Author Archives: William Morris

Call for Submissions: Mormon Alternate History Anthology

10.29.15 | | 10 comments

Submissions are now open for the Mormon alternate history anthology I am editing and publishing with the help of Theric Jepson of Peculiar Pages . Details are below but the gist is: submit flash fiction (<2500 words) and short stories (3000-6000 words) that fit the theme by March 19, 2016. Payment will be a token amount ($15 for the short pieces; $25 for the longer ones), but it will be actual payment for Mormon short fiction, which is, sadly, all too rare a thing.

Before we get to all the mechanics, though, let me explain why I want to put together this particular anthology at this time:

1. It’s been 4 years since we published Monsters & Mormons. It’s time for me to put the editor of Mormon fiction hat on again.

2. About 40 of you very nice people purchased a copy of my Mormon short story collection, which means I have a little over $150 to re-invest in the Mormon lit community (and by the time I’m ready to pay contributors sales may even cover the entire $225-250 budget I have for the anthology).

3. While there is lovely Mormon fiction and poetry being published, history remains the dominant narrative form in Mormon Studies. I want to put Mormon fiction writers in dialogue with that (and mess with it a bit too, of course). And I also like that alternate history is a place where I think both genre and literary fiction writers can do good, interesting work.

4. For all that Mormonism has changed vastly since the end of WWII — becoming more international, more diverse, higher profile, and larger in scale — its basic form and status hasn’t actually changed all that much. We are still very much in the correlated/internationalized/North America-centered/middle-class-centered mode. Certainly technology and society has changed quite a bit, but the Boomer, GenX and Millennial* Mormon experience is not as dramatically different as the earlier periods of our history are from each other. This concerns me because I suspect that we are moving into an era where Mormonism will be more different from the current now than the current now is from the past four decades. I believe that Mormon alternate history is a genre that can (and should) be of interest right now among the Mormon audience because it helps us realize that our beliefs and policies, our ways of worship and community, our formal and informal social and economic structures are not set in stone for all time. If transitions are coming then it might be useful to understand that how current Mormonism exists in the world isn’t how it always has been or needed to be. It also helps us experience other ways of being Mormons and of being Mormons in relation to the rest of society.

5. Most importantly, alternate history is simply an interesting way of exploring the Mormon experience. There’s a vast storehouse of events, characters, documents, decisions, doctrines, and experiences that make up the past 195 years of Mormonism. Let’s use that storehouse to increase the small but important storehouse of Mormon fiction.


Email submissions as an attachment in .rtf, .doc or .docx format to submissions AT motleyvision DOT org. In the subject line put either [FLASH] TITLE OF STORY or [SHORT STORY] TITLE OF STORY. See below for word counts for flash and short story submissions.

In the body of the email include your name, mailing address** and any biographical info or writing credits that relate to the story and/or Mormon fiction and/or your career as a writer. If available, include a link to a blog, website, online resume/works published page, twitter account — anything that will provide some context to your work. A brief note on the key historical events, facts, books, journal articles or other sources that informed the story is welcome but not required.

Pseudonyms are discouraged, but will be allowed for special circumstances — please include that consideration in your e-mail if you would like it.

Deadline: March 19, 2016 (at midnight Pacific Time)


SHORT STORIES: Must be between 3,000 and 6,000 words. And I will be enforcing those parameters (although I will give a wee bit of latitude because different programs can produce slightly different word counts). I realize that it’s hard to conjure up an alternate fiction world in such a short amount of space. It’s also a delicious, fun challenge.

FLASH PIECES: Must be 2,500 words or less. While a well-crafted piece of flash fiction is always welcome, for these I highly recommend choosing a non-short story form. By that I mean creating a text that reveals the alternate condition of Mormonism in your timeline by masquerading as being from that timeline. This could mean a: newspaper or magazine article, letter(s), telegram(s), trial transcript, hymn/popular song, excerpt from a play or opera libretto, government report, deposition, journal entry, feuilleton, field notes, sermon, lecture, review, bibliography/table of contents, ship manifest, menu, gossip column, news reel or silent film transcript, etc.     

