It’s been a slow start for the novel these first two months. A newly published book these day’s is released into such a deep and dense literary forest. But I have had some expressions of sincere grassroots enthusiasm.
My favorite story so far is of a person coming out of a bathroom where a copy of the book happened to be sitting. The persons comment was something to the effect of:
“Where the hell did this book come from?! I just read something straight out of my own private inner sexual experiences and self-dialogue, which was eerie as fuck! And, I never even seen anything like that described in a book before…”
So there’s that.
One of the biggest breakthrough moments for me in the conceptual considerations of Hypersexual was the idea to use an author’s pseudonym – and to use that pseudonym as the main character and narrator’s name.
This unusual (though not entirely unique) decision was meant to help produce the most intimate voice possible for the story. A voice from inside the realities and issues being dealt with. But equally important, the idea also created a genre bending effect that allowed me to expand the narrative perspective beyond the usual non-fiction single-individual based angle of a memoir or autobiography into something slightly broader in scope and more inclusive. Which was important to me because so much of my information and understanding has come from my open and revealing interactions and communications with other hypersexuals and sexually deviant persons.
Utilizing the fiction empowered ability to create a protagonist/narrator, and other characters that embodied attributes from many people – including myself and the myriad of persons I’ve known – and which could represent multiple sexual issues, behaviors, and actions that I’d experienced, observed, or been told about, as well as help illustrate the pertinent research points I’d found, seemed incredibly efficient, especially when compared to a strictly limited non-fiction approach.
However, these genre bending choices and methods have also led to my being questioned by several early readers, including my editors, about whether or not the nature of my book is more or less thinly veiled fiction – in part because it often seems so vivid it must be descriptions of real occurrences. Which I’ve accepted as a compliment, and to which I eventually began responding to with a simple, “Thank you.” Because, while the entire storyline and manuscript is fictional, my intention from the beginning has been to create a book that feels, for the readers, as personally unveiling as is possible.
From the outset of this project I’ve tried to merge the informed fiction of the story into a narrative tone that assimilates an intimately shared secret.
Which, I’m hopeful, will produce an interesting and exciting experience for readers!
Author’s Note: Hypersexual is not about the authors individual life, specific childhood, or family life; Hypersexual is a novel about many of the serious and varied sexual realities and issues that have shaped the lives of countless children, persons, and families.
Coming Next in This Series: Some interesting technical revelations about the evolution of this book.
My initial idea for this story came from a mixture of my earliest desires to write in a meaningful way, and my memories of my first illicit sexual experiences. By the age of seventeen or so, in my heart-of-hearts, I was determined to see it through. And in the end, this book idea took roughly thirty five years to mature.
Seventeen years ago, as the new millennium approached and my life entered a new phase of its own, the idea came out of its long dormancy and, as a seedling concept, it began to sprout.
For ten years, in odd fits and starts the story tentatively reached out with small tendrils of promise and short seasons of growth, but without producing much more than a few solid roots for the far reaching and important story that I had in mind.
Then, seven years ago, after achieving a breakthrough in my vision for the story the greater construction and rather unique design of the novel finally emerged.
One of the most surprising and significant things about the final stages of the initial creation of this book is that it changed its format from a shock-aimed non-fiction exhibition into a transgressive fictional flight of narrative experience.
The primary reason for this creative shift is that I suddenly realized that for year upon year I had continued to make the mistake of believing that the burden of the necessarily ultra-personal content and the required intimate impact of the story would lay solely on me and my willingness to speak unhesitatingly about my own sexual experiences. How else was I going to articulate the fully honest and sexually uncovering story I needed to tell?
If nothing else, I had always known that I must reveal as much personal and inter-personal sexual truth as I possibly could.
Fortunately, with the help of a bright minded multi-media artist that I met, I came to see that my most important store of content lay not only in the conglomeration of the sexual experiences that I’d had, but also in the wealth of conversant information I’d gathered from others, including the absolute most private kinds of personal anecdotes and intimate sexual histories.
In the novel Hypersexual, in chapter four the reader will come across the phrase:
“…I asked her my all time favorite question…when did you first have sex?”
This question, and several similar questions related to both the earliest sexual experiences of people as well as their more developed sexual experiences have passed through my lips and into the ears of my sex partners for the whole of my life. And my being so abundantly open about my own sexual history has enabled me to successfully liberate the usually guarded personal information of others, sometimes into openly flowing discourse, and sometimes into raging torrents of revelation and confession.
I’ve also asked these kinds of questions of perhaps as many as two hundred persons who were not my sexual partners, but who instead, for whatever their reasons, engaged in intimate conversation with me. And approximately fifty of those conversations were clinically approved interviews with people who knew ahead of time what kinds of questions I would be asking – but not exactly what questions. And I was often astonished by the released enthusiasm, even in those cooler and less secreted circumstances, of the willingly unleashed answers, admissions and declarations of my interviewees.
My deep and abiding interest in sex, sexual contact, and sexual issues has led me through a lifetime of informal research, and eventually into the formal research that went into the final stages of the preparation of this book.
However, until the day I carefully considered the possibility of writing my story in a fictional way, I hadn’t yet comprehended how effective that type of presentation would be for allowing me to include all the crucial kinds of sexual information and socially challenging storylines I would need.
Importantly, I also realized then how the content and research I would be including on the numerous sexual, social, legal, and clinical issues could be transformed directly into the fictional characters make-up, and the multiple threads of the story (rather than the blunt exemplifications and statistical weight of a non-fictional presentation). All of which neatly completed the overall strategy for the novel.
From there, within months, my trangressive protagonist/narrator, my main antagonistic character and conflict, and the predominating dynamics of my central storyline were all born.
In the Foreword, the readers will see the sentence:
“This is a fictional story overflowing with the truths of a great many people.”
Which is precisely accurate: In the novel Hypersexual the characters traits, attributes, and issues, as well as the sexual and social behaviors and actions that are portrayed are, at the same time, both fictional and true.
Coming Next: A continued explanation of the distinctive and genre bending ways in which the novel Hypersexual was constructed, including the use of the author’s name (a pseudonym) for the protagonist/narrator.
In addition to all the sexual issues oriented discussions I hope to see appear on this website, I will also be doing a series of non-fiction posts about why and how the novel Hypersexual was created.
As a new author and novelist I’m hopeful that the details of my journey through the literary creation of this story will be interesting to other writers, and perhaps to some readers.
For a teaser I can tell you that the first recorded efforts at writing this story are contained on floppy discs dated 1998. And, for more than a decade it was a non-fiction project…
I’ve created this website so that readers of the transgressive novel Hypersexual will have a place to make comments, ask questions, and start conversations about anything having to do with the issues discussed in the novel, or about sexual contact issues and options in general.
As the novel Hypersexual highlights, while wide-spread commercial sexual imagery and many forms of social discourse, and all manner of artistic and/or media presentations including pornography are mind-numbingly prevalent in our American society–as is also discussed in the current and studious tome A Hypersexual Society by K. Kammeyer–the remaining lack of actual accessible sexual contact options, as well as the lack of meaningful education for the youth in our society about a much wider array of the serious issues that can accompany sexual contact, continue to threaten our greater population.
Hence, my sincere intention and invitation to discuss these issues.
As this site develops I hope to have several conversations, or perhaps even issue-categories active at the same time.
So, don’t be shy! Tell us what’s on your mind!