29 May 2018

Are the Sensitivity Police Coming to Get You?

by Paul D. Marks, Jonathan Brown, Elaine Ash


— Context and White Heat – Paul
— Dude? Why so Sensitive? – Jonathan Brown
— The Right to Write – Elaine Ash
— Paul’s original post
— In conclusion – Paul

“In the future days, which we seek to make secure, we look forward to a world founded upon four essential human freedoms.

The first is freedom of speech and expression–everywhere in the world.”

                                                       —President Franklin D. Roosevelt, the Four Freedoms Speech


It’s time to revisit a topic that’s very important to me, and I would think it should be to all writers. And though some of it may be repetitive, and it is long, I think it’s worth your time if you’re a writer, a reader, a sentient being.

In March, 2017, I did a piece here about the Sensitivity Police (find it at this link, but also “reprinted” near the end of this new post, http://www.sleuthsayers.org/2017/03/the-sensitivity-police.html ). I don’t get very political on social media. There’s only two things that I talk about in that regard and then not that much. The two things are animal issues and free speech issues. The latter is what this post is about. In a nutshell, I’m a free speech absolutist. There’s almost nothing I don’t think people should be allowed to say or put in print. It can be awful and hateful and offend you or me. But that’s what’s great about this country – you have the right to say what you want. I don’t have to agree, I don’t have to break bread with you, but I’ll fight for your right to say it.

I see things all the time that I agree or disagree with but I don’t see much point getting into verbal firefights about them. I’m not going to change any minds and no one is going to change mine. Mostly, I just scroll past political posts.

This revisit is prompted by an article I saw recently in the Guardian, the British paper. The article was “Lionel Shriver says 'politically correct censorship' is damaging fiction.”  https://www.theguardian.com/books/2018/feb/22/lionel-shriver-says-politically-correct-censorship-is-damaging-fiction

To be honest, I hadn’t heard of Lionel Shriver. And I still haven’t read her works. But I agree with that statement. Again, I am a total free speech advocate. I know the arguments about shouting fire in a crowded theatre or hurting people’s feelings, but I also remember when the ACLU defended the Nazis’ right to march in the Jewish suburb of Skokie, Illinois. (And for the simpletons out there, No, I’m not pro-Nazi!) And I remember when people would say “I may not agree with what you say but I’ll defend to the death your right to say it.” That seems to be a dying sentiment.

I understand that people get offended. I get offended, but I just grin and bear it and move on. Maybe you’d rather fight back, verbally. Fine. Just don’t stop the other from saying whatever it is. I’m against any form of censorship. And it scares the fucking hell out of me!!! Free speech is the foundation of our society. Without it totalitarianism reigns. Yet a recent Gallup poll shows college students aren’t totally behind the concept of free speech — See:

https://medium.com/informed-and-engaged/8-ways-college-student-views-on-free-speech-are-evolving-963334babe40 .



As writers sensitivity police should scare the hell out of us. As citizens of a free society likewise. Maybe what we write is uncomfortable, maybe you’re offended. Maybe you should toughen up.

This time around I’m inviting two guests to join me and add their opinions, Jonathan Brown and Elaine Ash. I was originally going to intercut the things that Jonathan, Elaine and I have to say on the subject, but I’ve decided to run all the pieces as a whole. I asked a few people if they’d want to comment from the point of view of wanting censorship of one degree or another. Nobody wanted to go on record. I truly hope you’ll take a few minutes to read everything.


     White Heat:

My Shamus Award-winning novel White Heat is a noir-mystery-thriller. It’s about P.I.s trying to find a killer during the 1992 Rodney King riots – that makes it much more than a simple noir-mystery-thriller. While protagonist Duke Rogers tracks down the killer, he must also deal with the racism of his partner, Jack, and from Warren, the murder victim’s brother, who is a mirror image of Jack in that department. He must also confront his own possible latent racism – even as he’s in an interracial relationship with the dead woman’s sister.

The novel looks at race and racism from everyone involved, black and white, and no one gets off unscathed. These things can be a little uncomfortable. Believe me, I know. I was uncomfortable writing some of it. Ditto for Broken Windows, the sequel coming out in the fall, that deals with immigration via a mystery story. These are touchy issues, but that doesn’t mean we shouldn’t talk or write about them. And if we do so honestly we might unintentionally hurt some feelings.

