Do you refuse to read books written by authors who’ve held offensive beliefs or committed objectionable acts? Are their books, however well written, tainted by the author’s extra-literary reputation?
Image created at Perchance.org. Note: I do not mean to imply or suggest that any author, living or dead, mentioned in this post or not, is demonic or akin to a devil.
Controversial Authors
Rather than provide a complete list, I’ll mention a few, having found several discussed on this Reddit post. My beloved Jules Verne held racist and antisemitic views. Knut Hamsun supported fascists and Nazis. Ezra Pound was a fascist, racist, and antisemite. H.P. Lovecraft was a racist and Nazi sympathizer. Ernest Hemingway was a bully, alcoholic, racist, and antisemite. Ayn Rand had an extramarital affair and opposed altruism and religion. Isaac Asimov groped women. Marion Zimmer Bradley may have abused her child and tolerated her husband’s child abuse. Alice Munro defended her husband’s alleged sexual abuse of their daughter. This article about that last revelation prompted me to think about this post’s topic.
3 Degrees of Bad
We could divide our reasons for hating authors into three categories.
Those who held and stated abhorrent beliefs that don’t appear, or barely appear, in their fiction,
Those who held and stated abhorrent beliefs that are obvious in their fiction, and
Those who performed objectionable actions, whether they wrote about them or not.
Any of these might cause you to refrain from reading books by that author. On the other hand, you might forgive an author for any of these reasons and choose instead to enjoy their books for the literary value.
Noncontroversial Authors
The world includes plenty of books. You could avoid books by troublesome authors and just read works written by saints. However, you may find saintly authors in short supply. Every author is, or was, human, and therefore burdened with faults and failings, just like non-writers.
Even those not known for offensive actions often wrote about their private beliefs. Today, many authors use social media to express opinions on news of the day. Fiction writers spend a lot of time musing about the human condition. They’re bound to form and express strong opinions on various topics, and some of those stances might offend you. The contemporary author whose works you most cherish might get toppled off the pedestal you’ve erected, after a single tweet or post.
Different Places and Times
Although plenty of today’s authors have said or done questionable things, I only included deceased authors in my list above. When judging author behaviors and beliefs, remember that we’re all victims, to some extent, of the culture we live in or grew up in. In various past societies, racism, sexism, and antisemitism once prevailed as normal. Phrases and character types that readers of those times and places accepted with little notice cause us to cringe today.
Is it fair to judge a past author’s work by today’s standards? Sure. You can judge, by any criteria you want, whether you like a book or not. Is it fair to blame a past author for not living up to our modern sensibilities? No. The author could not predict how society would change.
Authors Aren’t Their Characters
Though some do, I urge you not to judge authors by their characters. Some authors excel at showing us convincing evil characters. As readers, we might wonder how the author can get inside a twisted mind so well, and we might suspect the author of sympathizing with the bad guy.
In his novel Next, Michael Crichton portrayed a character named Brad Gordon as a creepy pedophile. I felt myself transported into the sick mind of this perverted character. Though Crichton managed the description well, I would never accuse him of pedophilia.
Your Choice
They say you shouldn’t judge a book by its cover, though many do. Is it fair to make your decision about what to read based on the author’s personal life or beliefs? Of course, but you might be denying yourself a pleasurable reading experience. What I’m saying is, you be you and I’ll be—
Writers start as readers. We fall in love with stories written by favorite authors. Often, we seek to write like them. Some of us invent new stories involving favorite characters and settings. That is, we write fanfiction.
Types
Many varieties of fanfiction exist. You could write new adventures, where you take the original work’s characters on fresh escapades within their world. In Fix-it Fic, you write a tale correcting what you see as a flaw in the original work. Author Katie Redefer, for example, wrote Harry Potter fanfiction which depicted a romantic relationship never envisioned by J.K. Rowling. You might consider an update, where many years have elapsed since the original novel and you show older characters, or their descendants, dealing with a new adventure.
Reason
People write fanfiction because they love the original work. They seek to honor it in their own way. Perhaps they feel they lack the literary skills to create their own original story with fresh characters in a setting they invent. Fanfiction requires less creativity, because beloved characters already “exist,” and the world of the story sits ready-made.
Risks
If you write fanfiction for your own private enjoyment, or if you share it with other fans and don’t charge them money, you run no adverse risk.
However, if you write fanfiction based on a work still under copyright protection, and you hope to sell your work, be careful. Some authors allow and even encourage fanfiction. Others sue for copyright infringement.
My Fanfiction
Like many, I started with fanfiction. Years ago, I wrote the first draft of a sequel to Jules Verne’s 20,000 Leagues Under the Seas. I intended to title it 20,000 Leagues Farther. In it, a descendant of Captain Nemo salvages the Nautilus (in modern time) and brings unwitting guests on an adventure-filled voyage. Though embarrassing to recall now, that amateurish novel helped me grow as a writer.
Since then, I’ve written several publishable stories of fanfiction. “The Steam Elephant” honors Verne’s The Steam House by taking his characters aboard their marvelous vehicle to Africa. This story appears in The Gallery of Curiosities #3.
“The Six Hundred Dollar Man” puts an Old West steampunk twist on the TV show “The Six Million Dollar Man.”
In “A Tale More True,” a rival of Baron Munchausen (the fictional character created by German writer Rudolf Erich Raspe) takes a clockpunk trip to the Moon.
My story “Rallying Cry” honors both Verne’s The Steam House and Robur the Conqueror by portraying a secret World War I regiment using two of Verne’s vehicles—-the steam elephant and the aeronef.
In “The Cometeers,” I used the cannon and projectile from Verne’s novel From the Earth to the Moon. My story’s characters must save the Earth from a comet impact…in 1897.
My story “After the Martians” shows the aftermath of H.G. Wells’ The War of the Worlds, but WW I occurs using Martian technology.
