What Is Fan Fic?

What Is Fan Fiction?:
How to tell it from the other stuff

Approximately where I was standing,
when I described the fortress filling the horizon.

Here at the Wright Household, this article is legendary.

This is in part because I’ve been talking about writing it for at least a year and a half. It is more, however, because of my now-famous speech—in which I laid out for two of our sons the main points I wished to cover in such an essay.

It was December of 2015, and we stood on the ramparts at Bear’s Den in the Blue Ridge Mountains, looking out upon miles of countryside. As we halted atop the rocks, where the Appalachian Trail passes, I spread my arm, gesturing toward the open valley stretching beneath us and exclaimed:

“Imagine an immense black fortress, stretching as far as the eyes can see. The vast bulk rises up over the Blue Ridges, dominating the landscape. It is made of solid basalt, and it stretches for miles and miles. It has smooth sides with no handholds, crisply-cut crenulations along the top, and looming towers, from which a lookout could spot anyone approaching from any direction.

 “Now, imagine this fortress represents the personality and qualities of impressive characters, such as Dr. Doom, Spock, Snape, or Batman. Pick your favorite.

 “Each ‘stone’ of the fortress wall represents a quality about that character. Each was carefully hand-placed by the creators—writers, artists, actors, etc.—who helped shape the character. Together, these blocks of character developing, backstory, speech patterns, appearance, and actions form, in the mind of the audience, the titanic, solid edifice that make up our favorite characters.

 “Now imagine that in all that vast, impenetrable, solidness, there exists only one window. It is a round window, the size of a porthole.

“On one occasion, once, a candle passed by this window.

“This flicker of light, seen through the tiny window, represents the emotions displayed by our character, a brief glimpse of suffering or hope or love in an otherwise impassive character.

 “Fan fiction narrows the focus of the camera to that window. Sometimes, maybe, it shows a little bit of the basalt surrounding it. Instead of one flicker of candlelight, it fills the window with flames and fireworks.

 “It then relies on the fan to imagine that the fortress is still present, even though the enormous mile-long basalt bulk of the rest of it is never so much as glimpsed.”

And, this, folks, is—in a nutshell—the difference between fan fiction and the other stuff.

*

Before we continue, let us pause for some definitions:

Professional – a writer who gets paid.

Amateur – a writer who does not get paid.

Well-Crafted Writing – solid writing and storytelling.

Fan Fiction or Fanfic – what we are talking about in this essay.

For the purpose of this article, the term fan fiction has nothing to do with getting paid. Both professional writers and amateur writers can write solidly-crafted fiction or fan fiction.

*

Note: Just because fan fiction, as defined, is not well-crafted does not mean that it is wicked or stupid. It can be great fun to write, and millions of fans love reading it. Some fiction written by fans for fans is well-crafted and does not fit the definition of fanfic used in this article. However, even the badly-written stuff can be great fun.

If you love writing or reading fan fiction, don’t let me or anyone else interfere with your joy!

*

That being said, let us look at our fundamental question: How do you tell well-crafted fiction from fan fiction?

Some people today try to use sardonically apply the term fan fiction to anything that takes place in another writer’s background.

Using characters and locations from earlier works in one’s fiction, however, is an age old tradition. Writers in ages past were expected to build on what had come before them. If it were the case that anything written using someone else’s characters or setting was automatically fan fiction, we would have to refer to Mid-Summer’s Night Dream by Shakespeare as “Huor of Bordeux fan fiction.”

Or label every episode of Batman or Superman that was not written by the original creator of the character as fanfic.

Both of these things would just be silly.

I first started wondering about this subject when I saw someone refer to my husband (author John C. Wright)’s novel Awake in the Nightland as “Nightland fanfic.” I remember frowning and thinking, “Something’s not right about that.”

I doubly thought this when I heard Andy Robertson’s story of discovering John’s Nightland tales when Mr. Robertson was running the Nightland website. He described how he and a few other writers were playing at writing Nightland stories, basically writing Nightland fan fiction…and then, John, this writer he had never heard of submitted the real thing.

Andy Robertson recognized that there was a difference between fan fiction and what John had submitted.

This subject reared its head again with the publication of Harry Potter and the Cursed Child. The script was approved by the author. Thousands have seen the play, and, yet, the debate rages on: Is Harry Potter and the Cursed Child fan fiction?