ALSO: No reprints. No chapters from novels. You may have something already written that would be a good fit, but I think it’s quite likely that you’ll better your chances of catching my eye by writing something specifically for the anthology.

Text only. No graphic novels this time (sorry — love them, but they’re not the right fit for this project).

I plan on selecting 5 or 6 short stories and 7 or 8 pieces of flash fiction for the anthology.  Submissions should be of interest to the Mormon audience. Just like with Monsters & Mormons, content should not exceed PG-13 in terms of violence, language and sexuality.

Work from writers who are non-LDS, women, international Mormons and Mormons from diverse backgrounds are highly encouraged. New writers are also welcome.

While Monsters & Mormon slanted more pulp, I expect this anthology to slant more literary, although, of course, the most important thing is that you write an excellent story with well-crafted prose that has an interesting Mormon alternate history concept and as rich world building and characterization as can be accomplished within the space limitations.

About that concept: for this anthology the alternate history must be post-1800 (no Book of Mormon stuff) and pre-2020 (so no alternate history science fiction) and Mormonism must be central to the story even if it is dealt with in a subtle or oblique manner. Restoration and Pioneer era stories are very welcome, but I’m also very interested in stories from alternate 20th centuries.

Any fantastical elements must be within the realm of Mormon worldview/doctrine/folk doctrine and of alt-history science, physics and engineering. The use of well-known figures from Mormon and world history is fine. It can also get a bit gimmicky if you’re not careful.

And while it may be tempting to get a little didactic with the concept or the characters, stories that are overtly Utopian/Dystopian or have political or theological axes to grind probably won’t land well with me. So if you’re trying to make a point, make sure the art and craft of the story complicates it. Or even better: let the extrapolation of your alternate timeline jumping off point be the primary driver of your thinking and writing.


Title: TBD
Publisher: Peculiar Pages (just like Monsters & Mormons)
Editor: William Morris
Length: 30,000 to 60,000 words
Publication: Fall 2016 (likely September or October)
Format: ebook only (we are considering crowd funding an expanded print version but a lot of things have to fall into place for that to happen)
Booksellers: Amazon, iBooks, Kobo and Nook (Barnes & Noble); we’ll also consider other online vendors and direct sales

Rights & Payment: Worldwide English exclusive for 10 months from date of publication. We’ll be using a modified version of the SFWA contract. As mentioned above payment will be $15 for flash fiction and $25 for short stories. Should net profits from sales of the anthology exceed my and Theric’s monetary investment in it, there is the potential for royalty payments for the authors (but that’s a small potential — based on our knowledge of the Mormon market for short fiction this anthology will likely come in at a loss or [cross your fingers] as a break-even venture). All of this will be spelled out in the contract. The crowd funded, expanded print anthology will be a separate contract and payment should it come to pass.

That’s all I have. There will be more posts in the future with potential ideas and resources and further reading. Now: what questions do you have for me? If you prefer not to post them in the comments below, contact me at the submissions email listed above or on Twitter @motleyvision.


**This is so if you are selected for the anthology, I don’t have to send out a batch of emails asking where to send the check and a signed copy of the contact. If you don’t feel comfortable with me having your mailing address then include an additional, reliable way of contacting you (as in: an alternate email address, a number you can be texted at, a twitter handle, etc.).

The Mormon fiction writer and self-censorship

10.6.15 | | 17 comments

Back in July I made the claim that most Mormon writers shouldn’t worry about the spectre of excommunication (and then complicated that with several caveats). Not everyone agrees with that assertion. And, to be sure, the climate for Mormon fiction writers is unevenly distributed and could change (and please note again: I’m talking about fiction writers — nonfiction is a different thing entirely). But assuming I’m right about that, does that mean the Mormon fiction writer is completely free to write what they want to write? Or will be they be tempted (or perhaps even coerced) into self-censorship? And is self-censorship always a very bad thing to do? What follows may be obvious, but I hope that by structuring my thought this way, it’ll be of some use in teasing out notions of self-censorship and Mormon fiction writing.