To quote from my article a year ago, “It’s getting to the point where we have to constantly second guess ourselves as we worry who might be offended by this or that? In my novel, White Heat, I use the N word. And don’t think I didn’t spend a lot of deliberating about whether I should tone that down, because truly I did not want to hurt or offend anyone. But ultimately I thought it was important for the story I was trying to tell and people of all races seemed to like the book. I think context is important. But even without context, as a free speech absolutist, I think people should be allowed to say what they want. There used to be an argument that went around that the way to combat negative speech was with more speech, but that doesn’t seem to be the case today. As former Supreme Court Justice Louis Brandeis said, ‘Fear of serious injury cannot alone justify suppression of free speech and assembly.’”

I did add an Author’s Note warning people: “Some of the language and attitudes in the novel may be offensive. But please consider them in the context of the time, place and characters.” Today we’d call it a Trigger Warning. And I don’t mind doing that, as long as no one stops me from saying what I want to say.

If you don’t defend free speech now because your ox isn’t currently being gored, to coin a phrase, then no one will be there to defend you when it is. And revolutions always come back to bite the head off. Look at what happened to Robespierre during the French Revolution. It’s like that quote from Martin Neimoller during World War II: “First they came for the Socialists, and I did not speak out— Because I was not a Socialist. Then they came for the Trade Unionists, and I did not speak out— Because I was not a Trade Unionist. Then they came for the Jews, and I did not speak out— Because I was not a Jew. Then they came for me—and there was no one left to speak for me.”

My mind hasn’t changed in the last the year. And now here are Jonathan and Elaine to talk about the issue:


     Jonathan Brown: 

Jonathan was born and raised in Vancouver British Colombia. He works as a writer, fitness trainer and drum instructor. His Lou Crasher mysteries recently landed him a two book deal with Down and Out Books. The first novel: The Big Crescendo is slated to be released in early 2019 and the follow up: Don't Shoot the Drummer will be released in 2020. Brown has also written a fictional biography about the life of boxing trainer, Angelo Dundee. The book: Angelo Dundee, a Boxing Trainer's Journey is published by The Mentoris Group and will be released in December 2018. Jonathan and his lovely wife Sonia enjoy life in sunny south Los Angeles. jonathanbrownwriter.com

Dude? Why So Sensitive?

When Paul was gracious enough to offer me a chance to weigh in on the ‘sensitivity reader’ issue I said, “Sign me up, please.” For those new to this phenomenon a sensitivity reader is someone hired by a publisher to read manuscripts with an eye sensitive to one particular race, religion or gender and so on. While the publisher’s heart may be in the right place or if the publisher simply wants to avoid a lawsuit, I think the practice is not only superfluous but also dangerous. Dangerous might be a little extreme, let’s say asinine instead.

Here’s where this jazz is headed. The sensitivity reader(s) will essentially be the politically correct police. The potential to take what might be the next great American novel and water it down to Disney meets Hallmark on Mr. Roger’s front porch is huge. For example, Writer X has a vigilante ex-gangbanger as the anti-hero. He enters the warehouse and finds the banger that killed his family. He raises the Sig Sauer. He closes one eye and lines up the enemy down the gun sight. Finally, he shall have his revenge. As a parting phrase the avenger says, “You’re a dead person of color with ancestry dating back to ancient sub-Saharan Africa!” As opposed to: “You’re a dead nigga!” Pop, Pop, Pop.

Under the sensitivity cop regime urban gang bangers won’t use authentic dialog; terrorists will be of a fictitious ethnicity (thus being limited to Science Fiction) and although books will still have steamy sex scenes the party engaging in coitus shall be genderless—out of fairness to the gendered. Can you imagine? Try this scene:

“Hey baby, want to get it on?”

“Sure, if you’ll just put your—”

“Don’t say it. I can’t wait to feel your—”

“No, don’t say it!”

And so the participants put their matching or perhaps mismatching parts together and…did it. 

The End

Can you feel the heat? No? Yeah, me either. I’m rarely the slippery-slope-guy and I’m truly weary of the expression but I must say the incline will become pretty slick here if we engage in this sensitivity reader censorship parade. And what, may I ask makes a sensitivity reader? How does one become one? Is there a questionnaire? The bigger question for me is why have we stopped trusting our own judgment? Don’t we all have some measure of built-in common sense about sensitivity? I say we do, if I may be so bold as to answer my own question.