The fact that a serious debate can take place on this subject regardless of the original author’s support shows that there is more to the issue than just ownership of the character.

What finally pushed me over the edge, however, was a brief, unpleasant foray into modern Marvel comics.

Marvel has replaced all the original heroes we love with new heroes of the same name who are different. This might not too bad, if the characters were noble and heroic, but they are not. The new set of characters emote. They stand around while others admire or adore them, and they do easily tasks that the real heroes found difficult.

There was something familiar about this kind of writing. I had seen it before. But it took thinking about it for a bit before I sat up and exclaimed, “Oh, I get it! They’re writing Marvel fanfic!”

For all I know, they actually hired fan fiction writers to be their current writers. If so, that would explain a lot!

So what is fanfic?

The key to understanding the difference between well-crafted writing and fan fiction is to remember the fortress and the window.

You can write about the fortress without mentioning the window. But, you can’t write about the window without depending on the reader to be picturing the fortress. Because the whole point of showing flames and fireworks in the porthole is to give the impression that these are the true passions secretly raging in the heart of the otherwise impassive character.

If the audience is not picturing an impassive character, the fanfic doesn’t work.

Fan fiction, by nature, is parasitical. Like mistletoe growing on oak, it cannot succeed without a host story, the work of the original creator, to prop them up. In this case, the oak is the “fortress”—i.e., the work done by the original creator/series/etc. to establish the character.

No one is amazed when Spock falls for Mary Sue—unless they believe the person doing the falling is the one true Spock, the emotionless Vulcan.

Because winning the heart of a Vulcan is exciting.

Winning the heart of Joe, an overly-emotional guy?

Not so much.

No one is amazed Dr. Doom is beaten by Gary Stu, unless they are picturing the character being beaten as the most impressive villain of them all, the tyrant ruler of Latvaria with his vast armies of robot Dooms. Actually being able to finally defeat Dr. Doom, at least without the use of squirrels, would be truly exciting.

But if Gary Stu merely beats Steve the Thug?

Not so much.

Basically, well-crafted fiction tells a story that is true to the characters and setting. Fan fiction puts the personal desires of the writer and the fans above the needs of the story.

Jason Rennie, publisher of Superversive Press, described it: “The bad stuff feels wrong because it is forcing characters and a universe into a direction it won’t naturally go. You need to do violence to the universe like some incompetent interventionist god to make it bend the way you want.

But the good stuff, like the [Monster Hunter International] add-on stories work because they fit in the universe and don’t do violence too it. They feel like they belong.

Lady Thor and Black Chick Ironman do violence to the universe to fit, as does Mary Sue etc.

But good “fan fic” like Star Trek Continues doesn’t do that.”

 Mr. Rennie defines fan fiction as “doing violence to the [fictional] universe.” What does he mean by that? What is the kind of violence that is usually done?

The first kind of violence is emotional.

I mentioned the tiny porthole through which a single candle passes as an analogy for the emotions showed by some stalwart characters. They act out of duty or purpose and do not let their emotions come between them and their goal.   Only rarely, at moments of high tension, do they occasionally reveal the single crack in their fortress-armor.

Fan fiction rips open that crack and makes the whole story about emotions—emotions that the character would never ordinarily express.

After prohibition ended in America, it became popular to have movies that glorified drinking, such as Philadelphia Story, where partway through the story, the dignified main characters would drink too much and suddenly blurt out what they were really thinking.

Or they would kiss someone that they would never otherwise have kissed.

Emotional fanfic treats the our characters as if they are perpetually drunk…or worse…so that they act without inhibitions, saying or doing things that the real character—the one that has to live with the consequences of their actions and who, usually, has some modicum of dignity—would never do.

Fanfic characters blurt out their loves, hates, romantic longings, and fears…personal things most characters would never reveal come pouring out of their mouths. Even worse than never reveal, things they would never feel come gushing out.

Other types of violence include:

Talking about nothing real—conversation limited to things like relationships, how awesome they are, and other simplistic conversations

Overly simplistic relationships: everyone is so buddy buddy, without the real differences of personality that every human relationship faces.

Super-cool wow wonder—a lot of time is spent on how much other people admire the character.

The ability to easily beat anything…quickly.

