Finding my Author Identity: A Story of Alienation and Belonging

How many authors struggle with finding their literary identity? Some know exactly who they are and what they want to write and it never enters their mind to deviate. Others struggle to find their way. My story should be a warning to budding writers. It’s far better to have things all figured out in advance. Here’s my story.

It was early in 2009 when I first thought to write creatively. I’d already composed a memoir of the life I was leading then, a work since shelved. When that little seed of inspiration germinated in my awareness I was transported instantly to one of my former homes: The Canary Islands, Spain. A powerful, all-consuming energy filled me. I didn’t know what to make of it, other than that I knew it would radically change my life. By July that same year I’d left my home, my broken marriage, my friends, my whole life to chase this dream, this insatiable desire. I fled to Melbourne. It took many months to orient myself. I had no idea what I wanted to write.

In 2010, under the intensive gaze of my literary mentor, I wrote another memoir, Lovesick, which I self-published in 2011. Lovesick captures a decade of my life spent as one of Thatcher’s have-nots. Sex, drugs and rock and roll in the 1980s with about a third of the story set in the Canary Islands. With Lovesick written I turned my hand to short stories. An independent student for many decades (I even undertook my PhD by distance ed) I gleaned what I needed online, read Alice Munro and slaved over every word. When ready, I submitted to literary journals. Only one was published, in the USA. Two were shortlisted and I received some very nice rejections along the way. Eventually Ginninderra Press published all eight in 2012. It felt like progress.

#TheDragoTree - a tragi-comic love story set on the island idyll of Lanzarote. Literary fiction at it's most entertaining. "Held together with a mouth watering descriptions of the landscape and history."

At the end of 2012 I embarked on my first novel, The Drago Tree, a literary love story set in the Canary Islands. I drew on every skill I had. It was then that I realised my literary voice was distinctly British or European. I began to feel uneasy. Voice is everything. How would a British voice be received by the Australian publishing industry? In 2014, I submitted The Drago Tree to every publisher in Australia. It was demoralising. Most didn’t reply. I was thinking, should I emigrate? Then, in January 2015, Odyssey Books made me an offer. They were a tiny small press back then but what did I care? I leapt at the chance. It was my big break. Luck, at last! I was set.

Meanwhile, I’d already begun another three novels, each distinct. Little did I know the crisis that loomed as a result. For me, back then, all my stories were literary fiction or general fiction. It was only after The Drago Tree was published and book reviewers were asking me what genre it fell into that I started to cotton on to the importance of these literary categories. Until then, I thought I could bypass the genres and exist in a literary fiction bubble. Not, it turns out, if I wanted to sell more than a handful of copies of my books. Suddenly, writing became all about genres and markets. An author needs to be a social media wiz, have a strong online presence, and preferably write a series in a single genre. It’s Creative Writing 101. But I’m self-taught, and this was the gap in my knowledge.

A Perfect Square - a dark mystery, literary fiction style. Where art and creativity meets the occult and conspiracy theories. When synaesthesia becomes clairvoyant. A must read for all lovers of rich and complex fiction

My aspirations came crashing down in August 2016 when I launched my little literary masterpiece, A Perfect Square, a work I’d poured my heart and soul into, actioning a huge amount of pre-release promotion, including co-opting my musical genius daughter to write the music to go with it. see https://isobelblackthorn.com/a-perfect-square/  We launched the book and music together at a café in Melbourne. That day, the city suffered a tempest. Almost no one ventured out. Only ten people made it to the launch, with a few stragglers arriving at the end of the event because they got the time wrong. I went home demoralised. Reality soccer punched me and I landed on the harsh, immutable  concrete of the modern fiction scene with a thump.

That’s when I started to take the genres seriously. I was already at work on a mystery set in my beloved Canary Islands, a work that was giving me gip. All the while I kept asking, what sort of author am I? Where do I belong?

 

In 2017, I had another lucky break when a small press, based in the USA, offered to published my dark psychological thriller, The Cabin Sessions, which I’d written thinking it was horror. On the strength of that delusion and that offer, I thought horror was my thing and proceeded to write a second novel, The Legacy of Old Gran Parks. HellBound Books have since released both titles and I’ve been networking in the horror scene ever since. But through HellBound Books, I have come to realise my writing is not horror. It’s more Noir, or dark fiction, but definitely not horror. Yikes!

So where does that leave me? I need an author identity to hold all my writing together. I can’t keep starting afresh with each new book, hoping it will attract readers. Like all authors, I need a following of loyal readers. That same year, I started shooting arrows into the dark, trying out different pathways trying to build a career. Drawing on my past life as a teacher, I delivered a creative writing course for domestic violence survivors. I applied for a creative writing fellowship with the National Library of Australia, for which I was shortlisted. I applied for, and secured, a mentorship to co-edit the Australasian Horror Writers Association magazine. I applied for travel funding for a new work, which I didn’t get. I thought if I shook the door hard enough, someone would let me in and then I would know who I was as an author. JK Rowling never had this trouble. It all seemed horribly unfair. Was I, am I, my own worst enemy?

Now, in 2018, it feels as though the forces of progress are against me, as though I’ve entered a dark phase, one of retreat and incubation. I have eight works in progress on my desk. There’s a noir thriller, the mystery set in the Canary Islands two and a half years in the making, a fictional biography of an occultist which I regard as my opus (it’s based on my PhD), and various other works, many gothic, most literary. What do all these works say about me? Should I answer in the negative and say I’m not a horror writer, I’m not a crime writer … How bleak! I want to say I won’t be pigeonholed. But I also want to say finding my author identity has proven astonishingly difficult and has evoked deep feelings of alienation. If I can’t find my literary home here in Australia, then do I even belong here at all?

I’ll end on a positive. There are two essentials readers can expect from me: I write about the occult and my favourite setting is the Canary Islands. The two are not mutually exclusive.

 

 

 

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Isobel Blackthorn speaking at Belgrave library – feat. Savannah Rose

What does an audience expect an author talk event will be like? Will there be a powerpoint presentation? A slide show of images of old drafts, with bits of text crossed out and heaps of writing in the margins? Will the author explain her writing process and provide insights into her creative journey?

I’ve never created a power point presentation in my life! And we can forget the slide show of drafts. I do have a writing process and I’ll definitely be talking about that, but what I most want to share are my sources of inspiration.

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I am profoundly inspired by setting. For me, writing a novel is like moving house and relocating somewhere else. I have to enjoy the new space I’m inhabiting. I really have to want to be there.  My most recent novels were inspired by the time I spent living in the Dandenong Ranges and the Yarra Valley east of Melbourne.

Music also inspires me. Both novels have strong musical themes. So I’m delighted that musical duo Savannah Rose have offered to come along and play a few songs. Especially because duo member Suzanne Diprose played a major role in the creation of both stories!

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I’m very pleased to have been invited back by Belgrave library. I’ve decided to make it a special occasion and have a one-off book sale to celebrate. Come along if you’re in the area, and grab a bargain!

Thursday 9th March @ 6pm

entry is free.