Writing is Communication

Writing fiction is an act of communication. But it’s a special act of communication: it’s one in which the author is demanding (or at least suggesting) attention. It’s saying: this is something I have created that is worth spending time (and money) on. It is an act of one-way communication, and the author sets the terms of the communication. Granted, especially in the age of the internet, readers can react to the work directly or indirectly with the author, but that’s not the same act of communication as what the novel or story or poem demands. There’s a level of formality in presenting a completed creative work. But the very nature of that process, that one-way act of ego means that the author has ultimate control of what goes in and what doesn’t go into a work. What doesn’t go in is self-censorship. It also may simply be good communication and good artistic creation.

All Writers Are Part of Communities

That writing is communication is especially true because very few writers create (or publish) in a vacuum. For all their introvertedness (a cliche, but one that so often fits), fiction writers are part of various communities and usually want community approval (or at least attention) for their creative work. Otherwise they’d write only for the drawer. Certainly, it’s complicated for writers in that they may prefer certain communities pay a certain kind of attention to their work over other communities (and other kinds of attention). And some communities you are born into and some you fall into and some you consciously choose. We all have family members, friends, peers, agents, editors, critics, community members, fellow fans/enthusiasts, neighbors, etc. It’s a complex melange that is constantly in flux. But being situated in communities means that there’s no such thing as a pure creative work-to-reader transaction. The creation, contents, packaging and distribution of creative work all happen within a welter of community concerns, attitudes, histories and relationships.

Mormon Writers & Community

I have mixed feelings about claims of Mormon exceptionalism. But I do think that in some ways Mormons may present a special case (or at least a different case) when it comes to self-censorship and community. It’s possible that issues of self-censorship might be more difficult for some Mormon writers to navigate. But I don’t know about that. While it’s true that Mormon writers may have to worry about busybody ward members and concerned bishops and inflexible stake presidents, it’s also true that very few writers are not part of a community (or communities) that have certain ideologies, sacred cows, discourse boundaries, etc. plus those who formally or informally boundary police the community. Very few writers have relationships only with people who think exactly like them. In very few instances is art going to not lead to the potential for friction. This is especially true of minority literatures where, like in Mormonism, you have communities that because of their minority status are concerned with how they are being presented outside of their community.

The big exception, of course, is that while other communities may shun or ignore writers who offend them, because Mormonism as a culture is interwoven so deeply with the LDS Church, the act of excommunication is somewhat more draconian than the way other communities police their boundaries. Although as I wrote in my previous post, it’s not clear that it’s something to be actively feared. And, of course, how draconian it feels as a threat is dependent on the fiction writer’s interest in remaining in good standing with the Church.

All Writers Self-Censor

Because writing is an act of communication and all writers are parts of communities, I believe that all writers self-censor. Self-censorship happens along many lines. Sometimes it’s self-censorship driven by fear of how people  will react to their work if it is published un-self-censored. Sometimes it’s self-censorship where the author realizes that they don’t actually want to communicate what they originally had thought they wanted to communicate or they need to do it in a different way because by doing so they will be able to better communicate with their audience (sometimes that comes because of feedback from a good editor). Sometimes it’s not a matter of fear of how people will react, but the realization that what your art may be pushing you towards isn’t going to lead to a fruitful ongoing relationship with people (or with the field as a whole or with your personal artistic legacy). And beyond that, I also believe that writers self-censor in what experiences they intake that fuel their creativity, and what projects they choose to focus on, and what forms they pour their creative energies into, and what world views (ideologies) they have active in their brain. All creative endeavor comes down to individual acts of selection that create a unique work. While there are times when that process is more self-conscious than others, and I do think that the initial act of writing fiction is usually better when it isn’t quite so self-conscious, the fact remains that all writers self-censor.

But What About Artistic Integrity?

What about artists being true to themselves? By giving into self-censorship aren’t they violating artistic integrity? Maybe. Like most things, it’s a matter of degrees. Some self-censorship could be a rather damaging violation of artistic integrity. But I think that’s less likely a problem than we might think*. Besides: I don’t believe in artistic integrity. I believe that art comes from struggle and conflict and that means it inherently doesn’t have integrity—it’s not a gestalt, a whole. It’s a process, a dialogue. And there might be formal or ideological or poetic or psychological concerns or models that work themselves into the struggle of creation that are actually leading your work in the wrong direction. Sometimes the ingredients in the alchemical process aren’t the right ones (or the right amounts). Changing up those ingredients might not be self-censorship. They might just be self-correcting.

