Page 237 - Gay San Francisco_Eyewitness Drummer
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Gay San Francisco: Eyewitness Drummer                 217
                Just because writers’ laptops print out instant-gratification col-
             umns — formatted to look like writing on a book page or a magazine
             page — doesn’t mean that the writers need not go back over the first draft
             to polish it twenty times.
                I started writing the 562 final pages of Some Dance to Remember in
             1968 and finished it in 1982, with final edit in 1984, and publication in
             1990. Be patient, but always keep focused. I could only write that novel
             as fast as history happened.
                I knew this Some Dance diary of gay culture was a three-way love
             story told against the epic rise of gay lib, but I had no idea in 1978 that
             HIV would enter the novel the way the burning of Atlanta entered Gone
             with the Wind to which Some Dance has been compared, by, among oth-
             ers, The Advocate, as “the gay Gone with the Wind.”
                (Originally in 1979, my whimsey was to title my gay Gone with the
             Wind: Blown with the Wind; but that was too satirical and precious.)
                On the other hand in 1992 and 1993, dead-set-dedicated in more
             ways than one, I dared the psychic danger of writing my nonfiction mem-
             oir of my bicoastal lover, Mapplethorpe: Assault with a Deadly Camera,
             in ninety edgy days while over and over as loud as possible I played the
             soundtrack from The Crying Game. I wrote Some Dance to Remember
             listening to the Eagles’ Hotel California (1976). This synthesis of music
             and writing received pop-culture confirmation in the “authors’ circle of
             inspiration” when the playwright Tom Stoppard, screenwriter of Shake-
             speare in Love (1998), affirmed that he wrote his plays, Arcadia (1993),
             over the Rolling Stones’ “You Can’t Always Get What You Want,” and
             The Coast of Utopia (2006) between listening repeatedly to the 1979 Pink
             Floyd track from The Wall, “Comfortably Numb.” (Vanity Fair, Novem-
             ber 2007, page 190-192)
                Absolutely required reading for lesbigay writers: The Writer’s Journey:
             Mythic Structure for Storytellers and Screenwriters by Christopher Vogler.
                A trained cultural analyst, I mention this huge problem in gay sto-
             rytelling, because such process analysis reveals the construct of what my
             erotica attempts. I’m tempestuously Irish (romantically independent) and
             Austrian (romantically aggressive), a Gemini born during the brightest
             hour of the longest day: noon hour on the summer solstice.
                My first nonfiction book was about media and criticism: Television
             Today (1971). My second nonfiction book was about the occult, sex, and
             leather: Popular Witchcraft: Straight from the Witch’s Mouth (1972). My
             third nonfiction was an erotic bio-memoir: Mapplethorpe: Assault with a
             Deadly Camera (1994). Patricia Morrisroe, the writer who attempted the
             horrible biography, Mapplethorpe (1995), named me, based on my journal-
             ism in Drummer, “The King of Sleaze,” showing how shocking she —as a

           ©Jack Fritscher, Ph.D., All Rights Reserved—posted 05-05-2017
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