Blogger: Michelle Ule
Location: Books & Such main office, Santa Rosa, Calif.
Twenty years ago in Washington State, I sat on a “controversial book review committee.” Our task was to review new books added to the Kitsap County Schools curriculum. Any time a teacher or administrator asked the school board to purchase more than five or six copies of a book, or any time new curriculum was added, our committee read through it all.
Or at least we were supposed to. Some two dozen people served on the committee, including administrators, teachers, community members and parents. The elected members of the school board also served when they bothered to show up. We were supposed to read all the books, fill out a questionnaire describing our reaction to the book, and then meet together to decide if the book was a good fit for our semi-rural community sandwiched by military installations.
I loved the job. I read everything, even the math books, and came to our quarterly meetings prepared to talk and debate. Most of the time we rubber-stamped books, but periodically in my three-year term, we argued.
One of the most surprising discussions was over a book called The Education of Little Tree by Forrest Carter. I never had heard of the book before I read it–the story of an orphaned boy sent to live with his Cherokee grandparents in 1930s Arkansas. I saw nothing wrong with the tale of a young boy getting in touch with the forest and his Native American roots. But some of my fellow board members went apoplectic when they learned the story was not true.
I didn’t under their objections. It was fiction. Why would they have assumed it was true?
“We can’t have a book like this in our libraries. This man is a racist. He wasn’t even a Cherokee. This book is an insult,” argued one of the committee members.
“What difference does it make if the author isn’t a Cherokee? Can only a Cherokee write a book about Cherokees?” I asked, alarmed at the idea fiction writers had to be the demographic in the story to write it.
We went round and round. All the non-writers insisted if the author lied about his credentials, his book was unacceptable.
I agreed he shouldn’t lie about his background, but part of the life of a writer is to imagine himself in settings he may not be familiar with. Or, in this case, while the story might have been stronger if the writer actually had lived through them events, it didn’t necessarily detract from the importance of the book if the story still was good. I don’t see the problem with fiction.
Ah, but nonfiction–there’s a different story altogether.
Too many nonfiction books in recent years have featured authors who lied about the stories–think James Frey’s A Million Little Pieces or, perhaps worse, the currently evolving story of Greg Mortenson’s Three Cups of Tea and Stones for Schools. (I’ve read and recommended both Mortenson books.) What do you do with a situation like this one?
Publishers have had to deal with the fallout by offering apologies or even recalling all the printed books. Or, as in the case of the Kitsap County Schools twenty years ago, declining to purchase the books for their school libraries.
So, what’s the best way out of the sticky situation? Tell the truth, of course.
Question: Do you think an author’s credentials play much part in a novel? Why or why not? What books have you purchased based on the writer’s bio?
I don’t have any problems with an author writing fiction that is different from his or her own background. I find the reaction of your fellow board members a little silly.
Writing something you purport to be true, but is not, is another matter entirely. I have a very big problem with fictionalizing non-fiction. If the true story isn’t sensational enough, enhance it and call it fiction, provided you don’t leave yourself open to lawsuits from people who feel you’ve unfairly based an unflattering character of of them.
Whoops! Saw the typos in my comments after I hit “submit.” Many apologies.
Interesting post, Michelle. Didn’t part of the controversy surrounding the book stem from it being promoted as a memoir? Wasn’t this supposed to be his “true” story? And if we’re talking around 20 years ago, wouldn’t that put it right around the same time the truth came out about this author’s identity and past? I think a public school would be hard pressed to show support for such a book amidst that kind of turmoil.
I have no issue with authors taking creative license to create an engaging story, but memoirs should be true.
When purchasing a novel, I don’t consider the author’s bio much–unless it indicates he/she is a NY Times bestselling author. While I believe credentials, such as MFAs may help to make a reader more comfortable with their purchase, I buy a book because it has an attractive cover, the back cover blurb draws me in, and I after reading the first page I want to know what happens next.
Does anyone think that the reason so much fiction reads alike is due to the MFA itself? Flannery O’ Connor wrote about this (it’s found in the collection of her letters and speeches, Mystery and Manners) and I have to agree; students aren’t being taught how to write, so much as what to write to be considered a “literary” author.
I don’t think I’ve ever bought a book based on a writer’s bio. I’m with Cheryl on this.
It depends…
If the novel is secular fiction, I don’t think they care who wrote it. If the novel is a Christian fiction best seller and the author is not a real Christian, that is a problem. That now successful author, who lives life contrary to how Christ lived, is now a representative of Christ just because they wrote a Christian novel. Even though the Christian novel is not real, the message we get from it should be. Any Christian book, fiction or not should have a message. If I found out later that the author of a Christian fiction series I loved and was touched by was not a real Christian, I would assume the message was not real either. To a baby Chstian this could be devastating and even cause them their faith. When you say something is Christain it automatically becomes a representative of Christ. In this situation credentials do matter.
Very interesting point, Amariah, and well taken. Publishers pay attention to a writer’s reputation, and we have had requests from publishers about some of our writers in the past when a publisher got wind of perceived less-than-Biblical behavior.
Very awkward phone conversation . . .
Cheryl–are you referring to the Carter story or the other two? Carter’s book was published as fiction but with the implied notion it was a fictionalized story of his actual life. That’s where he got into trouble, particularly with the committee members.
I’m listening to a memoir on CD right now where the author began the read with a detailed discussion of what was true and what was not true. She specifically stated the use of quotations marks is stylized (my sophisticated word not hers), to indicate when she spoke, but owing to the intensity of the situation, she could not be assured the words were exactly what was said.
I respect that and has not detracted from the amazing story. (I’m not naming the title because it’s so desperately in need of an editor, I can’t recommend it, though the depiction of what God did is very encouraging).