Years ago, John and I used to watch Star Trek: Next Gen, which we, for the most part, enjoyed very much. But they had one tendency that used to drive me crazy. In order to show how tough an enemy was, they would have the enemy beat Worf the Klingon.

Only, they never spent any time building the fortress that is Worf—ie, showing him using his great fighting prowess to win the day. They merely traded on the viewers knowledge that Klingons were tough in order to demonstrate how much tougher others were.

This went on for a while, with Worf being tossed around in a number of shows in a row. Then one day, emotional counselor Deanna Troy was possessed by an evil power, and—to show how EVIL the power was—she picked up and tossed…Worf.

And I jumped up from where I sat on the couch beside John and shouted at the TV: “That’s not Worf! That’s a Worf-shaped balloon!”

 And that is what happens in fanfic. It’s not Snape who falls in love with Hermione, it’s a Snape-shaped balloon. It’s not Sabertooth—the baddy who used to beat Wolverine to a pulp—that Wolverine’s adopted daughter beats up with one punch, it’s a Sabertooth balloon. (Wish that was fanfic. That one was Marvel.)

And that, in a nutshell, is the problem with most fan fiction pieces. Sooner or later the reader looks up from the porthole where all these wild emotions are happening and exclaims, “This isn’t a fortress! It’s just a fortress-shaped balloon!”

Essayist extraordinaire Tom Simon offers both a historical perspective and additional terms that could be useful to future discussions on this topic: “Puts me in mind of the flap between Samuel Richardson and Henry Fielding. Richardson more or less invented the epistolary novel with Pamela, which was a shamelessly sentimental and long-winded tear-jerker that even most aficionados of eighteenth-century novels now find unreadable. Henry Fielding wrote Joseph Andrews, a novel ostensibly about Pamela’s brother, but in a completely different tone – lighthearted, humorous, and salted with picaresque adventure. Richardson was furious, and called Joseph Andrews a ‘lewd and ungenerous engraftment’ on his own novel.

 “In the same way, we could fairly call 50 Shades a lewd and ungenerous engraftment on Twilight; lewd, especially. Wicked is an engraftment on The Wonderful Wizard of Oz. Fan fiction of the Mary Sue or slash types could be generally described as engraftments; whereas a genuine contribution to a canon grows organically from the characters and situations already developed.

“Perhaps we could reverse-engineer a terminology for this. The original source material would be root stories; sequels and prequels and shared-world stuff, if done competently and with respect for the root, would be branches; stuff that really does not belong, but is forced on out of fan-service, moneygrubbing, or sheer self-indulgence, we can call by Richardson’s term –  engraftments.

“This not only takes the pro-vs.-amateur question out of the equation, it is also independent of the authorized-vs.-unauthorized issue. For instance, The Phantom Menace may have been an authorized part of the Star Wars canon, but it is so different in tone and intention, and does such shameless violence to the previous canon, that we may fairly call it an engraftment on Star Wars – even though it was done by the same writer and director.”

 An author of well-crafted fiction is the servant of his muse. He listens to the words and wisdom the Divine Muse sends. He writes a story that honors the characters, plots, and themes he has been given.

A fan fiction author expects the plot and characters to perform for him. He, as we heard above, does violence to the source material. Or, at the very least, he leans on the source material for the force of his story, without himself adding to the “fortress.”

You have heard of people who are tone deaf.

Fan fiction is muse-deaf.

 

The Iconic Hero and the Superversive

I make no bones about the fact that I prefer Sean Connery when I’m talking about James Bond movies. It’s not merely that his take on the character is consistently entertaining, but that it’s consistent period from film to film. This is a man who knows who and what he is, does not apologize for it, and has no issues with what he does; he lives for the mission, and believes in the mission. It’s nothing like Danial Craig’s Bond at all. Robin D.
Laws identifies this as “The Iconic Hero”, and explained in this 2012 post why this is a valid characterization choice:

While a dramatic hero follows a character arc in which he is changed by his experience of the world (examples: Orpheus, King Lear, Ben Braddock), an iconic hero undertakes tasks (often serially) and changes the world, restoring order to it, by remaining true to his essential self.

