I’m a writer and professor living in Georgia. I write scifi thrillers, but I also write on philosophy and pop culture. You can find some of that stuff in the Philosophy and Pop Culture Series from Wiley Blackwell (here, here, and here). I also have a book (with my friend Corey Latta) on superheroes and political philosophy (which you can find here). And you can find my Very Short Stories on Twitter (@armondboudreaux).
I write for people who want exciting stories. My characters rarely get to sit still, and they’re rarely safe from danger. I put them into extreme circumstances because I want to see what they really believe and really care about once the compromises, uncertainties, and hypocrisies of ordinary life are cleared away.
I write for people who want complex characters with complicated motivations—characters who are like real people, in other words. There are good people in my novels, and there are bad people. But the good people fail sometimes, and the bad people aren’t simply bad.
I write for people who want compelling stories that are informed by ideas. I try never to preach my own views, though. Instead, I take an idea—like mandatory artificial wombs in Forbidden Minds—and let characters with different worldviews work out the consequences and implications for themselves. Too many politically-focused writers think that it’s their job to advance a worldview. I prefer to let readers decide for themselves. Instead of saying, “Here’s what you should think about this thing,” I’m saying, “Here’s a thing. Think about it.” At least, that’s the goal that I always set for myself.
But yeah—at the end of the day, I just love the thrill of a good story. I hope that you find Forbidden Minds as thrilling as I do.
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I’m about two-thirds of the way through “The Way Out” — enjoying it immensely, by the way — and I must tell you, one writer to another, that while it might be a writer’s aim to present a story in a way that says “Here’s a thing. Think about it,” the only way to do so with a morally loaded issue is to obscure the moral aspect. As the very best stories are about a clash between good and evil, obscuring the moral cleavage produces what others have called “gray goo fiction:” unsatisfying precisely because it refuses to “take a stand.”
Whatever your original intention in composing “The Way Out,” good and evil are unambiguously dramatized in the setting, the plot, and the characters. And I say Bravo! Not to do so would have rendered your thriller essentially empty. As it stands, it tells a pulse-pounding story while depicting an unspeakable evil…a form of which is already upon us. This is what fiction should do.
Merry Christmas, Happy New Year, and all the best to you for 2022!
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Thank you for the kind comments, and I agree. I hope that you enjoy the rest of the book!
By the way, the sequel to The Way Out is now available. If you feel so inclined, please do leave an honest review of either or both books.
Oh, I’ll review. Indie writers must support one another. After all, who else will do so?
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Thanks! I meant to say Merry Christmas and happy New Year to you, as well.