Hate the Author, Not the Book?: When Horrible People Write Good Books

Erica here! One of the things I hope to do with By Her Shelf is to encourage readers to examine what their reading life says about them, and if it’s reflective of the person they are/want to be. In this vein, I’m opening up a controversial can of worms. This post doesn’t have the answers to the questions it asks…it just recognizes the need to have the questions and have the discussions. 

Although it just came out Friday, May 31st, it seems everyone on my social media has seen and is commenting on When They See Us, the new docu-drama based on the trial of the group of men formerly known as The Central Park 5 (now the Exonerated Five).

When They See Us

Ava DuVernay’s TV mini-series took over social media and Netflix, and has caused at least one key figure in the trial to experience book-related backlash.

The former head of the Manhattan District Attorney’s Office’s sex crimes unit, Linda Fairstein, has been receiving backlash for her handling of the trial all over social media and in the media. Many who watched the When They See Us have started campaigns to have the mysteries Fairstein has written boycotted, with calls for booksellers like Amazon and Barnes & Noble to stop carrying her books and boycotts of her publishers, Simon & Schuster and Penguin Random House.

We live in an interesting time when it comes to how we treat the art of people we don’t agree with morally, politically, or religiously, regardless of what their work addresses. Yet many literary works that are considered part of the classic canon or well loved were written by extremely flawed individuals. The cold hard fact is talent isn’t given only to the most virtuous or agreeable among us. But what does this obligate us to as readers, if anything? Can I read literature by people whose personal lives or belief systems are repugnant? Should their work be judged on its merits alone, or must we take the person who created it into account when choosing what we read?

This issue isn’t just affecting readers. The #metoo movement has spotlighted several celebrities in the movie and music industries accused of sexual assault, and many of the accused have been cut out of movies or experienced plummeting sales as consumers make their disgust and outrage felt by not financially supporting their projects. The recent college admissions scandal cost Lori Laughlin several roles, and caused some to wonder about Felicity Hoffman’s inclusion in When They See Us playing the aforementioned Fairstein. Even Chick-Fil-A was allegedly denied a restaurant in an airport due to donations made to Christian groups with “a history of anti-LGBTQ discrimination.” It seems Americans and decision makers have decided to “cancel” artists over personal beliefs and conduct unrelated to their works.

Yet there are still several in the pop culture and literary canon who, given this line of thought, should be removed from required reading lists. Lists of beloved children’s authors and members of the American literary canon include men and women who were/are attempted murderers, sexual predators, racists, Nazi sympathizers, perpetrators of domestic violence, drug abusers and alcoholics. How far should these campaigns to scrub an author’s work go? What traits should they look for in authors to determine who should be effectively silenced? Who gets to decide?

Ultimately, America is touted as the land of the free. Every American has the right to choose whose books they will read, movies they will watch, and food they will eat (except in public schools with set curriculums in their formative years). You can spend your money and time in support of the things others are in opposition to if you’re so inclined. I’m most interested in the question of reader responsibility: What responsibility do we have to express our personal convictions in our reading lives beyond what we read? Should who wrote the book matter just as much as or more than the content of the specific work? Let me know your thoughts below. 

Articles of interest (not endorsements or agreements):

Respected Writers Who Were Actually Horrible People– Grunge.com

‘When They See Us’ Sparks Boycott of Linda Fairstein Books– New York Post

Central Park 5 Prosecutor Linda Fairstein Faces Backlash after ‘When They See Us’ – AM New York

Pay to Peruse?: What ARC-Gate Means to Readers & Reviewers

There’s a little drama playing out all across authortube, and while I realize this is a reading blog, I feel as if I would be remiss if I didn’t address this issue that may affect our reading lives as the book publishing realm continues to change.

For those of you who are unaware, Creative Entrepreneur and Young Adult/Self-Help author Kristen Martin sparked a bit of controversy when she announced how she was going to handle advanced reader copies (ARCs) of her upcoming releases. Martin has started a Patreon community, where fans of an author or artist’s work can subscribe for exclusive content, sneak peeks, and early access to offerings. Martin announced her plans to offer ARCs to those who are subscribed to her Patreon at the highest level of $50/month for at least 3 months, which prompted many to speak out against her $150 ARCs.

#ARCSAreFree
A small portion of the videos that come up when you search “ARCs are free.” Notice 3/4 pertain to Kristen and ARC-Gate

Traditionally, publishers offer advanced reader copies to reviewers, hosts and influencers free of charge. In fact, many send additional gifts to top influencers, all in exchange for mentioning/reviewing the book. The cost of the package they send is their price of admission to access the audience. It should also be noted that the goal of sending out ARCs is to create buzz ahead of a book’s release with honest reviews and endorsements. As the indie publishing sphere has grown, authors who self-published have started offering ARCs as well. The practice isn’t new to either group, and it seemed everyone accepted the fact that ARCs are about exposure and future profit, not a product for immediate profit. Martin’s move shook up the writing and reading community and called us to examine whether the way it’s always been is the way it should continue to be.

As a writer, reader, and reviewer, my thoughts have thoughts on this approach. The first thing I thought was that Martin’s business mentor or coach messed up. Maybe the person/people she’s looking to for guidance on growing her business didn’t fully understand the bookish community and saw an untapped opportunity for profit in a space reserved for exposure and honest early feedback. Maybe Martin focused in on an option offering exclusive access to her most invested fans without realizing how it would appear. Maybe she didn’t think people would conclude she’s charging $150 for access to her ARCs. As far as I’ve seen, Martin hasn’t addressed this at all, so I don’t know what her thoughts are on the backlash. What I do know, is that the rise in indie publishing and changes to the publishing industry in general have allowed us all the ability to question how things have always been done and whether that’s the best course of action going forward, even when it comes to something like this.

In my opinion, the purpose of Advanced Reader Copies is to generate buzz and reviews for a book ahead of its release. In order to keep the review process honest, no one should have to pay for a review copy, and no one should be paid by a publisher or author for writing a review. I don’t think there’s anything wrong with giving your biggest supporters ARCs of your book first. This is pretty much the purpose of launch teams. Launch teams—and, I would add, influencers, Patreon subscribers and members of similarly exclusive groups—are given other gifts in exchange for promoting the book, but they don’t have to pay for the privilege. I know the inherent cost of producing and distributing ARCs can be prohibitive for some, but this cost shouldn’t be past to those who support you the most.

A long time ago, when CDs were the way we consumed music, I got a bee in my bonnet over Usher’s Confessions album. I went to Best Buy when it came out and bought my copy like a real fan instead of illegally downloading it or waiting for the bargain bin. After the album had been out for a while, an extended version with additional songs was released, and I felt like I’d been punished for buying it earlier. They wanted me to pay the price of another CD for three or four additional songs, and I didn’t think it was fair to do that to real fans of his work. If anything, the first run of CDs should have had the exclusive content, in my opinion.

I feel the same way about ARCs. ARCs are usually uncorrected proof copies, not polished products. They are sent out for critical analysis ahead of the book’s release. True fans who are a part of your launch team or Patreon or other exclusive group should be given more than an ARC to show your appreciation. If I really enjoy an ARC, I buy the book when it comes out, even if only to sponsor a giveaway. I know how much it costs to offer a book for free. I’m committed to being better about reviewing the ARCs I receive for this reason as well. The official position of By Her Shelf is “Keep ARCs free, and reward your supporters with some other exclusive offering.”

What are your thoughts on Advanced Reader Copies? Should authors/publishers be paid for them? As a reader, what do you expect from authors and early reviewers? Let me know what you think below!