If a manuscript becomes ‘green lit’ by a publisher that means an agent and possibly her assistant has read the manuscript. Then, let’s toss in two to four low-level readers at the publishing house and cap this off with one or two of the top brass readers.  Do you mean to tell me that from agent’s assistant to top Banana none of those cats know what is basically offensive and what’s not? I call bullshit. As members of society we all know what is basically offensive but now we’re too afraid to say it, so let’s put it on the sensitivity reader…yeah that guy. Phew, thank god we now have a scapegoat if this thing goes south, right? Grow up people.

If this castration of the arts by ‘sensitivity cop’ flies then Noir literature will become beige, Romance will have gender sensitive sex scenes (which I suppose means all genders will have an orgy all at once, what with inclusion and all…hmm) and Horror films will no longer have the ominous black cat, they will have to be Tabbys, Siamese or Ginger cats…which will be referred to as: orange hued. Imagine:

As I walked down the dark alley I glanced over my shoulder and noticed a six- month old tabby cross my path. It was then that I knew…I…was…doomed! (Insert wolf howl sound effect!)

Let art be art. It’s a good thing the sensitivity cops didn’t tell Picasso how to paint, and didn’t instruct Beethoven to avoid all minor keys and thank god they didn’t force Harper Lee to make the accused, Tom Robinson in To Kill A Mocking Bird a white-male primary school teacher with a sunny disposition.


     Elaine Ash:

Elaine Ash edits fiction writers—from established authors to emerging talent. She works with private clients, helping them shape manuscripts, acquire agents and land publishing deals.  www.bestsellermetrics.com

The Right to Write

When Paul asked me to throw my hat in the ring for a post on free speech and sensitivity readers, I gulped. Navigating these topics can be as delicate as tucking a hand grenade inside a wasp’s nest. But, admittedly, I’ve brought this on myself, since I take pride in freedom of speech and feel strongly about the right to write.

One way to look at sensitivity readers is simply as a new layer of vetting that writers must hurdle when they submit to Big 5 publishers. First, let’s refresh  on what some famed writers have had to say about protecting artistic integrity.

“Because if you don't stand up for the stuff you don't like, when they come for the stuff you do like, you've already lost.”
― Neil Gaiman

“Censorship is to art as lynching is to justice.”
― Henry Louis Gates Jr.

“I may not agree with you, but I will defend to the death your right to make an ass of yourself.”
― Oscar Wilde

Taken in context with these quotes, the picture of a sensitivity reader redlining a literary opus looks as clunky as jackboots on a ballerina. Add on that the average pay of a sensitivity reader is $250 per manuscript, and it seems impossible that anyone paid this low could influence a billion dollar-plus industry and force millionaire writers to change their work—but they are.

Do Sensitivity Readers Affect You?

First you have to look at your target publishers. There are sensitive and not-so-sensitive publishers. In general, sensitive would be Big 5 and their imprints; non-sensitive would be medium and small indie publishers. Big 5 science fiction and fantasy publishers trend “sensitive.” YA and children’s markets likewise.

Mystery and crime-related genres have strongly resisted sensitivity. In fact, noir and transgressive genres are expected to be offensive—that’s how they make a larger point. But agents have recently confided to me that it’s getting harder and harder to sell mystery fiction. Does this have to do with sensitivity bias? I suspect so, but have no figures to back up that claim other than the frontline reports of literary agents. In other words, publisher demand has constricted, and I suspect that it’s not for lack of the buying public—it’s because publishers fear backlash and boycotts. (More about this later.)

S-readers are not called in on 100% of manuscripts, but if a publisher sees that a writer of one ethnicity might be writing a character of another ethnicity, they will call on an S-reader to vet the manuscript. The problem with this is pretty obvious. Since the original writer isn’t reporting fact but creating art to make a larger point, the original intent of the art may become skewed. Want to check the rules to make sure you get them right? Err, that could be a problem. There is no sensitivity readers guild to consult, and no published compilation of guidelines.