In “The Unparalleled Attempt to Rescue One Hans Pfaall,” (included in the anthology Quoth the Raven) I depict adventurers from Rotterdam flying to the Moon, by balloon, to save a man whom Edgar Allan Poe left stranded there in his The Unparalleled Adventure of One Hans Pfaall.
“Reconnaissance Mission” honors Poe again, making him a character as a young Army soldier who undertakes a mission that would inspire his later stories and poems. This story appears in the anthology Not Far From Roswell.
My story 80 Hours updates Verne’s Around the World in Eighty Days by sending a woman to circumnavigate the globe in just over three days.
I may well write more fanfiction in the future, but I feel more confident than I did before about creating my own characters and worlds.
I co-edited two anthologies of other writers’ fanfiction as well. 20,000 Leagues Remembered honors Verne’s undersea masterwork with fan fiction written by today’s authors. The book appeared on the 150th anniversary of Verne’s epic novel.
If you haven’t written fanfiction, I bet you’ve been tempted. For people who hope to write fiction someday, fanfiction might serve as a great place to start. The ready-made characters and story “world” simplify the process. Even if you write just for yourself or to give away stories free to fellow fans, fanfiction could provide good practice and a chance to learn the craft and hone your skills.
Search on the internet for “seasteads” and you’ll soon see mentions of billionaires and libertarians. Why is that? Are seasteads only for people in those small groups? Let’s explore the question.
I believe billionaires get mentioned with seasteads for two reasons: (1) Seasteads cost much more to build than houses on land, and (2) Billionaires often chafe at paying high taxes in their home country and long to escape to a low-tax country, of which few exist.
Among the earliest fictional examples of seasteads was Standard Island, a floating, mobile seastead in Propeller Island (or L’Île à hélice) by Jules Verne (1895). American millionaires built it.
In real life, seasteads might not require billionaires at all. Settlers might construct a small one without spending vast sums. They might build on an existing, abandoned platform, as with the Principality of Sealand. Crowdfunding might present another way to pay for a seastead’s construction, with perks of citizenship offered in exchange for contributions.
Libertarians
Seasteading often gets associated with libertarianism because adherents to that political philosophy see few, if any, land nations living up to libertarian principles. Their efforts to influence one or more existing countries to adopt libertarianism have failed. Some now believe the only way to live in a libertarian country is to create a new one.
However, nothing about the seastead concept requires a libertarian governing philosophy. If you build a seastead, declare it a country, and somehow get it recognized as such, you could set up any form of government you please.
The Seastead Chronicles
In my book, The Seastead Chronicles, a brash billionaire builds a seastead and declares ownership of a sector of the ocean. I don’t state the type of government on that seastead, so readers may imagine what they wish.
The fate of that seastead initiates a “gold rush” for oceanic oil and minerals, boom, and other seasteads get established. Most of these locate near known ocean bottom resources to take advantage of seabed mining. They divide the oceans into nations, called aquastates, which other nations and the U.N. recognize. As with land nations, territorial disputes arise, some leading to war. A few aquastates go bankrupt and get absorbed.
Only one story in The Seastead Chronicles mentions the building of a seastead and I gloss over its funding. My stories depict seasteads as existing structures, since my aim is to imagine the effect on people of living at sea. Billionaires might have been involved in funding some of the seasteads, but others might have been built by corporations or crowdfunding.
As for governing systems, they run the gamut. I assumed people would flee their home countries and establish the government they dreamed of at sea. Given a fresh start, they’d set up their own planned utopias. A few might lean libertarian, or start off that way, but I imagined others as solarpunk, anarchic, monarchic, military oligarchic, cooperatively leaderless self-governing, etc.
Up to You
If seastead cities and their aquastates got established in real life, how do you think it would happen? Would only the super-wealthy fund their construction? Would libertarianism dominate their governing philosophies? You might enjoy letting your imagination conjure cities and countries at sea. You could come up with ideas even more outlandish (pun intended) than those of—
Isn’t it fun when a fiction book includes a map? If you’re like me, you linger over the map longer than you do any other page of the story. A map draws you in and makes you feel like you’re there, like you could use it to navigate from any spot to any other. As you read the story, you keep referring to the map to pinpoint the current action.
Maps of Others’ Stories
Sarah Laskow wrote a marvelous post about maps associated with fiction. Her article includes maps from The Swiss Family Robinson by Johann David Wyss, Walden; or, Life in the Woods by Henry David Thoreau, Treasure Island, by Robert Louis Stevenson, and others. Laskow discusses the reasons fiction writers make maps and their delight in drawing them.
Lincoln Island, from Jules Verne’s The Mysterious Island
Lincoln Island
Readers of this blog know I adore Jules Verne, so I couldn’t resist mentioning the map of Lincoln Island included in his book, The Mysterious Island. His characters explored every extent of it, and named the significant features as well as the island itself. You can’t help but follow along with the castaways by flipping back to the map to see where they are.
Map of The Seastead Chronicles
While writing my book, The Seastead Chronicles, I made a map to keep things straight. However, I did not include that map in the book.
The stories in the book take place in our near future as people colonize the seas. As they’ve done on land, they carve out nations with borders, but call the oceanic countries “aquastates,” and people cluster in cities, called seasteads.
On my map, I refrained from noting seastead locations. Unlike cities on land, some seasteads can move, though others are anchored in place. One or more aquastates consist of a single, mobile seastead that travels the world (or at least, wherever it can get permission to go).
Problems with Mapping Aquastates
Borders between aquastates need not consist of lines marking vertical planes, as they do on land. In one case, a single aquastate overlaps another and their borders in that region cut horizontally, with a depth separation. Two-dimensional maps don’t show that situation well.
