Women Who Submit

by Thea Pueschel

There are gates that some of us are born outside of. We may try to scale the barbed fence, but without guidance, we only wind up nicked and wounded. When I grew up in Orcutt, California, an unincorporated city in northern Santa Barbara County in the 80s and 90s, these barbed wired fences were all around, holding livestock and rusted tractors. 

Faded No Trespassing black signs hung on posts. Sometimes a gate would be left open and the temptation to pass would arise. However, uninvited, you never knew what was on that land. Might be a shotgun or a bull. That was what my mother, an Angeleno, told us, and being filled with trepidation, I listened.

I grew up the third of four daughters, in a family of blue-collar workers. Farmers on one side and house painters on the other. Hard working; dirt, or paint under the fingernails.

When I was 13, I went to work with my dad to paint a plant nursery. The Hampshire Gate was unlocked, and we drove up the easement. My dad pulled over to the soft sand shoulder and said the words I hoped to hear. “Would you like to drive?”

I slid out of the passenger seat and into the driver’s side of his white Chevy Luv truck. Barely able to reach the pedals, I pressed the clutch in hard and found first. He smiled. I pulled back onto the dirt road. I went into second. Pride filled my heart as it confirmed—I was indeed my father’s son.

The road was bumpy; we pulled up near the grower station. A kid and a dog played ball in the middle of the dirt road. There was a manure pile on the other. 

Not knowing what to do, I forgot about the brake and swerved and hit the manure pile at full speed—15 miles an hour. The truck lodged two feet deep into the pile. My dad shook his head. “What were you thinking, Pueschel?” 

“Not to hit the kid,” I said through the ache of my misguided intuition.

“You didn’t think about hitting the brake?” He slid out of the passenger side to dug us out leaving me alone in the driver’s seat for the first time. I had dreamt about sitting there alone since age eight, when he first allowed me to sit on his lap and steer. It was also the last until Driver’s Ed at fifteen.

The reality is my father could have told me to hit the brake and I would have obeyed, but he opted to let me figure it out myself. A moment of direct guidance wasn’t present. Along with work dirt, there was a constant reinforcement of rugged individualism. He was there, but simultaneously, I was alone.

Craft Gates

I thought writing was solitary. I saw the fence, but I couldn’t recognize the gate or see how to get to the other side. They did not leave it open like the nursery. My literary voice was unfamiliar compared to those I saw in the literary canon, and I had the rejections to prove it. 

Growing up androgenous and with ADHD left me on the other side of gates my entire childhood and much of my adult life. Like a closed Hampshire Gate, I could see on the other side of things, but crossing without permission, I never knew what I was heading into. I would be bit by barbs when trying to break into community with being “too masculine” by my female family members and girls from my congregation or being called too stupid or immature by teachers without emotional intelligence or proper professional boundaries. It gifted me curiosity and alternative perspectives. In workshops, folks have pointed out that I have a lot of different POVs. That’s the thing about being able to see through the Hampshire Gate. All you can do is observe what’s going on inside of them, and when your brain is wired differently, it alters how things are seen and what stories want to be told.

Gate Opening

A screenwriting agent approached me when I was in film school. He had fallen in love with my film festival long-listed script and expressed interest in representing me. I did as I did not do with the manure pile. I pumped the brakes. I didn’t have guidance and didn’t know what would be on the other side of representation. The possibility of success seemed as daunting as a bull, particularly because my screenwriting instructor had stated how flawed that same script was and how I should stick to directing because it was obvious I was more passionate about that. It was the shotgun that scared me off from professionally pursuing screenwriting.

I was first published in elementary school as the winner of a young writer’s award. Later, as a young filmmaker, I published film reviews under a pseudonym on the web, which led me once being on a panel with F. X. Feeney debating from the feminist perspective to a full theater. They had let me in the gate a few times, but without direction, I didn’t know how far I could wander up sans permission.

Twenty years later, I remained solitary. I wrote a lot, finished little, and published primarily in the Wellness space until three years ago. I would occasionally venture out and submit a poem or CNF piece. My unhelpful screenwriting professor instilled doubt in me. I shut down sharing fiction and screenplays. The rejections I received from the few times a year I submitted poetry or CNF were verification: I was unwelcome in the literary and creative writing space. That changed three years ago when I found WWS, a community eager to support and lift. A community based on unity versus competition.

A workshop curated by a WWS member through a local university with another WWS member as facilitator was where I found my confidence to share my fictional creations once again. It was a prompted one-off. I read my work. At the end, when we were in conversation, the instructor said to me, “You’re a fiction writer.” I self-deprecated. She refused to let me do so.

This was a gate opened wide for me. Someone saw me on the other side and encouraged me to cross into the literary landscape. Then the pandemic hit. My business was impacted and decimated, and all I had was writing. My work went from primarily CNF to fiction: the type of story I could control.

Mentor Meanderings

I ditched the mythos of rugged individualism in creative writing as I became a fully vested member of the WWS community with engaged literary citizenship. A collective is much stronger than a solo writer. I found writing partners and generous guidance from members.