Prevailing creative writing wisdom favors the changeable dramatic character over his serially unchanging iconic counterpart, but examples of the latter remain enduring tentpoles of popular culture. It’s the clear, simple, elemental iconic heroes who keep getting reinvented every generation. Each such classic character spoke to the era of its invention, while also evoking an eternal quality granting it a continuing resonance. We are going to create a new set of heroes who speak to the contemporary world while evoking the inescapable power of the iconic model.

An iconic hero re-imposes order on the world by reasserting his essential selfhood. The nature of his radical individuality can be summed up with a statement of his iconic ethos. It is the ethos that grants higher meaning to the hero’s actions, and a clue to his creator’s intentions. An iconic hero’s ethos motivates and empowers him.

The first paragraph in particular is the mission of a Superversive hero: to restore order to the world. What he does is how he makes that happen, that assertion Laws speaks of, is where the variation lies. In the quoted post, Laws goes over several iconic characters and shows how you can summarize their stories in a sentence by identifying their ethos and how they assert it to restore order to their world time and again. What he doesn’t identify, but nonetheless shows, is that this summary also serves as the basis for every story outline you’ll need in writing stories about those characters that are true and faithful additions to their literary corpus that the readers will accept.

There’s something else that this post, and the concept in it, reveals: how the Enemy subverts the culture. They do resort to making Iconic Heroes into Dynamic Characters, putting them through “arcs” that denigrate their ethos and thereby degrade the characters into agents of subversion to further the Enemy’s agenda. (One need only look at what goes on at Marvel and D.C. Comics to see this in action.)

While stories that have characters changed by the experiences of the narrative are necessary and valuable, this is not a universal requirement. Just look at what’s been done with the Arthurian Mythos to see (a) that it’s not necessary and (b) it’s often done to subvert, degrade, and destroy a targeted culture- and therefore, not to be trusted anymore.

Consider an Iconic Hero when you’re next sitting down to create something, especially if you’re looking to do so as part of a series–writing, gaming, etc.–because you may find it better suited to your objectives than you might think.

A Sales Shot…selling ebooks today

Jonathan Moeller, Pulp Writer

The intrepid Jonathan Moeller, who has had bestselling books on more than one platform, talks about the numbers on his blog.

He says:

Some writers hate, hate, hate the business side of self-publishing. I don’t! Because if you understand the business side, it can give you the freedom and control to write what you like, which is why I’m finishing up the nineteenth Caina book for release next month.

Nineteen! How many other book series go that long? Some do, but not that many.

Anyway, I write and publish a lot, but in April 2017 I didn’t publish anything because I spent the entirety of my writing time for the month finishing up FROSTBORN: THE SHADOW PRISON. So I was really curious to see how the ebook sales would break down without anything new in the mix, because (usually) a new book sells better than anything else.

So, here is how my ebook sales broke down by platform in April 2017:

Amazon US: 39.3%
Amazon UK: 29.8%
Google Play: 17.7%
Kobo: 8%
Amazon AU: 4%
Barnes & Noble: 3%
iTunes: 2.4%
Amazon All Other Countries: 1.7%

Read the rest…

Corroding Empire: Amazon’s Civil War

The controversy over The Corroding Empire just gets stranger and stranger.

The Corroding Empire

Amazon KDP has given Castalia House’s new science fiction parody more green and red lights than a drag racing track.

First it was thought that the book had been pulled at the behest of Tor Books, publisher of The Collapsing Empire.

Suspicion also fell on Collapsing Empire author John Scalzi, who tweeted this message the same day:

However, details emerged last night that neither Tor, Scalzi, nor Amazon per se were to blame for The Corroding Empire’s publication delays. Castalia House Lead Editor Vox Day explained:

UPDATE: Since some people seem to want to go on the warpath, let me be perfectly clear here: Amazon is not to blame. I even suspect that it is entirely possible that Tor Books is not to blame either, based on a) when the book was pulled and b) the fact that the book has shown as Live for nearly 24 hours but still does not have a page on any Amazon site. The most likely scenario, in my opinion, is a rogue low-level SJW employee, possibly two, in a specific department.

I have already spoken to the manager of one department and they have begun to investigate why Corrosion is Live but not available. They’ve done everything we asked and we have no problem with the way we have been treated.

Today, Vox announced that Corrosion (The Corroding Empire Book 1) was finally live on KDP.