I faced another problem—map projections. Most world maps emphasize land, since that’s where people live…today. However, you can slice the orange other ways, to emphasize the oceans. Therefore, I based my aquastate map on what’s called the Interrupted Goode Homolosine Oceanic View. That map projection carves through land masses so you can focus on the water.
Interrupted Goode Homolosine Oceanic View
Another difficulty lay in the fact that The Seastead Chronicles spans a period of almost a century. No single map would suffice for that entire time, due to the varying number, shape, and area of aquastates over the decades. In the early years, people set up lone aquastates with no neighbors. Then the water got more crowded. As more people migrated to the oceans, some aquastates failed and collapsed while others grew and spread. Near the year 2100, I supposed, things might stabilize when the cost of war or legal disputes exceeded the benefit to be gained from additional territory.
Want to See It?
Are you curious about what my aquastate map looks like? I’m not ready to release it to readers yet, but I will sometime soon. Sorry about the cruel tease, but some things must wait until all is in readiness for—
Teams in the National Football League received their names in various ways, but most don’t derive from literary references.
The Baltimore Ravens stand out as a sole exception. Taken from the mysterious talking bird of the Edgar Allan Poe poem, that team name epitomizes the city where Poe lived.
What works for Baltimore might work for other NFL cities as well. Let’s find out what could happen if they left team-naming up to fiction writers.
Arizona
The Cardinals would become the Arizona Thrillers. Adventure author Clive Cussler lived in Arizona.
Atlanta
Replacing the Falcons are the Atlanta Argonauts, named for Rick Riordan’s book The Mark of Athena, which is set in Atlanta and features a trireme named Argo II.
Buffalo
Writers would cross out the name Bills and write in the Buffalo Rangers. Writer Fran Striker, creator of the Lone Ranger, was born in and lived in Buffalo.
Carolina
In place of the Panthers, this team becomes the Carolina Crawdads. Delia Owens’ Where the Crawdads Sing is set in North Carolina.
Chicago
Writers need something fiercer than Bears. Instead, meet the Chicago Tyrannosaurs. Author Michael Crichton, born in Chicago, wrote Jurassic Park.
Cincinnati
Let’s replace Bengals with the Cincinnati Werewolves. Kim Harrison wrote The Hollows series, which is set in Cincinnati and contains werewolves.
Cleveland
Fiction writers could come up with a better name than Browns. How about the Cleveland Hellcats? Marie Vibbert, born and living in Cleveland, authored Galactic Hellcats.
Dallas
How ‘bout something other than them Cowboys? Writers would substitute the Dallas Vampires, since Charlaine Harris, who lives in Texas, wrote Living Dead in Dallas, which is set in Dallas.
Denver
For writers, the name Broncos won’t do. They’d choose the Denver Doomsdays, since Connie Willis was born in Denver and wrote Doomsday Book.
Detroit
Rather than Lions as a team name, writers would select the Detroit Wheels. Arthur Hailey’s novel Wheels was set in Detroit.
Green Bay
Could fiction writers surpass the name Packers? I think so. How about the Green Bay Starshooters? Not only does author Jason Mancheski live in Green Bay, but his book Shoot for the Stars is about the city’s football team.
Houston
Rather than Texans, writers might opt for the Houston Battleships, since author Daniel da Cruz penned The Ayes of Texas, a novel set partly in Houston.
Indianapolis
For this football city, fiction writers would replace Colts with the Indianapolis Titans (sorry, Nashville). The name is more appropriate here because Kurt Vonnegut, author of The Sirens of Titan, was born in Indianapolis.
Jacksonville
Writers might replace Jaguars with the Jacksonville Alligators. Diana K. Kanoy wrote She Swims with Alligators. Though not fiction, it is set in Florida.
Kansas City
For authors, this one’s obvious. Leave the name Chiefs aside and substitute the Kansas City Twisters. L. Frank Baum’s book The Wonderful Wizard of Oz, with its introductory tornado, is set in Kansas.
Las Vegas
Here, writers might swap the name Raiders with the Las Vegas Miners, to honor Mark Twain’s book, Roughing It, a partly true tale of silver mining in the Territory of Nevada.
Los Angeles
The City of Angels hosts two NFL teams. Writers would retreat from the name Chargers and forge ahead with the Los Angeles Demons. After all, William Peter Blatty lived near LA and wrote The Exorcist.
Los Angeles
Rather than the Rams, the other LA team should be renamed the Los Angeles Martians. Ray Bradbury lived much of his life near LA and authored The Martian Chronicles.
Miami
Writers would choose a harder-hitting name than Dolphins. How about the Miami Punchers? Elmore Leonard’s Rum Punch is set in Miami.
Minnesota
Some residents of the North Star State might prefer the Vikings, but writers would call that team the Minnesota Wobegons. Lake Wobegon Days, by Garrison Keillor, is set in Minnesota.
New England
Since the Patriots were named for a region, rather than a specific state or city, that gives writers some latitude to re-name the team the New England Cthulhus. Rhode Island is part of New England, and author H.P. Lovecraft, creator of the Cthulhu Mythos, was born and lived there.
New Orleans
Here, writers would replace the name Saints with the New Orleans Steamboaters. Mark Twain’s Life on the Mississippi, includes descriptions of New Orleans.
New York
With two teams in New York City, let’s go alphabetically and rename the Giants first. Writers might choose the New York Atlases, since author Ayn Rand, who wrote Atlas Shrugged, lived in NYC.
New York
As for the Jets, the New York Bombardiers seems appropriate. Joseph Heller was born and lived in NYC, and wrote Catch-22, about WWII bombardiers.
Philadelphia
The literary crowd wouldn’t go for Eagles, and might instead select a name requiring a change in the team’s colors—the Philadelphia Purple Riders. Having gone to college in Philadelphia, Zane Grey wrote Riders of the Purple Sage.