And the problem with creating art is that it’s so easy to be dramatic and self-indulgent about it. To feel like what you have to say needs to be not only said but heard and only in a way that is true to your particular vision (at that particular point in time). The problem with that is that all of us who write fiction** are damaged, ego-driven human beings with limited skills using a set of vocabularies, syntaxes, narrative shapes, etc. That are also limited. And the problem with that is that our fiction goes out to damaged, ego-driven human beings with limited skills to interpret it. That’s what’s so scary about it and also what’s beautiful about it. It’s good to have a well-wrought final product. But I doubt that any final creative products are works of pure integrity.

And note that I haven’t touched yet on market concerns and how those impact fiction writing. That’s another seit of concerns that warps works of fiction (although very often not as much as one would think and sometimes in ways that are just fine). Note also that this post is only about self-censorship. Actual censorship is a different topic albeit one that can cause writers to self-censor***.

There Will Be Offense Taken

All of the above means both that whatever you do, you’re going to offend someone somewhere. And that whatever your artistic vision, there’s no shame in being mindful of your relationships, of your communities. If you care about people, take care not to offend them (or to make sure that the relationship is such that you’ll be able to work through the offense). Or: don’t worry about other people. Unless you want to. The choice is yours.

For me the question of self-censorship is an insidious one because it lures the artist too much into self-indulgent romantic notions about authorship and creativity that needlessly create friction between the artist and those around them. Presenting fictional narratives is a fraught, hubristic act. Things could (will) get messy. Do the best you can to make sure what you’re presenting communicates what you’re trying to communicate in the best (most beautiful, most rhetorically effective, most formally interesting) way possible and don’t worry about the rest. Until you need to worry. And then either dismiss the criticism or take it in and learn from it. Either heal and nurture the relationship or let it go. Self-censorship is not this one-time thing that violates a potentially perfect work of fiction. It’s editing. It’s an act of communication and community negotiation. It’s doing the work.

Self Censorship & Inspiration

So that’s where I’m at on the the issue of self-censorship. But I have a specifically Mormon wrinkle to add (although this may also be useful other people of faith): Let me first acknowledge that I have an instinctive distrust of writers who talk about inspiration. Not that I don’t think that it doesn’t happen (I believe that it does), but because I think it’s too often used as a label to short-circuit criticism of work that is amateurish, sentimental and/or didactic. It sets up the readers. How can you argue against inspiration? (Incidentally, the same is true of self-expression. How can you argue against expression of self?). Heck, even if it isn’t couched in terms of inspiration, I have a distrust of any special claims (this is for the good of, this accomplishes, every person like this/who is this must read this…) made on behalf of ideological work that a story is supposed to do.

But while I have an instinctive distrust of talking about it, I also believe in seeking it. It seems to me that Mormon fiction writers shouldn’t worry about self-censorship during the initial act of creation. They should create what they feel compelled to create. However, it also seems to me that they should seek inspiration before/as they create, and they should (as we’re asked to do with other choices in life) test the final work against inspiration. If that process then causes you to go back and edit the work, then do it. In other words: revelation is a way to short-circuit worry over self-censorship. If one feels good about the work as is, then it is what it should be. If one doesn’t, then changing/editing it isn’t self-censorship—it’s acting on inspiration. But here’s the trick: you must be brutally honest with yourself in the process and you have to be worthy (and, yes, that’s a loaded word; I leave what that should mean up to the individual author). You have to strive to be humble about and a skeptic of your own work. Not an easy thing to do. But I believe that it’s worth doing (even though I fail to do so over and over again and too often feel buffeted by various ideological and aesthetic winds).

But Wait: One More Thing

I’m not going to end on such a sappy (although valid and sincere) point. I have one more thought for Mormon fiction writers: self-censorship is only a problem if you have an interesting point of view. It’s only a problem if you’re suppressing or marring work that is unique and truly interesting. It’s only important if something valuable is lost when you self-censor. Most fiction writers aren’t that interesting. Before you worry about self-censorship, worry about that. I’ll expand on that harsh-seeming pronouncement in my next post: Mormon writers and courage.