A Case in Point

Science fiction/fantasy author Mary Robinette Kowal has killed projects over negative feedback from sensitivity readers.  http://maryrobinettekowal.com/journal/sensitivity-readers/   The problem with this tactic is that the rules she’s trying so hard to abide by are not set in stone, they’re not law. They’re merely someone’s opinion, and opinions change. The court of public opinion can change with the day of the week. Is it even possible to write something that offends no one? I suppose so. The greater question is, Is it possible to write something that offends no one that is worth reading? Stories are supposed to disturb, instigate, provoke thought. That comes with the risk of offense.

What sensitivity readers are really all about comes down, in the end, to cold hard cash, as everything in business does. Looking at a hot topic through the cool lense of business is a way to bring practicality to the subject. If a publisher is afraid that they may become the target of an angry boycott, they’ll do everything possible to avoid it. Until recently, these boycotts had real power. But the recent trend is “boycott backlash” where the boycott-ee suffers a drop-off from advertisers, and then receives a sympathy bump from purchasers who disagree with the boycott. It reminds me of when banning books was all the rage. It only made them more popular. What people are told they can’t have, they make special efforts to get.

Sidestep the Time Wasters

My purview is not to make a case for S-readers or against them. I’m here to point out navigation tactics. As I write this, tens of thousands of manuscripts are waiting for Big 5 vetting when some of them could be sailing into medium-sized publishers and landing deals without added delay.

If you are a first-time author, my advice is to go for a smaller publisher to land your edgy material. If you are an established author looking to make the leap to Big 5, you’d have the best bet with a fairly controversy-free manuscript from the race or gender aspect. “White savior writing” is a thing, and sensitivity readers are rejecting it. Google the term and read about it for yourself.

Meanwhile, many mystery and crime readers are looking for gritty authenticity, using nomenclature that coincides with a hardboiled PI or criminal.  Already, you can see how S-readers may chill the edgy, provocative material that underscores much of the best mystery writing.

Express Yourself

As an editor, I’m about preserving the integrity of the writer’s vision, intent, art and freedom to write. I am not a censor for political correctness. For example, I’m horrified by third-wave feminist Andrea Dworkin’s contention that every act of sex is an act of rape. Would I edit a story with a character in it who held that belief? Most definitely. I’m not a censor, I’m an editor. My job is to preserve the writer’s vision, even if I disagree with it.

My best advice is to avoid writing to trends and never write to satisfy sensitivity readers. Take my client Chrome Oxide, winner of two coveted Writers of the Future awards. He’s a humorist making fun of big government and bureaucracy—using the sci-fi and fantasy genres as a backdrop. He came to me thinking there was zero chance of getting a publisher—self-publishing would be his only option. But there are so many alternative publishers now for everything from comic books to novels, that a good agent, or an editor wearing many hats like me, can find a market.

If your agent says there’s no market for what you’ve written, it’s time to get another agent. For Chrome Oxide I had to go to Superversive Press out of Australia, but the terms were the best I’d seen anywhere. The terms almost made me cry, they were so beautiful. This publisher really, really wanted Chrome’s material.

Only you can assess where your manuscript and platform as a writer stand in terms of attractiveness to publishers who assess writers through sensitivity vetting. It’s a big world with many markets. Ultimately, what does not sell will take a diminished place in the market and readers will find what they’re looking for.

Bottom line, you must write who you are and what makes you tick, not what you guess sensitivity readers will approve. Express yourself freely and then find the market that matches your angle. It’s out there waiting if you look.


      Thank you Jonathan and Elaine. And here's my/Paul's previous post:

Here’s the pertinent part from my earlier article (see link above):

And now to the subject at hand: I recently came across an article in the Chicago Tribune titled “Publishers are hiring 'sensitivity readers' to flag potentially offensive content.” That, of course, piqued my interest. And I will say at the outset that I’m a free speech absolutist. If you don’t like something don’t read it, but don’t stop others from saying it or reading it.

After all, who’s to say what’s offensive? What’s offensive to me might not be to you and vice versa. That said, I see things every day that I disagree with. I don’t like to say that I find them offensive because I think that word is overused and I also think people tend to get offended too easily and by too many things.