Pittsburgh
The other Pennsylvania team needs a name change from the Steelers. Writers would call it the Pittsburgh Furies. Stephen King’s novel Christine is set in Pittsburgh and involves a Plymouth Fury.
San Francisco
In replacing the 49ers name, writers would go for the San Francisco Wolfdogs in honor of Jack London’s White Fang. London was born in San Francisco.
Seattle
Ditch the Seahawks name. Authors have a better one in mind. They’d like the Seattle Boneshakers. This honors Cherie Priest, whose novel Boneshaker: A Novel of the Clockwork Century is set in Seattle.
Tampa Bay
This team wouldn’t be the Buccaneers any more after writers got their blue pens out. They’d rename the team the Tampa Bay Cannoneers. After all, Jules Verne had his characters build a gigantic cannon near Tampa in his novel From the Earth to the Moon.
Tennessee
Earlier, I stole the name Titans from Tennessee and gave it to Indianapolis. Writers would rename this team the Tennessee Devils. Jaden Terrell’s novel Racing the Devil is set in Nashville.
Washington
Some in the District want to change the name from the Commanders anyway. If they let writers pick, they might come up with the Washington Scorpions. Lisa Howorth’s novel Summerlings is set in D.C. and involves scorpions.
There. I’ve done the hard part. Others can come up with team logos, uniform designs, and characteristic colors. If any NFL teams desire a name makeover based on literary references, feel free to contact—
If you write genre fiction, you write for two sectors of the reading public. Problem is, they want opposite things. What do you do?
For any genre—and I’ll use science fiction as my example—you’ll have two types of readers. Let’s call them Experts and Newbies. You’d like both of them to buy and enjoy your books.
Experts
The first type knows the genre well. Scifi experts can quote the Three Laws of Robotics, have a ball lecturing you about Dyson Spheres, reveal the universal question for which the answer is 42, and babble on about Babylon 5. They read often, and crave the most recently published stories, and prefer them crammed with all the technologies and the latest scientific discoveries.
Newbies
Don’t take that term the wrong way. We all start as newbies. The newbie takes a chance when buying your book. Despite harboring doubts about scifi, the newbie remains curious and willing to learn. The newbie may not know a warp drive from a hard drive, but likes a good story as long as it doesn’t confuse.
These two types differ in their approach to what I’ll call New Stuff and Tropes.
New Stuff
I mentioned experts seek technology and scientific discoveries. They want the latest, the cutting-edge, the most imaginative concepts. Give them the New Stuff. Not only that, they want the full explanation. What’s it look like? How is it powered? How fast does it go? What languages can it speak? You could write many pages of convincing technobabble without boring an expert.
Newbies don’t delight in New Stuff. It’s all new to them. They just want to know how the characters feel about the new stuff and how it affects the plot. Any paragraph that reads like a technical manual annoys them, maybe enough to stop reading.
Tropes
With tropes, the situation reverses. Here, I using the term to refer to technology or concepts well known to readers of the genre. Expert readers get your meaning as soon as you mention wormholes, the multiverse, generation ships, FTL, or cryosleep. If you go further to explain the trope, experts feel insulted.
Newbies, by contrast, get stumped by tropes. These strange words and phrases serve as an ejection seat to launch them out of the story. Just a brief definition would save newbies from frustration.
The Balance
As a writer, you’d like to please both types. When it comes to New Stuff, you should aim for just enough explanation to satisfy experts, but not so much that it bores newbies. With Tropes, seek the briefest definition to help out the newbies. Better yet, define the term in context so newbies can catch the meaning and experts don’t get exasperated.
At a critique group meeting recently, one member criticized my manuscript, saying I hadn’t defined an unfamiliar term, but that member managed to glean what it meant. Another group member knew the term, and said I shouldn’t bog down the prose with further explanations.
I’d achieved balance.
The Signal Technique
Say you’ve got some new stuff in your story. You want to explain it all for the benefit of experts without making newbies nod off. Perhaps the signal technique will work. At the beginning of a paragraph, provide a signal to the reader that a long description follows. If you make the signal clear enough, the expert reads on with eagerness and the newbie skims or even skips that part.
This method might work as well for tropes. Here the signal tells experts they may skip an upcoming explanation without missing anything, while the newbies should read the paragraph to understand the unfamiliar jargon.
Jules Verne mastered that technique. Known for including long lists, he provided unmistakable signals in advance. It’s as if a hypertext alert pops up from the page saying, “Uninterested readers may skip this next part.”
Summary
Needless to say, I’ve simplified things in this discussion of two audiences. Your readers span a spectrum from newbie to expert and all points in between. You can write for them all if you keep their preferences in mind. Maybe, for your next book, one member of your reading audience might be—
Some writers struggle to come up with titles for their stories and books. Capturing all that text into a few pithy and alluring words seems to confound them.
Before I get to that, I recommend reading this post by book marketing expert Dave Chesson. It’s helpful if you experience difficulty with titles.
In his post, Chesson mentioned a new resource to help if you’re stuck thinking of a title—ChatGPT. It’s the conversant AI that’s available to everyone for free, here.
Credit to mozarttt and Pixabay
As you know, I’ve blogged before about writers using AI and my opinion remains unchanged, for now. ChatGPT is the equivalent of assigning the same homework assignment to a million junior high school students and getting the best answers back instantly. Yes, it’s instant, but it’s junior high school level. That last part may change in the coming months and years as AI improves.
You can seek help from ChatGPT to come up with a title. You can give it a long description of your story or book (or even input the entire text) and ask for any number of suggested titles. Note: there is some question about who owns content provided by that AI, so check the terms and conditions first.
To test how well ChatGPT can generate titles, I decided to have it come up with alternative titles to a work in the public domain with which the AI is familiar. I chose the Jules Verne novel Le tour du monde en quatre-vingts jours. The literal translation from the French would be ‘A Tour of the World in Eighty Days,’ but in a bolt of titling genius, an early translator rendered it as Around the World in Eighty Days.
