘in the know’ sources) that “essays don’t sell." Since depending on the piece (or the person), my writing could be categorized as either memoir or personal essays or some even lyric essays, I decided that it was prudent to call my book a memoir, or rather, a collection of memoirs. These days there were plenty of writers who were publishing creative non-traditional memoirs that were non-linear or written in multiple point of views, like Abigail Thomas’s Safekeeping or Nick Flynn’s Another Bullshit Night in Suck City (both of which happened to be amongst my favorite books). So, memoir it was, I decided, as I drafted my book proposal and began to query agents.

Many agents were excited by my query—it sounded like something they might be able to sell. Quite a few asked to see my sample chapters, and then asked to see the entire manuscript (or what I had so far of it, since with nonfiction, the manuscript does not yet need to be completed when you query). It was encouraging. My writing had been workshopped by many, and revised a thousand times. I knew it was worthy of publication. I felt hopeful that eventually my book would find its home.

But then the trail of rejections. The first agent that saw the whole thing (thus far) liked aspects of my writing, but ultimately, could not see it as a whole. Felt it read too much as separate pieces, lacked a narrative arc. But I was convinced that if she could see the whole thing as I envisioned, if she could see how the yet unwritten pieces would tie it all together, she would see that it did have an arc, very much so. So I decided to finish the book before I bothered to query more. Then, if I still got the same feedback, I would know for sure that it was based on the actual writing and not the outline of the writing to come.

This was back in 2007, I believe. And so I kept writing. And writing. And writing. I delved into long pieces about my spiritual evolution, about my youthful involvement with the Tibetan Independence movement, about my history of intimate relationships. I wrote short “bridge” pieces which helped fill in some blanks or explain jumps in chronology. I knew that in order for a memoir to be marketable it needed to have a clear idea, and I admittedly had trouble articulating in a nutshell what my book was about. Geographically, it took me from America to China and back and forth several times again, and so in this respect, it was easiest to describe the journey in a linear perspective. But I knew that this wasn’t a travelogue. And nor was it a book “about China.” Sure, you could learn lots of interesting details about modern China, but at core, it was a book about an interior journey, a spiritual quest, an identity quest, a cross-cultural love story, a coming of age tale—all of the above. I revised my synopsis many times, and finally alighted on a description that I felt did it justice. And yet, there was always some part of me that knew I wasn’t entirely representing it truthfully.

The manuscript grew and grew. It was almost twice as long as it had been when I finished grad school. It had definitely become much more of a proper “memoir”, and yet, inside I knew that many of the newer pieces (or oldest pieces that I kept trying to breathe new life into) weren’t as strong. But if this were to be a memoir with a narrative arc, I couldn’t see how to cut them; I had to somehow make them work.

At a certain point, a couple years ago, I decided to start sending the manuscript directly to small presses where it was more likely to find a home anyway. Again, I got enough interest to keep me hopeful. And yet, now I was pregnant. And soon, I would have a baby. And I knew that I would no longer have the time to keep researching and sending it out en masse. (Not to mention how expensive it gets to send a 350 page manuscript to New York, and how much time it takes-- months and months-- for them to reply.)

So fast-forward to now, almost eighteen months after giving birth, when I finally have the time and presence of mind again to start thinking about this pesky, beloved, dreaded manuscript. I’ve always known, I can’t just abandon it, be done with it. Some kind of closure needs to happen. And I’ve always trusted that this is not just some pipe dream. So what to do?

I’d never entirely rejected the idea of self-publishing, but I considered it a last resort. I wanted the esteem of being published with a real press. And yet, increasingly, I realize that the most important thing at this point is just to share this work, bring closure to this creative cycle, especially since I’ve long since moved on and started working on other projects. And as I’ve learned about self-publishing models that don’t require huge chunks of cash to order a minimum number of books that may sit and mold in one’s basement for years, but that instead people can order via Amazon and that will print on demand, I’ve started to warm up more to the idea. Finally, just recently, I’ve started to feel those first tingles of acceptance and excitement that say, Yes, let’s do this. Let’s go for it, take a plunge, join the do-it-yourself bandwagon and let go of any lingering stigma I might have about self-publishing.

As I’ve decided to do this (I’m like 90% there), I’ve had some major breakthroughs in how I see the manuscript. In short, I’ve been able to let go of my preoccupations with what is “most marketable,” and realize that I only WANT to publish my very best. This realization has thus allowed me to cut back the manuscript even more— in fact, to cut out almost everything that I worked so hard at adding in over the last several years. And in turn, to also call it for what it is: a collection of essays. A collection that, with the exception of a couple pieces, already existed in its entirety years ago.

Oh, the irony! You would think that I’d be incredibly upset at having WASTED years of my life on writing stuff that I inevitably turned around and cut, and yet, mostly, I’m just relieved. Relieved to alight on this new clarity, relieved to cut stuff that would have made some part of me cringe if published, and relieved to start feeling connected internally to the manuscript again, to start seeing it anew and feeling movement again, like something’s finally happening.