MFAs influencing fiction? Everyone wants to be involved in a best-selling book. You can see trends when you read books off the best seller list (you can see title trends as well). I have to admit I simply didn’t like some of the big names of the last couple years, in part because the language made it a slower read and–this is my big issue–they ended on downers. I prefer a more hopeful, realistic ending myself. So, I guess I don’t know, Larry.
This is a thought-provoking post for me. My grandmother wrote a wonderful memoir for all of us…”From the Cradle to the Grave,” she called it. I will never forget one holiday, as we sat at the dining room table with her four sisters, they began to dispute something she had written about their father. Her “baby” sister was adamant that my grandmother, the oldest of the six children, was mistaken. My grandmother replied, “You didn’t know the father I knew.” My grandmother wasn’t lying…she was telling her story from her perspective…same man, same family, an incident they were all familiar with…but not remembered with the same emotion or point of view.
Facts, like credentials and awards or published works can be verified. But even the discussion going around lately about photographs being altered surrounding public non-fictional events, leads one to question exactly how it is possible to confirm the truth.
I rarely purchase a fiction book based on a bio. For non-fiction I think it might depend on the subject matter. If it’s a cookbook, I might not be as concerned with the qualifications( I love those community cookbooks) versus a medical or spiritual self-help book.
Thanks for the brain exercise this morning!
I’ve heard some Christians consider all fiction to be lies, and immoral, but I think that’s silly. A lie is a statement intended to deceive and nobody expects fiction to be true. If a fiction book or story contains information I know is inaccurate I find that irritating and it pulls me out of the story (unless it’s a fantasy) but, otherwise, who cares?
When writing fiction I don’t think an author’s credentials should play that much in the writing of a novel. However a buyer looking for a good book, I may be more incline in a book store to pick up a medical murder mystery written by a doctor or a good science fiction book written by a rocket scientist than I would if was written by someone who was not either.
However, when writing non-fiction that is totally a different ballgame. You better have the credentials to back up what you are writing.
I listened to Greg Mortenson’s “Three Cups of Tea” and I was hoping he would get a Nobel Prize for his work. Now I have my doubts. I will not be reading or listening to the sequel.
There’s that point of view at work, Kate!
You’re right, Janet, many in the past have viewed fiction as anti-Christian. Since Jesus taught in parables (story), I don’t buy that argument. OTOH, Scripture allows for anything in moderation and perhaps some of us readers need to remember that . . . And I agree with you, when I find incorrect facts, particularly well-known historic facts, in any book, I don’t trust the author any longer and read with a far more jaundiced and suspicious mind. Because if they don’t remember Columbus came to the new world in 1492, what else are they going to get wrong that I don’t know about?
Lori, as long as I know the point of view the author is coming from, I don’t mind reading something potentially controversial. I enjoyed Stones for Schools very much and learned a lot about Afghanistan as a result, so whether it’s true or not, I believe the book has value. But you’re absolutely right, a trust has been broken with these questions and it’s up to Greg Mortenson to put it to rest. Unfortunately, he’s probably lost the goodwill of many in the world–and certainly has in Pakistan and Afghanistan, which is a real shame. The persons l most likely to suffer as a result of his alleged fudging of truth, are the ones least likely to have any resources to help themselves.
A real shame.
Not being familiar with this book, I consulted my friend Wikipedia, who called it a “memoir-style novel.” It seems to me that a book can be a memoir or a novel, but not both. Hence the likely source of disagreement.
I think that as authors we need to conduct ourselves with the highest integrity — even if it is standard industry practice to behave otherwise. Our readers expect and deserve our complete honesty.
Fascinating subject. I don’t think I’ve ever selected a novel based on an author’s bio.
The topic will likely still be creating debates as long as books are written, because of what I think of as “super-sensitivity.” Can I create an African American character honestly? (I’m white.) Well .. that depends on who you ask. African Americans have written me to praise Rainelle, the best friend in Jacob’s List. Lakota have written me thinking I AM Native American after reading my Prairie Winds books. But I’ve also received angry letters from Native Americans. Who do I think I am? Well .. I’m human. And insofar as humanity goes, we share common issues. And then there are the 50+ books I read to research “the other” before creating those characters.
Did I lie about who I am when I wrote characters who don’t share my race? No more than I lie when I create a 19th century white woman. I don’t share HER “race,” either, because believe me … they did NOT think the way I do!
I was referring to Carter’s book, Michelle. I was probably about 8 when it came out, and I doubt the Catholic school I went to would ever carry something like that just because of the content.
Knowing it was definitely touted as fiction based upon his life, I wouldn’t have had an issue with the book itself; but it’s still dishonest to hide your true identity in this case. Laura Ingalls Wilder wrote her books as fiction, but she never tried to hide who she was because of something that could potentially have impacted sales of her books.
Although it may add an extra layer of satisfaction or intrigue to know that a writer really has lived through some sort of connection with his fiction, the story certainly doesn’t demand it to be worthwhile. I’m fairly confident that Gene Roddenberry never once explored strange new worlds or sought new life and new civilizations, or boldly went anywhere outside of our planet. But Star Trek and all of Roddenberry’s spin-off stories still enjoy a huge sci-following.
To me, the bottom line is whether the writer can pull off a great yarn that rings true. Even if the whole story is 100% true, if it’s told in a slow, boring way, I may never read that author again.
I feel like there’s less of a need for credentials for fiction, but rather commitment to thorough research on both background/setting (if needed) and craft.
I do agree with Amariah that the author of something in with a Christian should be a believer.
Very interesting comments here, as usual.
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