That’s become the most iconic of Verne’s titles in English, played with and altered to suit hundreds of other applications.
Something about that format and word choice struck gold—“Around the [world or other object] in [time period]” gives that sense of encompassing something on a strict schedule. It’s literary magic.
For computers, the rule is ‘garbage in, garbage out.’ What happens when you put literary magic in? I gave ChatGPT this task: “Come up with 10 alternate titles (in English) to Jules Verne’s “Around the World in Eighty Days.”
Here’s the output:
“Globetrotting in Eighty Days”
“Across the Planet in 80 Days”
“A Journey Around the Earth in 80 Days”
“Around the Globe in 80 Days”
“Eighty Days of World Exploration”
“Circumnavigating the Earth in 80 Days”
“Across Continents in Eighty Days”
“Around the World Adventure in 80 Days”
“Around Planet Earth in 80 Days”
“Expedition: 80 Days Around the World”
See what I mean? They all lack the zing, the flair, the magic of the actual title. In twenty minutes of solitary brainstorming, you could do better. That’s my point.
Before you AI enthusiasts sic a terminator on me, I admit I could have pressed ChatGPT harder. I could have gone on to ask it for more interesting and creative titles—titles that don’t just paraphrase the real one. Maybe the AI could have given me more to work with had I prodded it further.
At present, I think it best to partner with AI but not rely on it. Adopt the centaur model I mentioned in my February 26, 2023 blogpost. ChatGPT can recommend titles and they might be inferior or even so-so, but one or more of them might spark the killer title you’re after. You might not have thought of that title had you not consulted the AI.
My answer to the question posed in this post’s title is probably not, but there’s nothing wrong with using AI as a brainstorming tool. So far, all my titles have come from the unassisted mind of—
Have you ever enjoyed an author’s books, then found out something disturbing about that author? Did the revelation spoil your appreciation of the books?
I suspect we’ve all been let down by a hero. Perhaps a favorite actor, athlete, politician, or artist did something unsavory, and that detracted from your experience of their work. It stains their reputation, at least for you. You’re no longer able to separate performer from performance.
The works of Jules Verne, my favorite author, come across today as antisemitic, racist, and sexist. His anti-Jewish sentiment is evident in both Hector Servadac (also published as Off on a Comet) and The Carpathian Castle where he depicts Jewish characters in a bad light. He includes characters of color in many novels, but never as the hero and often in stereotyped ways—servants or cooks—subordinate to the white hero. At least he includes them, unlike those of the female gender, who rarely appear at all in his works.
I could excuse these ‘isms’ and rationalize my continued reading of his works, by observing that this 19th Century French author reflected the prevailing biases, prejudices, and privileges of his time. I could say it’s unfair to impose my modern standards on a man no longer around to defend himself.
But I believe that lets both of us—me and Verne—off the hook too easily.
Consider that reading represents a form of communication, and that it involves a sender (the writer) and a receiver (the reader—you). Your appreciation of the written work occurs at that interface where you interact with the text.
Therefore, you bear a share of responsibility here and you can’t shrug it off. Your love for or hatred of the book is an individual reaction you own, an experience you share only with the writer, whether that person is alive or dead.
All written material to which we have access was written by humans. All humans suffer from faults, frailties, and weaknesses of some kind. You lack the option of reading books written by angels. Sorry about that.
Knowing this, you face a choice. You might refuse to discover anything about the author. That spares you from any knowledge of skeletons lurking in their closets. But it sets you up for profound disappointment if you ever find out your favorite author slipped off the mental pedestal you erected and fell short of your moral standards in some way.
On the other hand, you can read with full understanding that you consume text produced by a flawed author—a human. You can research the author and discover some distasteful truths, and read the work anyway.
Here’s where I stand with Verne. I can’t claim ignorance of his backwards attitudes. If I choose to enjoy his novels, I must decide that the good outweighs the bad. Further, I must recognize this as an individual choice. Other readers make their own choices.
I like to read Verne’s novels, most of them. I don’t excuse his faults, don’t condone his biases. I wince at his stereotypes and cringe at the prejudiced opinions. I don’t idolize him. I’ve decided, for me, his strengths outweigh his weaknesses.
You face similar decisions whenever you read anything. Does the good exceed the bad? Do the delights of the book surpass the poor behavior or faulty value system of the writer?
When you read a work, only you can weigh good against bad. Nobody else can do it for you, not reviewers, critics, or even—
Janice Rider (she/her) has always loved the natural world and resides in Calgary, Alberta, Canada, close to the Rocky Mountains. She has a BSc in Zoology with a minor in English Literature and a BEd degree. Springs and summers following university course work were spent at the Calgary Zoo where she helped look after many different animals. A trip to Africa was a highlight for Janice; there, she was able to observe wild animals hunt and play. Janice directs The Chameleon Drama Club for children and youth. Three of her plays for youth were published through Eldridge Plays and Musicals. As well, a nonfiction piece of hers on snakes was published in Honeyguide Literary Magazine. Three of Janice’s short stories are published in anthologies – Beware the Bugs! by Word Balloon Books; the North American Jules Verne Society’s Extraordinary Visions; and Speculation Publications’ Beach Shorts. Currently, Janice is involved in a two-year international mindfulness meditation program for teachers. She sees mindfulness as a way of coming into harmony with the natural world.
Let’s get to the interview:
Poseidon’s Scribe: How did you get started writing? What prompted you?
Janice Rider: I started writing when I was about fourteen years old. I loved to read and writing seemed a natural outlet for my love of words. As well, my dad liked to journal and wrote poetry and short stories for fun. He and my mom encouraged my interest in writing. When I was in grade eight, I received the gift of Tolkien’s Lord of the Rings for my creative writing, which was an added incentive to keep doing what I loved.