As we suspected, there appear to have been internal shenanigans taking place at Amazon, as one or more SJWs appear to have abused their positions to interfere with our ability to sell THE CORRODING EMPIRE.

We’re still working with Amazon to sort out exactly who was responsible for precisely what, and to establish what, if anything, legitimately needed to be changed according to their guidelines. This should all be nailed down by the end of the day, but in the meantime, you can now order the book and post reviews again.

The Corroding Empire isn’t out of the woods yet, because following that conversation, it was blocked again, reinstated again and blocked a third time in short order.

Corrosion (The Corroding Empire Book 1)

Here is where the matter stands as of this writing:

UPDATE: Finally got to speak to a supervisor. She’s not only escalated the matter to legal, but has assured me that the book will be unblocked, stay unblocked, and that the matter will be fully investigated. It’s not just the three blocks, the culprit(s) also put the book on the Excluded list for Amazon Associates, which prevents others from being paid when someone buys the book.

The publisher insists that the issue is with rogue elements within KDP quality control and not with Amazon itself. If so, we could be witnessing a civil war within the world’s largest book distributor. However the situation gets sorted out, the resolution should be informative for publishers, authors, and readers alike.

@BrianNiemeier

MILO Witch Hunt Unmasks Legacy Publishers, Media

MILO

 

Media witch hunt

The recent witch hunt against Milo Yiannopoulos offered a valuable insight into how the legacy media, the political establishment, and New York publishers operate and what their real motives are.

The elites who run our government, press, and entertainment industries see themselves as better educated, better morally, and simply better than the people they seek to control.That’s why they’re unpersoning a gay Catholic of Jewish ancestry–because he poses a threat to their cultural dominance.

Look at the timing of their attacks. Three weeks ago, Leftist terrorists started riots over Milo’s planned speech at UC Berkeley. As a result, his upcoming book Dangerous climbed to the top of Amazon (which I can personally attest to, since a book on which Milo and I are credited as co-authors received a similar bump). Last week, he appeared with Bill Maher on HBO. Then came his (now cancelled) CPAC keynote speech announcement.

As independent author and journalist Mike Cernovich notes, Milo’s meteoric rise was on course to land him his own show on Fox News. The media and political elite that Milo has made a career of lambasting couldn’t allow that. In their panic to keep Milo from going mainstream, they got desperate.

Concern trolls are playing into the enemy’s hands.

Before we talk about what the media establishment’s dog-piling on Milo means for free expression, particularly on the part of non-Leftists who want to remain employed and enfranchised, let’s dispense with the blatantly ridiculous narrative that’s been deployed against him.

Here’s the video that was cherry-picked to falsely portray Milo as a pedophilia apologist. The conversation that the press mined for quotes occurs from 1:01:38 to 1:06:07 [Warning: NSFW language].

Law professor Glenn Reynolds examines a transcript of the video and delivers his informed opinion exonerating Milo (emphasis mine):

“It’s complicated” is usually the correct answer about questions concerning sex. But Milo’s actual position on pedophilia — he’s outed three pederasts in his reporting — doesn’t seem complicated at all.

Here is Milo’s own statement on the matter. The definitive quote:

I do not advocate for illegal behavior. I explicitly say on the tapes, in a section that was cut from the footage you have seen, that I think the current age of consent is “about right.” I do not believe any change in the the legal age of consent is justifiable or desirable.

Read the rest for some indispensable and devastating context. The short version: Milo himself was abused as a minor–in some instances by a priest. He continues to work through his childhood trauma using humor. His comments in the video weren’t intended to advocate for pedophilia–which he specifically denounced–or to belittle other victims.

Milo reiterates and expands on these points in his press conference from earlier this afternoon.

By spinning a pedophilia advocacy narrative against a victim of child sex abuse, the media establishment showed just how frightened they are.

The footage they’re using to crucify Milo has been publicly available for over a year. This isn’t a case of skeletons hidden in someone’s closet suddenly coming to light. It’s a brazen, coordinated attempt to de-platform a rival who’s proved spectacularly effective at competing for the public’s attention–specifically the vital college-age demographic.

In their attempt to destroy Milo, the legacy media resorted to pure Alinsky tactics. They targeted Milo personally and tried to polarize the Right into pro and anti-Milo camps by playing Conservatives’ own principles against them. Though support for Milo remains strong, more than a few people who are otherwise opposed to the social, political, and spiritual destruction wreaked by the mainstream media have been duped into helping them by letting themselves be led into the weeds of pointless semantic arguments and Pharisaism.