* I speak mainly about U.S. Fiction writers here. The United States has lax libel laws, fairly strong freedom of speech laws, and diverse marketplaces for distributing creative work. The situation may be very different for Mormon fiction writers of other nationalities.

** And really all of us who tell stories (which means all of us).

*** Censorship and Mormon fiction is an interesting topic and were it pervasive, I could see how it could lead to widespread self-censorship among Mormon writers. We’d need verifiable data points to determine that. All those I’m aware of only pertain to employees of the Church (including CES/BYU). Andrew Hall’s comment on the post on excommunication provides a few data points. I have heard of a couple of others. But the boundaries on those aren’t clear and times change, and it’s also not clear what bearing that should have on Mormons who aren’t employees of the Church. I’d also note that employees of other major socio-cultural institutions often face some of the same issues.

Liner Notes for Fast Offering

9.7.15 | | 2 comments

My short story “Fast Offering” was published in the Summer 2015 issue of Dialogue (if you’re not currently a subscriber you can buy a PDF copy of the story or issue individually — or even better sign up for a subscription and get access to it right away as well as to all of Dialogue’s archives). Electronic subscribers got access to it a couple of weeks ago. Print subscribers should soon receive their copy (if they haven’t already). Whatever way you access it, note that the issue also includes poems by AMVer S.P. Bailey and Emma Lou Thayne plus a bunch of other great writing.

The following liner notes to the story don’t contain any spoilers:

1. “Fast Offering” is the most traditional Mormon short story I have written: it’s solidly in the faithful realism school of Mormon lit (e.g. contemporary literary fiction that deals directly with Mormon [often Utah Mormon] characters and assumes that the LDS Church is true but complicates what that means for the lives of the fictional characters depicted) and features a setting—a small southern Utah town (Kanab) in the early 1980s—a situation-adultery—and a character—a precocious deacon—that scream faithful realism so much that I almost didn’t send it into Dialogue. This is not a William Morris story, I thought, with a bit of chagrin. But, of course, it very much is. I just had a moment of denial about it.

2. I didn’t plan on writing this story. It snuck up on me. Indeed, the idea for it came to me a few months after I had decided to take a break from writing Mormon fiction except for the occasional Mormon Lit Blitz entry. What caused me to fall off the wagon? I read Hateship, Friendship, Courtship, Loveship, Marriage: Stories by Alice Munro in June 2014. Two things from that reading experience infected my mind and wouldn’t leave without the exorcism of writing the story: 1) the detailed, merciless attention Munro pays to the emotional lives of her characters and 2) the way that she is willing to switch point of view characters in a short story. I probably could have fought off the first. The second, however, was a formal experimentation thing and that’s like catnip to me and all of a sudden my mind came up with a uniquely Mormon way to transition point of view changes throughout a fairly standard literary fiction short story. The idea occurred in June. I wrote 1500 words of the story, sat on it for a few months, and then wrote the rest of it in October and November.

3. The story originally had two more point of view characters and was 3,000 words longer. Dialogue Journal’s wonderful fiction editor Heather Marx suggested that I pare down the povs and reduce the story down to a more traditional ~6,000-word length. She thought it needed to be more a short story and less the start of a novel. She was right. So I made the cuts. I’m very pleased with the end result. I may also have plans for the characters I axed. But right now I’m not focusing on Mormon fiction. I’m back on the wagon and writing only genre fiction. Of course, you never know what might knock me off it again.

4. “Fast Offering” takes place in Kanab, Utah, in the late spring of 1981. The main character Welden Shumway lives in the third ward of the Kanab Stake. I lived in the third ward of the Kanab Stake in 1981. The story isn’t autobiographical in the sense that I was only 9 in 1981, the adulterous couple and the house they live in are completely made up, and I was pretty happy to live in Kanab when I was kid and, other than a vague idea of attending BYU, never thought about whether I might need to leave the town up some day up until we moved away the summer I was 12. On the other hand, many of the physical details are pulled from memory. And the overall sense of what small town Mormon life is like is somewhat autobiographical, although it’s also been warped by the passage of time as well as my reading of Mormon fiction. This story might be as much Doug Thayer fiction as it is William Morris memory. I’m not sure how I feel about that.