P.S.: Who are some of your influences? What are a few of your favorite books?
J.R.: I have enjoyed so many different authors, but when I was in elementary school any books to do with horses interested me, books like Anna Sewell’s Black Beauty and Glenn Balch’s Tiger Roan. As well, I appreciated the playfulness of Lewis Carroll’s Alice in Wonderland, as well as A. A. Milne’s Winnie the Pooh. In my teens I particularly loved the books written by Charles Dickens, Richard Adams’ Watership Down, Jane Austen’s novels and Robert Louis Stevenson’s Treasure Island.
Currently, some of my favorite books are TJ Klune’s Under the Whispering Door, Thomas King’s short stories, Alexander McCall Smith’s The Number One Ladies’ Detective Agency series, Neil Gaiman’s short stories, Neil Gaiman and Terry Pratchett’s Good Omens, Kate Quinn’s The Rose Code and Silvia Moreno-Garcia’s The Daughter of Doctor Moreau. One book I found horrifying but utterly impossible to put down was Grady Hendrix’s The Southern Book Club’s Guide to Slaying Vampires. I like novelty in short stories and novels and admire authors whose characters are unexpected. When reading I also look for the ability of an author to touch the heart and bring compassionate characters to life without slipping into sentimentality. Clever humor is always welcome.
P.S.: How do animals figure into the stories you write?
J.R.: My stories almost always relate to the natural world and animals in some way or other. My background is in zoology, conservation and education, so I have a strong desire to pass on my fascination with the living world around us. Animals may be central to a story’s outcome, as in a story I am working on about a young girl and her sister who learn that bulls can be dangerous. They may be part of a human character’s make-up, as in a short story I’m hoping to get published about Medusa. In some cases, the animals in my stories form close bonds with humans, even if they are creatures like hornets as is the case in another story I’m in the process of writing.
P.S.: What are the easiest and most difficult aspects of writing for you?
J.R.: That’s a tricky question. Sometimes, my stories seem to write themselves; at other times, I have to keep revisiting them while working on other things. I feel that the best way to progress is to make time for writing on a regular basis, which can be challenging for me as I am juggling a number of interests in my life. When stuck, I will turn to a few pages of a well-loved author just for inspiration. I also notice that, for me, it is easy to begin a story, and I have lots of ideas; however, unraveling the ideas into full stories is a process and often requires rewriting.
P.S.: Your short story, “Shark Out of Water,” appears in the anthology Beach Shorts. Tell us about that story.
“Shark Out of Water” was originally written for the drama club I direct for children and youth. The young people involved in the production had such a lot of fun with it! When Speculation Publications advertised for submissions on the theme of romance reading for the beach, it seemed like a great fit. The story is based on the Hawaiian myth, “The King of Sharks.” A young woman, Fabia, becomes smitten with a new face on the beach. This man is so very different from anyone she has ever known, but is he all he seems or will he take an unexpected bite out of her life? You’ll have to read the story to find out!
P.S.: I understand that you’ve been practicing Spring Forest Qigong for over a decade. What is that, and how has it helped you?
J.R.: Spring Forest Qigong, like Tai Chi, is one form of qigong. There are literally thousands of different forms of qigong practice. Qigong can be practiced as a martial art form, as an academic discipline, or as a way of maintaining or improving health. Spring Forest Qigong is aimed at bettering health. I find it meditative and calming. I have been leading this practice for a long time and feel that it helps me to be more focused and centered.
P.S.: The anthology Beware the Bugs!includes your story “Marvin’s Millipede.” What is the problem or conflict to be faced by the protagonist of this tale?
J.R.: Oh, I had such a lot of fun writing this story! It just flowed and gave me such pleasure! The story is about a boy, Marvin, who has a love of arthropods – the creatures with jointed legs, segmented bodies, and an exoskeleton. His favorite arthropod is the millipede, you know, the critter with the multitude of legs for walking on, the one you see cartoon pictures of with piles of shoes on its many feet. When he and his two friends, Lucy and Sophia, find an American giant millipede a little over three inches long, they decide to conduct an experiment to see if they can make the millipede, dubbed Maverick Miles Maddox or MMM, bigger. Does their experiment work? Yes, it does! MMM becomes very large indeed, gigantic in fact! Marvin and his friends must now decide what to do about MMM.
P.S.: You’ve written three plays that were published. Each appears to take inspiration from earlier works, but gives these works a twist. Please tell us a little about all three and tell us the twist in one of them.
J.R.: I’ve written far more plays than I’ve published, and it was satisfying to have a few published.
“Aladdin and His Sister,” is about a spoiled Aladdin who is fortunate enough to have a resourceful, courageous, and compassionate sister, Maliha, to help him manage his affairs. Two genies feature in the play.
“Cyrano and Roxanne” is based on Edmond Rostand’s play, “Cyrano de Bergerac.” In my take on the story, I provide Roxanne with three bosom friends, Chrystele, Danielle and Brigitte, who help to see that this time round there will be a happy ending for Cyrano and the woman he loves.
“When Science Bites Back” is really two plays that are part of one production. Both plays are science fiction, which is not an easy sell for the stage, and based on stories by H.G. Wells works with a touch of Alexandre Dumas’ novel, The Black Tulip, worked into the second story. In “Bacterial Broadside,” villains steal an experimental sample from the famous bacteriologist, Professor Parvulus. Will the world ever be the same again? In “Orchid Obsession,” rival botanists compete for first prize at the Exotic Blooms From Bulbs Competition. When one of the botanists receives a bulb under unusual circumstances, will the bulb bloom into something bloodthirsty?
P.S.: The Extraordinary Visions anthology includes “Want of Air,” a story of yours with no animals. What inspired you to write it?