I still think there is a narrative arc, but it is not a traditional arc—instead of taking you from point A to point B, the journey I present is more of a spiral, with the same themes and questions echoing throughout on different levels. Letting go of the need to keep it in strict chronological order helped me cut even more pieces, and in turn, certain allegiances to sub-themes (like my love relationship in China) have lessened whereas core themes feel clearer (like my search to feel at peace existing in an "in-between" place, and to find my voice, whether in English or Chinese).

I think I always knew (or feared) that I was trying to fit a circle into a square. The fact that I persisted in calling them ‘pieces’ and not ‘chapters’ should have been a huge clue that inside, I still didn’t feel it was a chapter book—and yet, I stubbornly persisted in this vein until I exhausted that avenue.

Do I regret the “wasted” years? No. How could I? It’s the way it had to unfold for me, I really believe this. No time, no experience, and no writing, is ever wasted. Sure, it is tempting to groan in retrospect at all the stabs I took at trying to get certain torturous pieces "right", but I guess I had to do it this way, I had to go through all that, my own personal laborious process. 

So here I am. A huge amount of work still lies before me before I will be able to get this book into your hands. But the beautiful thing is, I can see it now, step by step, the work that remains. There is no longer the existential question of whether or not the book will one day exist, and in what form. And nor is there the same foggy sense that I am writing myself into some murky rabbit's hole or coyote den or whatever trickster characters might be conjured in this particular lesson I have to learn. 

It's too early yet to articulate just exactly what this lesson is, but you can bet that when I figure it out, I will be writing about it.

What It Takes

A student asked me recently, “How long did it take you to write your memoir?”
How long? That’s a hard question to answer, for it’s hard to say when exactly I started working on it (and it’s even a bit of a stretch to now say I am done). A few of the newest pieces still need some revision, and I’m still not convinced that I’ve found the right piece or note to end on, but all in all, it’s more done than it ever has been, with no obvious gaps of stories that still need to be written, and with a nice query letter and book proposal to go along, ready to send to agents. So for the sake of feeling good and moving on, I’m calling it done.

But how long has it taken me? A few chapters have their inceptions in writing I first did ten years ago, and the themes of the book—cultural identity, bilingualism, spirituality, backpacking, China, America, Buddhism, Tibet, compassion, family, relationships, love and more—well I’ve been writing about those for even longer. While I lived in China from 1999-2002, I wrote almost every day—both in my journal and crafting pieces--, and when I returned to live in the States, I kept writing, joined writing groups, took classes and polished pieces for submission. Then from 2004-2006, I started my low-residency MFA program through Antioch in L.A., and had the privilege of more or less becoming a full-time writer. I house sat for friends, sometimes for months at a time—the most idyllic stint being the few months I spent out in Dungeness, Washington, writing from a room that looked out upon wetlands and out further to the Strait of Juan de Fuca and Dungeness Spit. Every day I wrote for hours, kept company by Gracie the old Airedale, and Bonnie the obsessive-compulsive licking cat. By late afternoon, I’d go for a two-hour walk by the river with Gracie or else hop on my bike and ride along country roads and out to Dungeness State Park. At night, I’d pick tomatoes and basil from my friend’s garden, make a nice dinner, pour myself a glass of wine, and look over the work I did during the day, editing here and there, before retiring to books in bed. It was blissful—I saw no one besides an occasional nod to the neighbors, I was in between relationships so had few phone calls or distractions, and I didn’t even feel lonely. Communicating online about writing and books with my grad school companions and sending a packet of my work to my mentor each month was enough social interaction for me. I was as productive as I’ve ever been, working on new pieces at the same time that I edited the old.

For several years, I house sat like this, lived frugally, and polished and wrote what would become my final manuscript—and the core of my book-to-be. In between idyllic housesitting gigs, I lived in my parents’ basement in Seattle (not a highlight in my thirty-some-year-old life) but a way to keep writing nevertheless. Eventually I learned to call what I was working on my “book,” which somewhere along the way even picked up a title: Searching for the Heart Radical: A Journey Between East and West. By now, I’d had enough feedback from writers I respected to know that my dream of publishing was not delusional, and I’d put enough time and faith into this whole writing venture that there was no way I could turn away-- or feel qualified to do much of anything else.

That brings us to the last few years, the last few years in which I seem to have been repeating the mantra: “I’m almost done, almost done, almost done with my book…” only to see another year go by with progress made, yes, and yet still without a sense of completion. There were always still pieces to be written, or some of the oldest pieces (remember those that had their inception ten years ago?) now needed to be completely rewritten. These stories were important to the manuscript, the stories needed to stay, and yet my writing and voice had grown so much over the years, and sometimes you simply can’t breathe new life into old words, you just need to start over (if you can manage to let go of those old versions that are now imprinted in your head); you need to find a new beginning or angle of entrance, try and articulate new meaning out of the same sets of experiences, frame a part of your life through a new lens. Not the easiest thing to do.