This experience led me to think that I had evolved beyond interactions with men who weren’t particularly good at guidance, who closed gates I had enough skill to walk through, but too much trepidation to move without permission. I thought I had gotten over this trend until I enrolled in a mentorship with a male editor I held in esteem.

I thought, here is a gate I can access, and it was open. I was a courageous writer and had thirty-plus pieces published in the last two years, twenty-six of them fiction, a few craft essays, some blogs for Women Who Submit, and a few CNF essays. I had been paid for twenty-five of them, for twenty-two I was paid handsomely. I had tested my mettle and proved to myself that they intended the open gate for me. 

New post lockdown confidence and a lot of recent writing credits under my belt, I was sure this well respected and connected editor would be the mentor to guide me further into my success. Perhaps, one day indirectly it will have an impact, but in the now, the scabs from the barbs are healing.

The mentor had great credits, is well respected, and gave great craft talks. I went to a few of his drop-in workshops, and I had confidence in his ability to guide me. My interactions to this point were so positive, I recommended his workshops to others. Our first meeting went fine. We set up the parameters of what our one-on-one work would look like. I was hopeful.

When I received notes from him, I was extremely disappointed. He wasn’t cruel, but it was clear he did not get my work. Looking through the notes there was some useful feedback, but when we met it was clear, he either wasn’t the reader for me or he wasn’t reading the work fully (our last meeting he rescheduled, then the day of sent me a note asking if we could meet later so he could finish my packet). Some of his notes asked questions, that if he had read the text fully, he would have seen I answered those questions. I had others read the same works and verify that there were clear connections.

He seemed to be stuck in his world view, or maybe he was not into my writing. In one piece, I wrote there was a reference to feeling eyes undress the character to which he said “eyes don’t do that.” I argued, “It may be cliché, but eyes definitely undress people. Folks who live in perceived female form have had many an experience of eyes leaving them feeling attacked.” He disagreed because it wasn’t something he had experienced. In his worldview, eyes didn’t do that. I conceded with “what you are telling me is that it isn’t working, so it’s not working.”

The feedback was starkly different from that of other writers/editors I have workshopped with. As a neurodivergent writer, my work is meta. It’s part of who I am and it’s not something I can stop. My perspective watches patterns, focuses on the psychosocial aspect of human development, and often has multiple layers. Patterns emerge, not quite to the Beautiful Mind level, but they seem obvious to me.

The following meetings he kept bringing up that I was a genre writer, something I had never been called before. Genre writers do something far more difficult than I could ever do. They build complex worlds based on formulas. My brain rejects that kind of structure. 

I think what he was meaning is I use accessible language, which I do, but my work is more complex than the words he read, it just didn’t work with his taste. After our third meeting and him repeating genre about 10x, I told him I had never been called a genre writer before, ever. He attempted to assuage my frustration and stated he didn’t mean it as an insult. In most literary spaces I find when people say someone is a “genre writer” it’s not generally a compliment. It is a closed gate.

I would be remiss if I said I didn’t feel destroyed after our meetings. Once, I cried in frustration for four hours. The solace was that WWS member and mentor Colette Sartor prepared me for this. She said, “You are an experimental writer. A lot of literary editors will not get it. That’s okay, you just have to submit to the places that will.”

The editor said I needed to be less metaphorical overall. In another piece, he said I was too universal. What this told me is that we were not a good match. A few weeks toward the end of our program together on Twitter, he said that if he could write like anyone, it would be Elizabeth Strout. Had I known that, I would have known we were not an ideal pairing. Elizabeth Strout is a gifted writer that writes MFA style prose, but it isn’t my style of writing or preferred reading. My writing is New California and Strout’s is New England literature. Mine is experimental; it is odd; it is as unique as my neurology.  

The editor kept saying that I like to tackle different and difficult perspectives. I do not think he realized that this is the way my brain works. It’s not about liking to write a particular way, it’s my authentic voice. I choose accessible language most times because I find arbitrary barriers nonsensical, but the perspective isn’t forced, it just is. Trying to fit into neurotypical forms can make my brain feel broken and forced.

Friends, mentors, and colleagues all said the same thing: that he was a gatekeeper but not my own. My interaction with him triggered the same feelings I had going through elementary school with teachers that did not understand children who think and see the world differently. When all was done, I was able to detach from the feeling of being worthless. 

Now, I take the wheel, knowing I am the driver of my writer’s voice. I do not need permission to travel this road, the words are always with me. I zip over the literary terrain in the vehicle of my imagination and I am still learning when to hit the brakes. Sometimes I find myself lodged in a mountain of manure. I dig myself out with the support of a community. I learn, I adapt, and I course correct to find another gate to access. Thankfully, I am a member of a community that opens gates and provides kindheartedness along with useful guidance and direction.

Thea Pueschel is a nonbinary emerging writer and artist, a member of Women Who Submit, a facilitator for Shut Up & Write, a California Arts Council Panelist 2022, and a Dorland Arts Colony Resident. Thea’s first solo mixed media exhibition “44: not dead, just invisible” ran at The Center of Orange from September 2021-December 2021.  Thea has been published in Short Edítion, and Perhappened, among others.