As writers I think this is something we should be concerned about. Because, even if you agree with something that’s blue-penciled today tomorrow there might be something you write where you disagree with the blue-pencil. Where does it end? Also, as a writer, I want to be able to say what I want. If people don’t like it they don’t have to read it. I don’t want to be offensive, though perhaps something may hit someone that way. But we can’t worry about every little “offense” because there are so many things to be offended about.

It’s getting to the point where we have to constantly second guess ourselves as we worry who might be offended by this or that? In my novel, White Heat, I use the N word. And don’t think I didn’t spend a lot of deliberating about whether I should tone that down, because truly I did not want to hurt or offend anyone. But ultimately I thought it was important for the story I was trying to tell and people of all races seemed to like the book. I think context is important. But even without context, as a free speech absolutist, I think people should be allowed to say what they want. There used to be an argument that went around that the way to combat negative speech was with more speech, but that doesn’t seem to be the case today. As former Supreme Court Justice Louis Brandeis said, “Fear of serious injury cannot alone justify suppression of free speech and assembly.”

And, of course, publishers have the right to publish what they want. But limiting things doesn’t change much. It just goes underground.

The Tribune article says, “More recently, author Veronica Roth - of ‘Divergent’ fame - came under fire for her new novel, ‘Carve the Mark.’ In addition to being called racist, the book was criticized for its portrayal of chronic pain in its main character.” So now we have to worry about how we portray people with chronic pain. Again, where does it end?

I’ve dealt with chronic pain. Should I be offended every time someone says something about those things that I don’t like. Get over it, as the Eagles say in their eponymous song. The piece also talks about writers hiring people to vet their stories for various things, in one case transgender issues. If it’s part of one’s research I don’t have a problem with that. Or if it’s to make something more authentic. But if it’s to censor a writer or sanitize or change the writer’s voice, that’s another story.

There’s also talk about a database of readers who will go over your story to look for various issues. But again, who’s to say what issues offend what people? Do you need a reader for this issue and another for that? If we try to please everyone we end up pleasing no one and having a book of nearly blank or redacted pages. Or if not literally that then a book that might have some of its heart gutted.

That’s not to say we shouldn’t strive for authenticity but I think this kind of thing often goes beyond that. When we put out “sanitized” versions of Huck Finn or banning books like Alice Walker’s The Color Purple, which has also been banned and of which Wikipedia says, “Commonly cited justifications for banning the book include sexual explicitness, explicit language, violence, and homosexuality.”

The Wall Street Journal also talks about this issue, saying in part, “One such firm, Writing in the Margins, says that it will review ‘a manuscript for internalized bias and negatively charged language,’ helping to ensure that an author writing ‘outside of their own culture and experience” doesn’t accidentally say something hurtful.’ I’m not saying one should be hurtful, but I am saying one should write what they want to write. And if taken to the ultimate extreme then we would only be “allowed” to write about our own little group. And that would make our writing much poorer.

I’m not trying to hurt anyone. But I do believe in free speech, even if it is sometimes hurtful.

We should think about the consequences of not allowing writers to write about certain things, or things outside of their experience. Think of the many great books that wouldn’t have been written, think of your own work that would have to be trashed because you aren’t “qualified” to write about it. There are many things in the world that hurt and offend and that aren’t fair. And let’s remember what Justice Brandeis said.

In closing one more quote from the Journal article: “Even the Bard could have benefited. Back when Shakespeare was writing ‘Macbeth,’ it was still OK to use phrases like, ‘It is a tale told by an idiot, full of sound and fury, signifying nothing.’ But that is no longer so. The word ‘idiot’ is now considered cruelly judgmental, demeaning those who, through no fault of their own, are idiots. A sensitivity reader could propose something less abusive, such as, ‘It is a tale told by a well-meaning screw-up, signifying very little but still signifying something. I mean, the poor little ding-dong was trying.’”

     In conclusion:

So there you have it, three arguments for freedom of speech.


I’m thrilled – I’m Doubly Thrilled – to announce that my short story “Windward,” from the anthology Coast to Coast: Private Eyes fromSea to Shining Sea (edited by Andrew McAleer and me) is nominated for a Best Short Story Shamus Award – and that the anthology as a whole is nominated for a Best Anthology Anthony Award. Thank you to everyone involved!


My Shamus Award-Winning novel White Heat was re-released on May 21st by Down & Out Books. It’s available now on Amazon.