J.R.: “Want of Air” does not have animals in it, but in the story, Jordan’s mother, Karen, is working to protect a marine offshore area, and his father was an oceanographer. Jordan is clearly fond of living creatures as his bedroom is hung with photographs and illustrations of numerous sea creatures.
The inspiration for the story was my oldest son, Nathan, who began reading a shortened version of Twenty Thousand Leagues Under the Seas in grade four. Like Jordan, he became so involved in the book that he was identifying with the characters and their distress. He became anxious about the amount of air in our home. It was a cold winter day, and Nathan wanted the window open. For the story, I imagined what might have happened had Nathan opened the window on that bitter day. Thankfully, Nathan still has his dad in his life as my husband is very much alive.
P.S.: What is your current work in progress?
J.R.: I am currently working on more than one story. One of them is a science fiction tale about an elderly patient who has a robotic lion to help him manage his senior years. The patient’s son has tampered with the inner workings of his robotic pet who begins to engage in decidedly realistic lion behavior. The story is inspired by my dad’s current struggles and my work at the Calgary Zoo with lions.
Poseidon’s Scribe: What is your advice for aspiring fiction writers?
Janice Rider: Enjoy the writing process, connect with other writers, and carve out time to write, preferably each day. If I am writing something, and it ceases to be enjoyable, I step into another story and come back to the one I am struggling with later. I have a friend, Heather MacIntosh, who has also published short stories. Talking together and sharing our thoughts and tales has really inspired me to keep writing. When I write regularly, I feel content at the end of the day. It seems to me that writing, like qigong, is therapeutic.
Poseidon’s Scribe: Thank you, Janice. It’s good that you enjoy writing. I fear if I wrote about snakes, millipedes, and sharks, I’d be creeped out, not calm.
Readers can find out more about Janice on LinkedIn.
Readers will recall that the anthology Extraordinary Visions: Stories Inspired by Jules Verne came out in December. I’ve offered to interview authors of stories in that volume, and some have accepted. Today I bring you the first of those.
Joseph S. Walker’s short fiction has been published in Alfred Hitchcock’s Mystery Magazine, Ellery Queen’s Mystery Magazine, Mystery Weekly, Tough, and many other magazines and anthologies. His story “Crime Scene” is included in the 2023 editions of both The Best American Mystery and Suspense and The Mysterious Bookshop Presents the Best Mystery Stories of the Year (marking his third consecutive appearance in this collection). He has been nominated for the Edgar Award and the Derringer Award and has won the Bill Crider Prize for Short Fiction. He also won the Al Blanchard Award in 2019 and 2021.
Here’s the interview:
Poseidon’s Scribe: How did you get started writing fiction? What prompted you?
Joseph S. Walker: I wanted to write fiction from a very young age. It was in large part because of that desire that I majored in English, eventually getting a PhD in American Literature. In retrospect, though, this may have been a mistake, at least for me. Studying literature in such a rigorous way made actually writing fiction seem like an overwhelming prospect. Then, too, it has a tendency to make you feel like you should be aiming at mainstream or literary fiction, or whatever label you want to put on it. There’s been progress on that front, but genre writing is still treated as something of a second-tier arena in much of the academy. So for years I told myself I was a writer, but my time was mostly spent on academic articles, and a few rather dour, realistic stories I labored over for years.
It wasn’t until my 40s that I decided that if I wanted to be a writer, at some point I had to actually write something. I also decided that it didn’t have to be agonizing. It could be fun. It should be fun. I started writing things that I enjoyed writing, in the fields (mostly mystery and crime) that I enjoyed reading. One of the first stories I wrote with this mindset was accepted to Alfred Hitchcock’s Mystery Magazine, and from that point on all I wanted to do was write. I’m published more than eighty short stories now, and I just want to keep going.
P.S.: Who are some of your influences? What are a few of your favorite books?
J.S.W.: In terms of the actual style of my writing, I think the biggest influence would be Robert B. Parker, who created the private eye Spenser. I look at some of my earlier stories now, and it’s almost like I’m writing a pastiche of one of his Spenser novels. I think I’ve come a way in developing my own voice, but the echoes are still there. That said, the writer who made me want to be a writer was Harlan Ellison. He’s usually classified as a science fiction writer, though he also wrote a large number of crime stories. I loved his writing, and his essays especially have stayed with me. He made being a writer seem like a privilege, an honor, an obligation, and a lot of fun.
A few favorite books off the top of my head: Strange Wine (Harlan Ellison); When the Sacred Ginmill Closes (Lawrence Block); Lincoln in the Bardo (George Saunders); Possession (A. S. Byatt); A Catskill Eagle (Robert B. Parker); Last Chance to See (Douglas Adams); I’ll Be Gone in the Dark (Michelle McNamera); Devil in a Blue Dress (Walter Mosley)
P.S.: Your short stories tend to be about crime and mystery. What attracted you to these genres?
J.S.W.: Partly, it’s just the fact that it’s the genre I’ve always loved reading. I think my early reading history is shared with many of my fellow mystery writers: the Hardy Boys and the Three Investigators, then on to Doyle and Christie, then Hammett and Chandler, and so on up to Gillian Flynn and S. A. Cosby. And then, writing stories like this is fun for me. Starting a new story is always hard, but if you’re lucky there comes a moment when something clicks and the words seem to tumble onto the page. For me, that happens most often when I’m writing crime.
P.S.: You’ve got a story appearing in The Best American Mystery and Suspense, coming out in October. Please give us a hint about what to expect in this story.
J.S.W.: The story is question is “Crime Scene,” which originally appeared in Malice in Dallas, an anthology from the North Dallas chapter of Sisters in Crime. In my story, a semi-retired assassin takes an assignment to kill a prominent businessman, but the job has to be done in Dealey Plaza, on November 22, at a ceremony marking the anniversary of the Kennedy assassination. The story was my response to seeing Dealey Plaza in person for the first time, and being struck by how different it seemed from every picture of the area I’d ever seen.