5. After reading through the prior four points, I’m frustrated by the reluctance I sense, that it’s almost an apologetic, as if I have to explain the existence of the story because it conflicts with my own personal sense of who I am as a fiction writer and a voice in the world of Mormon Lit. There might be something to that. But I think there’s something else going on. “Fast Offering” feels like an inflection point for my Mormon fiction writing (that, remember, I’m not actively pursuing at the moment). I don’t think that it’s all that different from the stories in Dark Watch and other Mormon American stories (now available—your purchase supports my Mormon alternate history anthology) — not on the reader end. But on the author end it felt very different. And it’s frustrating to me that this is the story that feels like that. Partly because it is somewhat autobiographical; partly because it is faithful realism; partly because I don’t necessarily like the characters I write about in the story (even though I love them). It feels like both a step backward and a step forward.

6. Stay (patiently) tuned?

Mormon fiction writers and the spectre of excommunication

7.15.15 | | 25 comments

I recently had a Twitter conversation with Mette Ivie Harrison about an experience where at an author appearance in Logan she met an LDS author who was afraid to be honest about their Mormonism in the current climate because of the possibility of excommunication. I’m not going to repeat the particulars of the conversation because I don’t think it’s fair to transport the context of a Twitter conversation with its character limit constraints to the longer form of blogging. So instead I’m going to start with an observation and then a claim based off of that observation.

The Observation

Most Mormon fiction writers who leave the LDS Church do so because they become alienated from it. That’s not a good thing or (I hope) an inevitable thing. It also often leads to active members of the Church dismissing their work, which is often (but not always) unfortunate, especially since I think Mormons should seek to develop a better of understanding of the Mormon experience when it doesn’t match up with their own.

But for this post I want to stick with the formal relationship of an author with the LDS Church. The reason for that is that over my 17+ years of interacting with the Mormon literature community, I’ve periodically seen a conventional wisdom expressed in various ways that the great Mormon novelist will inevitably be excommunicated. Or more generally: LDS writers can’t write candidly about the Mormon experience because then they’d be excommunicated.

The Claim

I’m going to make a claim about this fear and then complicate it. The claim is this: Mormon fiction writers don’t need to worry about excommunication because of the content of their fiction*.

Complication 1: Mormon fiction writers may need to worry about excommunication if their fiction exists alongside with affiliation with other activities/groups that could lead to excommunication. That is, it’s possible that fiction could be used a data point in showing that the writer is actively working against the LDS Church, but if the concerns are limited to what is represented in the fiction then all current evidence suggests that

Complication 2: Mormon fiction writers may need to worry about excommunication if their fiction isn’t well-wrought fiction. That is, if you’re writing polemics against the LDS Church or crossing hard boundaries (certain depictions of the temple or LDS Church leaders) then, yeah, that could be a problem. But that’s not good fiction. And that’s not honest fiction either.

Complication 3: Mormon fiction writers may need to worry about fellow members reporting their fiction to LDS Church authorities. My understanding is that this happens (or happened — I have no idea if it’s ongoing) to Orson Scott Card quite a bit. If one is a believing, active LDS in good standing, then this won’t be an issue. If one is not, then it could be because it could precipitate declarations of honesty on the part of the author that could lead to disfellowship and potentially excommunication.

Complication 4: Mormon fiction writers who specifically write for the LDS market** need to worry about their relationship with the LDS Church. I believe that hypocrisy is deadly for writers of all stripes and active LDS who become disaffiliated*** from the Church should stop writing for the LDS market. I recognize that that’s a harsh stance with difficult social and economic consequences and deserves a longer treatment (which I may attempt at some point).

Complication 5: All of the above is in relation to Mormon fiction writers who specifically write about Mormonism and/or target the active LDS audience. I’m trying to think of a scenario where writers who don’t write Mormon content could find themselves in a situation where their fiction impacts their Church membership. I suppose Mormon writers of erotica could be at risk for excommunication. I don’t know how much of a risk, although I imagine it would largely depend on what kind and how out they were as an erotica writer.