And if you think they won’t do it to you, it just means you’re not big enough yet.

The best argument for indie

Descending into the journalistic gutter to pull down Milo tipped the establishment’s hand. When they claim to champion the rights of gays, minorities, and immigrants; yet converge to destroy a homosexual Jew visiting the US from Europe, its obvious that all they care about is power.

They’re also projecting, as Milo’s former publisher Simon & Schuster demonstrate by continuing to publish admitted incestuous pedophile Lena Dunham. Aware of the glaring double standard, Salon tried to scrub all of the pro-pedophilia articles from their site. Unfortunately for them, the internet is forever.

What does all of this mean for non-Left wing writers, journalists, and public figures?

  1. Most of the government, media, and entertainment industry is corrupt. The elites who run the bureaucracies in Washington, Hollywood, and New York care only about maintaining their monopolies on power.
  2. Since their primary concern is maintaining their narrative, and because that narrative contradicts reality, the mainstream press cannot be trusted.
  3. Given that the legacy media is wholly invested in keeping its monopoly and will shamelessly lie to protect said monopoly, they will not think twice about turning their heavy artillery against anyone who dissents. This means YOU.
  4. Before indulging the urge to join the latest MSM witch hunt under the aegis of “keeping your side honest”, remember that the other side are proven liars who will distort or fabricate facts as convenient to push their narrative. Divide and conquer is their strategy. Don’t be a useful idiot.
  5. Legacy publishers are no longer a viable option for authors who are anywhere to the right of Mao. That goes double for the Big Five New York publishers. This is a blessing in disguise, since indie is almost always a smarter alternative to trad book publishing, anyway. The only exceptions I know of are Castalia House–who will be publishing my next book–and Baen.
  6. It doesn’t matter how lucrative or high-profile your brand is. The corrupt entertainment industry will gladly sacrifice anyone who deviates from the approved narrative. S&S forfeited at least $80 thousand of Milo’s advance, many times that in pre-order refunds, guaranteed spots on every major bestseller list, and millions in future sales. They knew this and still cancelled his book deal because power is more important to them than money.
  7. We need to wake up and realize that the industries and institutions that used to serve us have become not merely self-serving, but actively hostile to most people. You can’t depend on them. Stop helping them. Don’t give them one red cent of your dwindling, hard-earned wages. If you’re an author, use nontraditional publishing channels. If you have the means, build alternative platforms free of the thought police.
I don’t expect people over a certain age to understand the gravity of the situation. But for anyone who’s watched childhood promises of prosperity, an even playing field where success depends on merit, or even basic survival evaporate, trust your eyes. We are at war because war is being made on us. No one’s shooting yet, but our liberties and livelihoods are under attack by history’s most powerful cabal of lawless tyrants.
Worst of all, our forebears let the establishment have this unprecedented power over us. Our parents, professors, pastors, and politicians gave up the Western culture that was our inheritance without a fight. Mostly because they didn’t want to look “hypocritical” or “intolerant”.
Dislike Milo if you want. You’re entitled to your opinion, and I’m not here to police anyone’s thoughts.
But if you act on misinformed opinions by joining the establishment’s witch hunt against Milo–or any other outspoken critic of the mainstream media’s campaign to quash everyone’s right to free thought–you make yourself a willing pawn of billion dollar corporations who want to see you enslaved or dead.
You say you’re protecting our side from hypocrisy and moral turpitude? I say you’re just virtue-signaling. It doesn’t make sense to fret about the sniper who might be hiding in the hills when you’re surrounded by conspirators who are currently stabbing you to death.

Let’s get our priorities straight.

@BrianNiemeier

Rumors, Bargains and Lies

As was mentioned recently on someone else’s blog, it’s not nice to spread rumors.

Sadly, rumors have become a way of life, in SFF publishing as well as the real world. After all, just imagine if a professionally published author, or someone with a publishing house, went after a small, independently published author. In public. I mean, just imagine what that would do to them — or theoretically do to them. A personal attack from an established professional in your field? One can only imagine what the end goal is — personal or professional destruction.