Having the story selected for The Best American Mystery and Suspense (by series editor Steph Cha and guest editor Lisa Unger) is a true honor, especially since I’ve been faithfully buying every volume of this series since it was launched, as Best American Mystery Stories, back in the 1980s. As it happens, “Crime Scene” was also selected for the upcoming volume of the other annual best-of anthology in my field, The Mysterious Bookshop Presents the Best Mystery Stories of the Year (series editor Otto Penzler, guest editor Amor Towles). To the best of my knowledge, it’s the first story to be selected for both series!
P.S.: In what ways are your stories different from those of other crime and mystery fiction authors?
J.S.W.: This is probably a question which others are better suited to answer. I don’t know that writers are necessarily the best judges of their own work. That said, I think if there’s anything that distinguishes many of my stories, it would be an underlying concern with isolation and loneliness. My characters tend to be desperate people who can perhaps be saved if they can forge one genuine relationship with another person.
P.S.: Congratulations on winning the newly-instituted Bill Crider Prize for Short Fiction. Tell us about your story “The Last Man in Lafarge,” and about the experience of winning the award.
J.S.W.: The Bill Crider Prize was given for the first time at the 2019 Bouchercon, held in Dallas. I was very proud to win the award, especially since the contest was judged by Linda Landrigan and Janet Hutchings, the editors of, respectively, Alfred Hitchcock’s Mystery Magazine and Ellery Queen’s Mystery Magazine. At the time, there very much seemed to be a plan that the award would be given every year in honor of Mr. Crider, a prolific and skilled mystery writer. Unfortunately, in subsequent years this plan seems to have fallen by the wayside, perhaps in part because of the pandemic, which caused the 2020 and 2021 Bouchercons to be held in reduced form online. It’s possible I will go down as the only winner of the Crider Prize, but I very much hope the award does return.
Winning the award meant I got to attend my first Bouchercon, where I got to rub elbows with many of my favorite writers, meet some heroes, and make a lot of new friends. I left feeling determined to attend every year, not knowing that the next in-person convention wouldn’t be until three years later in Minneapolis.
As for “The Last Man in Lafarge,” it remains one of my favorites among my stories. It’s about a sheriff in a dying Texas town, a bartender with a mysterious past, and a prodigal son with the kind of secret that can get a person killed.
P.S.: You’ve won the Al Blanchard award for best New England-based crime stories twice! Once for your story, “Haven,” and later for your story “Herb Ecks Goes Underground.” What were those experiences like?
J.S.W.: Deeply gratifying! In 2021, a week after going to Dallas for Bouchercon, I got to go to Boston to attend the New England Crime Bake, a much smaller and more intimate mystery convention, to collect this award. Once again I had a fantastic time, and the experience only deepened my sense of having found my community among my fellow mystery writers. Unfortunately I wasn’t able to attend when I won the prize again in 2023, but it’s a wonderful contest, and I intend to keep entering every year.
P.S.: What are the easiest, and the most difficult, aspects of writing for you?
J.S.W.: The most difficult part, for me, is always actually starting. That applies to both starting a completely new story, and simply sitting down to start a writing session. Sitting at a computer with internet access, I can find 5000 ways to procrastinate before I actually manage to force myself to put something on the page. Once over that initial hump, things get—well, I won’t say easy, because it’s never easy. But easier.
As I say, no part of the process is easy. If there’s an area where I feel least like I’m fighting my way uphill, it’s probably writing dialogue. I just find that to be enjoyable, though I often get carried away and have to cut back on it in revision.
P.S.: Tell us a little about your story, “The Dominion of All the Earth,” in the Extraordinary Visions anthology. Do you consider it a departure from your usual story type, or a typical representative of it?
J.S.W.: “The Dominion of All the Earth” is very much a departure from my usual writing, which is a big part of the reason I was interested when I saw the call for stories. I like to occasionally challenge myself to do something that isn’t a crime story set in the present day. Seeing the call also gave me a strong sense of nostalgia, because I read and greatly enjoyed many of Verne’s novels in my youth. I figured there was a good chance that many, if not most, of the submitted stories would take 20,000 Leagues Under the Sea as their starting point, since Nemo is such a fascinating figure. That meant it would probably be a good idea to use a different Verne work, and I remembered that my other favorite was A Journey to the Center of the Earth. I reread the book, for the first time in decades, and thought there was a story to be told about how the subterranean world would absorb, and ultimately respond to, the damage done by the explorers from the surface world. In my story, it’s been fifty years since the excursion underground, and the response is finally coming.
P.S.: What is your current work in progress? Would you mind telling us a little about it?
J.S.W.: I write exclusively short stories (at least so far!), so what I’m working on changes very often. This is actually a big part of what I like about writing short stories. Instead of spending months, if not years, on a single narrative—and then waiting more years for publication—I can be working on something new virtually every week. If I write a story that’s too dark, I can follow it up with one that’s mostly humorous. Right at this moment, for example, I’m working on a story for a hardboiled anthology of 20s private eye stories, but I’m already sketching out an idea for a farcical heist story with a holiday theme.
I can say that I have some stories coming this year that I’m very proud of!
Poseidon’s Scribe: What advice can you offer aspiring writers?
Joseph S. Walker: It may sound simplistic, but the best advice is the simplest: write. I started being a productive writer the moment I stopped thinking about how great it would be to be a writer, and started actually writing. Put your ass in the chair and your fingers on the keys. Keep in mind that the real writing happens in the process of revision. I find this realization tremendously liberating. It means that I can throw virtually anything down on the page, knowing I’ll have the chance to come back later and work on it more. It gives me the freedom to be terrible, which liberates me from the burden of aiming for great.
Thanks, Joe.
Readers wanting more information about Joseph S. Walker can visit his website and follow him on Twitter and Amazon.