So except for Complications 4 and 5, I don’t see how the Mormon writer of fiction with doubts, fears, stances that differ from the LDS Church, etc. is in a different position from any other member with doubts, fears, differing stances, etc. And 4 and 5 relate to specific marketing categories an author has a choice to engage in or not. In other words, excommunication shouldn’t be a worry for LDS writers vis a vis their fiction.

But all the above is specifically only about the content of the author’s fiction in relationship with the Church. When it comes to the act of writing fiction itself, a different dynamic may be in play. Because while excommunication is something that either happens or doesn’t, there is a complex matrix of personal, familial, and social relationships and beliefs that impact the Mormon writer when they go to write fiction. That’s what I’ll be exploring in my follow-up post: Self Censorship and the Mormon Author.

For now, I’m interested in discussing:

1. Any complications I have missed
2. Any complications I have I downplayed too much
3. Why the fear of excommunication persists among Mormon authors even though none have been excommunicated for their fiction****

*For non-LDS readers, excommunication is a formal process by which members of the LDS Church may be restricted from some aspects of Church membership or lose their membership in the LDS Church. It is generally reserved for acts like adultery, murder, felony crimes, etc., but there have been a few instances when members of the Church have been disciplined for what they have said. Largely, that is because they have specifically arrayed themselves against the Church, but they’re also complicated cases with, naturally, differing views on the ultimate reasons for the excommunication as well as a variety of dynamics and individualized situations and information that often is not public. For more, see Church Disciplinary Councils at

**This is where the LDS vs. Mormon terminology is useful (even though I dislike dogmatic usages of the two terms in opposition to each other) in that by LDS market I mean the publishers and retail outlets that specifically market to faithful, active members of the LDS Church. The Mormon market, in my view, includes the LDS Market but also brings in any and all publishers, retailers and audiences who are interested in work about the Mormon experience.

***I am not going to attempt to delineate what level/type of disaffiliation should trigger a voluntary removal from the LDS market. That’s a matter of individual conscience.

****As Andrew Hall reminded me on Twitter, Brian Evenson did lose his position at BYU because of concerns over his fiction and Neil LaBute was disfellowshipped for his portrayal of Mormons and violence in his fiction. Both eventually became disaffiliated from the LDS Church.

Mormon Arts Sunday is June 14

6.1.15 | | 4 comments

Mormon Arts Sunday is June 14. I’ll include links to previous posts below, but here’s the gist:

Mormon Arts Sunday was created by Scott Hales as a way for members and wards to recognize the important contribution that arts make to the LDS community. It’s entirely a grass roots effort, which means you should feel free to participate at whatever level you feel comfortable with/have stewardship over. This could include:

  1. Consuming a work of Mormon art on June 14 as an individual or with family or friends.
  2. Letting your favorite Mormon artist(s) know that you appreciate their work.
  3. Wearing maroon/dark red to church and/or another article of clothing or accessory that relates to art and artists.
  4. Incorporating an excerpt from or work of Mormon art in your lesson or talk for the day.
  5. Selecting hymns that are by Mormon poets (Eliza Snow, Emma Lou Thayne, Orson F. Whitney, etc.)
  6. Making creativity/art the topic for sacrament meeting (not something that most of us have influence over, but there are at least two wards that have done so in the past thanks to Theric Jepson and Kent Larsen).