For example, last year, when George RR Martin went after the Best Related category in the Hugos, calling all of it a toxic swamp. Many of those books were about serious, real world issues that needed to be addressed, and problems that needed to be fixed. Then there was Chuck Tingle, but that’s another story.

Then there were the numerous people who went after Brian Niemeier.

Even I had a flurry of rumors flung at me recently. I’m still trying to find out what drugs someone had to be on to accuse me of being a womanizer — hilarious to anyone who has ever seen me in person, and has seen my fashion sense.

Now, there are even rumors flying around about Lovecraft and Heinlein, even though they’re dead. Heinlein is accused of being sexist. Lovecraft is accused of racism, et al. The Heinlein accusation is stupid, if only because his heroines were smarter than the average bear. The Lovecraft accusation is totally irrelevant to writing about elder gods.

Over in the “real world,” rumors seem to have taken the place of news, and accusations du jour are headlines, with the corrections and the full story taking a back page somewhere.

Rumors are hateful, soul-destroying and corrupting things. You have to wonder about the people who spread the rumors. What goes through their minds as they do it? What motivates bigger names to go out of their way to crush smaller names? Some of these people waste thousands of words with snide jabs and subtle smears. Seriously, who does that? How do they even have the time do to that? Especially GRR Martin, doesn’t he have a book to finish?

Be Superversive — our job is to uplift, elevate. Rumors don’t accomplish that.

Here’s a solution: Catholic Vampire Romance novels….

Or Arthurian romance fighting off the end of the world.

Or a better written Harry Potter….

Because sometimes fiction makes everything better.

Declan Finn is a Dragon Award nominated author. His “Catholic Vampire romance novels” can be found on his personal website. As well as all the other strange things he does.

Do You Dare To Think Forbidden Thoughts?

In a world gone mad with special snowflakes, SJWs, Thought Police, and message fiction, there is one band of authors that stand against it all; refusing to bow before the tidal wave of the narrative.

There are many, readers and authors alike, that are tired of being told what they can and can’t write and read. That they must check all the boxes and post all the trigger warnings. That they must only agree with the Right Think. And that they never EVER even think about having different opinions, lest the mob come down on them with shouts of racist! sexist! Homophobe!

We’re sick of that. We don’t want message fiction, we want GOOD fiction. We want to be entertained, not bashed over the head with propaganda. We want diversity in fiction. But not racism disguised as diversity (like only reading, or not reading, authors because of their sex or skin color.) We want diversity in thought. Especially in science fiction.

That is what our genre is all about! Speculating about society and the future, wondering “what if?” and not shying away from difficult questions. No, we want to explore those questions, challenge those question, and answer them in our own way.  We want stories that are enjoyable and well crafted. We want stories that challenge our ideas and ideologies, and want to be able to write things that challenge even the most accepted trends in our times.  We want stories…. That. Make. Us. Think.

To censor is to murder free thought. And to murder free thought is to destroy our beloved genre.  And without our writers of science fiction speculating and wondering and weaving stories, who will dare dream of the future in a world so obsessed with itself?

This is why Forbidden Thoughts was created. We wanted to write stories that go so far against the grain, that it wakes people to the censorship that is taking hold in the publishing world. We wanted to write stories that challenge the ideals of today. Why? Because we can. And because it’s needed.

So if you are also weary of the same tripe being forced in your entertainment, if you want good stories and challenging outlooks, if you miss what science fiction used to be about, go check out a copy of this anthology. Available on Kindle for the price of a cup of coffee, and coming soon in paperback form. Plus, on January 20th, we will be having a release party live chat over at the SuperversiveSF blog.

Featuring  a foreword by Milo Yiannopoulos, and stories by:

Vox Day,

John C. Wright,

L. Jagi Lamplighter,

Brian Niemeier,

Sarah A. Hoyt,

Nick Cole,

And many more, including yours truly.

WARNING: Not recommended for special snowflakes, for there are no safe spaces here!

-This message brought to you by author A.M. Freeman 

You are not supposed to read this book.
You are not supposed to think about reading this book.
In fact, just plain thinking at all is unacceptable.
You have been warned….

From hilarious to horrifying to dangerously insightful, a selection of stories that must not be told, for they slaughter the sacred cows of our age.

Do you dare read them?

Get your Forbidden Thoughts Here!

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