Publishers Weekly calls White Heat a "...taut crime yarn."

Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website www.PaulDMarks.com


  1. Paul, congratulations on the Shamus nomination! Huzzah!

    Personally, I am, have always been, and always will be one of those who says, "I may not agree with what you say, but I will defend to the death your right to say it." And I am totally against sensitivity police in the arts. Nobody makes you buy a book, go to a movie, listen to music. And in school - well, the whole idea is that you should be offended, occasionally, because if you never go outside your comfort zone, what the hell are you going to learn?

    I do have one caveat, which is that "I will not, however, defend you from any and all consequences of saying it. Protest works both ways." So, if you yell fire in a crowded theater and people die, and you're arrested, deal with it. If you make a living being an flaming asshole to everyone, and people protest your speeches, deal with it. Etc.

    BTW, I've read every book on the banned books poster (and a hell of a lot more), with the exception of "American Psycho". But then, I'm not into gore or torture porn.

  2. Interesting information. I agree with you and have spoken often against censorship in the arts.

    As an Indie writer I have no involvement with sensitivity editors or publishers who censor anymore. I write what I want to write and our co-op publisher publishes it. Not a perfect system as we still have typo problems even with 9 proofreaders. Maybe we need better glasses.

    One problem - reviewers. Americans are so puritanical, so narrow minded. My erotic novel MAFIA APHRODITE drew criticism from several reviewers who said it read like pornography. It's EROTICA.

  3. Thanks for your comments, Eve. And I don't have a problem with people protesting someone's speeches or whatever. But I do have a problem if it goes so far as to stop the person from speaking. Fight speech with speech, that's what I always heard when I was coming up. And I still think that's the way.

  4. O'Neil, I don't think better glasses would even help with the typos. No matter what you do, how many people go over something, etc., you always find issues after you publish. Even the big publishers. I doubt there's many books I've read that don't have at least one or two typos or other small problems.

    Re: your Mafia Aphrodite novel, I'd be curious if the reviewers knew what it was before they started it. I find that I've gotten reviews from people who didn't like something I wrote then I do some research on them and they don't read that type of thing. So why are they putting my stuff down when it's not their cup of poison. And hopefully re: your book there were enough reviews on the other side to balance it out.

  5. Hi Eve and O'Neil,
    Thanks for your pithy comments. I salute your 1st Amendment exercise here at Sleuth Sayers.--Elaine Ash

  6. What they all said! Haha...

    Luv JB's reference to the "SP" basically drowning out the image of the proverbial Noir black cat into a beige out, orange tabby...that shit just ain't gonna fly!
    And EA's "Already, you can see how S-readers may chill the edgy, provocative material that underscores much of the best mystery writing.
    Express Yourself."

    You go, girl!

    Great post Paul.
    Rock-on, kids!

  7. Regarding the "you can't be protected from consequences of your free speech" argument... How about if someone disagrees with me and shoots me dead? Is that okay? How about if they come by and beat me bloody? How about if, by exercising my free speech, I get doxxed or lose my job? Are these consequences appropriate?

    My point is that the only proper consequence for exercising free speech is more free speech from the opposing viewpoint. To give blanket acceptance to whatever "consequences" are exercised by anyone seems to apologize for dire, even violent opposition. Punitive opposition to free speech is not okay. Reasonable people do not tolerate punishing those who exercise their right to free speech.

  8. Tough one. My experience: in response to the criticism that minorities rarely see themselves in stories written by white men/women, I wrote three Native Canadians into one of my Goddaughter books. I thought I might be able to do this with some legitimacy in that I am part Chippewa.
    My publisher asked me to take out the references to the characters being Native Canadian. I could keep the descriptions, but not the reference. I am not a status First Nations person, as I am only part Chippewa, through one Grandmother. Therefore, the publisher was uncomfortable.
    I felt really sad about this.

  9. I am always flabbergasted by people who object to Huck Finn and To Kill a Mockingbird because of the use of the "N" word. Yes, it bothers me. In fact, it stops me cold. But the word was the appropriate word to use for when the book was written and set. Additionally, have these people not read the books? While the word is objectionable, the portrayal of minorities in the books is wonderful. I would argue that Jim is the best developed character in Huck Finn, and the climax comes when Huck decides to break his friend Jim out of slavery even if it means he is damned to hell. And yet we need to ban this book? Please!