And then there was the question of structure, the order in which to place the pieces, and the question of what to call it—a collection of essays, a memoir, a collection of linked stories? I’d heard that “essays don’t sell”, so I figured I’d better call it a memoir. Except the problem was, I initially wrote most of the pieces to stand alone so some were in present tense, some in past; some chronicled a day in the life, others looked back over a period of years; some were told in a straight-forward narrating voice, others were more lyrical. There was a more-or-less chronological order that I could put them in, but there were all kinds of gaps or overlaps in time, there were pieces that stuck out oddly in tone, and some that still felt amateurish.

For months (years?) I meditated on the question of whether I could indeed call this into a memoir. I drew inspiration from writers like Abigail Thomas or Nick Flynn who had fashioned interesting non-linear memoirs told through multiple points of views (e.g., 1st, 2nd, and 3rd person; or some chapters that read more like prose poems). I started editing out redundancies (for example, I’d had to establish the fact that I was a half-Chinese/half-Caucasian American woman living in China for practically every stand-alone piece, and now these repetitions had to go), and I started filling in blanks (i.e. writing “bridge pieces” that would explain why in one piece I’m here, and in the next piece I’m suddenly somewhere else, or seeing a different guy). Or something like that.

Finally, about a year and a half ago, I sent out query letters and book proposals (with sample chapters) to a few agents and one in particular took interest, asking me to send her everything I had. Yet in the end, although she felt the writing was good, she just couldn’t see it—it lacked a narrative arc and/or a singular idea, it still read too much like a series of stand-alone pieces. I was bummed, yet not completely disheartened. What she said made sense, and yet, there were so many pieces that I had not sent her at the time because they were not yet completed. So I decided that I needed to just finish the damn thing before I sent it out again; that way if it was rejected again (which surely it would be-- on the way to that eventual yes), I would know that it was rejected on the basis of the whole, as opposed to on the strength of the book proposal and about half of the total chapters.

So over the last year or more, I’ve worked on writing those bridge pieces, as well as agonizing through the pieces that have been most difficult for me to write-- important pieces that have admittedly been revised to death (and that in ordinary circumstances I would let go of because I’d learned what I needed to learn from that piece and because not all pieces need to see completion much less publication), but in this case pieces that I simply could not let go of because they were so central to my book. I suppose if I’d just given up on the whole ‘memoir’ thing and decided to call it a collection of essays, these pieces wouldn’t matter so much because you, the reader, would have never know what I was leaving out. But the way it is fashioned now, surely you would wonder what the hell happened in Tibet or why I quit my job in Chengdu, stories that I would have to have gone out of my way to not mention or to disguise their presence, which forced me to ask myself, again and again—what is up with these trouble stories? Can I do without them? And if not, am I willing to do the work to get to the heart of them, in a new fresh way?

Now, I’ve finally gotten the manuscript to a place where it feels whole. Now I just need to keep on at it, query more agents, thicken my skin, get prepared for the inevitable rejections, and that one, important yes. At the same time, I need to keep writing new stuff. As someone who values follow-through and needs to have a sense of completion, I’ve been so focused on this book that I’ve put so much other new writing on hold. Now, I need to consciously cajole myself into experimenting with new subject matters, genres, and forms. Hence, this blog. And hence the new book (which feels presumptuous, yet deliciously intuitive to even call a book) which will focus on my inheritance from Frank and Els, sifting through their writing and things, ingesting their lives and stories, and meditating on home, death, impermanence, what we value in life and what we pass on. (See my last post and future posts for more on this.)

So all of this brings me back to the question: how long have you been working on your memoir? Maybe I’ve been working on it my whole life, and maybe it’s only been the last few years that the actual ‘memoir’ has emerged. All I know is, for now I am calling it “done,” and moving on to the next phase of my writing life, whatever this may bring. I will always be Searching for the Heart Radical, I know that much is true. But I’ve also entered a mellower phase, a settling phase, a phase centered around the idea of being in one place and putting down roots, as opposed to the solitary wandering, heart aching, intense spiritual questioning that I lived through in my twenties.

I joke—and hope, seriously now-- that the next book will not take me ten years to write. That maybe I’ll be able to finish it in two. And I certainly do not want to suggest that others need to take as long as I did to write their first memoir. Maybe I am just one of those SLOW writers, and maybe that’s okay. All I know is, you never know what you will be given from the universe to write about-- as a gift, or an urge, or a compulsion—but when you do sense you have something to explore through words, that you have a story to tell, to uncover, and to understand more deeply through the telling, you need to trust in this gift, and you need to follow it.

You can’t know from the onset how long it will take you to get a story right, and whether or not this ‘rightness’ will then mirror the tastes of the publishing world. But if you are willing to ride that exhilarating, yet difficult edge between writing just for the sake of writing, writing for the process and for what you will undoubtedly learn from it—and writing for a greater audience, writing to craft beautiful sentences, paragraphs, and manuscripts that other people can read and gain insight from-- if you can ride this edge, and hold onto your essential love for writing no matter what praise or silence comes of it, then you have what it takes to be a writer.