  10. EA, I'd say it depends on whether or not your free speech was illegal - libel, slander, and threats of violence are all illegal and not covered by free speech protections. Having run across real live serial killers in my career, if you use your free speech to threaten to rape, torture, and/or kill children/women/human beings, I will try to have you arrested, at the very least.

    Re political freedom of speech - I marched against the Vietnam War back in the late 60s, and we got teargassed for it. People at Kent State marched against it and got shot for it. People marched against Jim Crow and got shot, beaten, firehosed, attacked by dogs, etc. So I don't have a ton of sympathy for the neo-Nazi dudes who marched at Charlottesville, for example, and got fired and then whined, "But I'm not really a Nazi..."

  11. Freedom of speech has been dying for years, but the slippery slope (oops; was that a racist word?) is getting steeper in our politically charged climate these days.

    In my first novel (in 2012), I had a character who used the N-word, the F-word and the S-word liberally (oops; was that a political word?), but it was totally in character, and I never had any pushback on that at all. (Whew!)

    In my latest novel, erotica under a different pen name, one of the characters is offended by the P-word, and so the rest of the characters accede to her and use substitute words, one of which is "kitty," which has gotten lots of chuckles, but no serious pushback. (Whew2!)

    Also, I'm putting together a first annual anthology of edgy, outrageous, daring short stories, which has been open for submissions since March 1st and has about 30 so far, a good start toward our limit of 100. Anyone who might want to think about adding one or two (or three; that's the limit per author) can send an email to anthology @ jakedevlin.com to get all the details in an auto-reply. (Hope that kind of blatant self-promotion doesn't offend anyone here.)

  12. Thoughtful presentations. Censorship makes life difficult for us as writers.

  13. Keep talking, people, I'm loving it. And thank you for every word.--Elaine Ash

  14. Thank you, everyone, for your comments. I'm glad to engender conversation -- speech. It's good to have a back and forth.

  15. Great post, Paul.

    Nobody tells me what to write. If you don't like it, don't read it. And that goes for everyone else. If I don't like it, I won't read it, but I won't try to stop someone else. The problem is seldom profanity or vulgarity.

    Remember Oscar Wilde's testimony in an obscenity trial in England? When asked if something was obscene, he said yes. When asked if he objected to the subject matter, he said no. When he was asked to explain, he said, "But it was so badly written!" I'm all for that.

    One review of my first self-pubbed novel, the Whammer Jammers, warns that there is a graphic rape scene in the middle of the book. But the reviewer believed it was important to the plot and still gave the book 5 stars. That's a responsible reviewer.

    On the other hand, Sisters in Crime refused to post the cover of my newest book on their Pinterest page because they objected to the cover. Go figure.

  16. Thanks, Steve,

    And yes, if you don’t like it don’t read it.

    And I agree that the review of the Whammer Jammers is a good one. They pointed out the issue, but it didn’t send them running and they still liked the book.

    Not everything is everyone’s cup of tea but that doesn’t mean that those who don’t like something should dictate what the rest of use do or say or read.

  17. What's really nice about free speech is that you can say what you want to, but on the other hand, I don't have to listen if I don't want to. What's bad is when somebody says you CAN'T say what you want or that I MUST listen to somebody with whom I don't agree. And as long as I can turn off the television or not read something on the Internet, I'll keep the faith.

  18. So here's my take.

    As an author, you should write the book/story/essay/op-ed piece you feel you have to write. But you also have to realize that some readers might take exception to what you wrote, and express their dislike of it publicly, and loudly. Just as others may love what you wrote, and express that publicly, and loudly.

    As an editor, you have to decide whether you want to publish it. You are not obligated to publish it. It's a judgment call, and it's your judgment that's on the line. But you also have to realize that some readers might take exception to what you published, and express their dislike of it publicly, and loudly. Just as others may love what you published, and express that publicly, and loudly.

    As a reader, I have to decide what I want to read and whether I want to read what you have written and someone has published. I can tell people what I think of it, and why, as publicly or privately as I choose. But its being written and published is not my business. And I might decide I can't wait until you write/publish more. Or I might decide never to read another word of yours...

  19. All good points, Don. Thanks for your comments.


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