Other ideas are welcome in the comments (and can also be found in the posts below, especially in the comments). Here’s a timeline of Mormon Arts Sunday posts on AMV:

January 2013: Scott Hales kicks the whole idea off by announcing  Wear a Black Beret to Church Day

February 2013: Reminder from Scott of Black Beret Sunday

February 2013: William explains why he wore a maroon tie to Church

February 2014: Theric celebrates Mormon Arts Sunday in the Berkeley Ward

May 2014: Kent discusses what the talks should be about for Mormon Arts Sunday

June 2014: William invites everyone to celebrate Mormon Arts Sunday

June 2014: Tyler shares a Mormon arts-themed sacrament meeting talk he gave

June 2015: Theric shares what the Berkeley Ward did this year for an early celebration of Mormon Arts Sunday

Emily Harris Adams on her book For Those with Empty Arms

5.27.15 | | 2 comments

Cover of Emily Harris Adams book For Those With Empty ArmsEmily Harris Adams is a Mormon poet and essayist. Her book For Those with Empty Arms:  A Compassionate Voice For Those Experiencing Infertility was published earlier this year by Familius. In the book, Adams combines poetry and personal essay with Christian thought and a bit of self-help to tell her story in a candid, thoughtful way that those struggling with infertility (and their friends and family) will find relatable, touching and useful. Adams is also a perennial Mormon Lit Blitz finalist. Her poem “Second Coming” took fifth place in the Mormon Lit Blitz in February 2012; in May 2013, she won first place in the Mormon Lit Blitz with her piece “Birthright”; and she’s also a finalist this year with her poem “Faded Garden“.

Could you tell us about the process you went through to decide to prepare what is very personal writing into the book that Familius published? Why do it and what decisions along the way were easy and what were hard?

I first decided to write about infertility after a disappointing trip to a local bookshop. It was early in my infertility journey and I was looking for a book to help me cope with the overwhelming disappointment I was facing. Instead of finding any books about infertility, I found an entire shelf of books on parenting and childbirth. When I saw that wall of books, I felt more isolated even than when the doctor had given us our diagnosis. I decided I didn’t want anyone else to have that experience. So, as a writer, I felt my best option for preventing a similar experience was to write a book.

The hardest decisions to make were really just matters of transparency. Trent and I had to decide together how much we were willing to reveal about our diagnosis, treatment plans, and such. Personally, it was hard for me to reveal the times I didn’t behave well. In particular, there is an essay called “Envy” where I talk about how I started to become bitter about my situation. I almost removed the essay from sheer embarrassment. In the end, I decided to leave it in because I realize that many suffering infertility do have feelings of envy. They need to know they aren’t alone, and that they can overcome those feelings.  more

Dark Watch and other Mormon-American stories is available for pre-order

5.7.15 | | 6 comments

Cover of William Morris collection Dark Watch and other Mormon-American stories

6/1/15 Note: it’s now available on all four platforms:

PURCHASE: Amazon | Kobo | Nook | iBooks


I’m delighted to announce the forthcoming publication of my short story collection Dark Watch and other Mormon-American stories. It’s available for pre-order right now at: Amazon (Kindle) | Kobo (epub files). It’ll also soon be available at Barnes & Noble (Nook) and iBooks (iPad/iPhone). It’ll officially go live on Saturday, May 16 (which is when pre-orders will be delivered).

I’ve published it myself under the aegis of A Motley Vision. The main reason for that is that I want as much of the proceeds from sales as possible to go to support AMV and related projects. I go into more detail below about that decision and a lot of other things.

Oh, and here’s the pitch for the collection:

In Dark Watch and other Mormon-American Stories, William Morris explores how Latter-day Saints navigate the challenges of living in the modern U.S. and participating in the modern Church. Spanning from the early 1980s to the present and into the next century, these 16 stories portray moments that are uniquely, thoroughly and sometimes bittersweetly Mormon-American.

Now on to the gory details…

The book collects 16 stories that take place from the early 1980s through the 22nd century — 6 take place in the future (they’re science fiction! [of sorts]).

9 of the stories are less than 2,000 words in length; Dark Watch is just over 8,000 words. The rest are between those two numbers. The total collection comes in at 40,000 words, which is about 120 print pages.

A big chunk of the stories were published in either Dialogue, Irreantum or the Mormon Lit Blitz. The rest are unique to the collection.

The stories were all written 2006-2013 and coincide with the bulk of my non-fiction writing about Mormon literature and culture. All of the stories are very Mormon and are about the current Mormon-American experience and range from the almost devotional to the almost heretical. That almost is important for me to accomplish (see: my series on the radical middle).

A couple of the stories that were previously published have been slightly edited from their previous state. I don’t think I did anything major, but there are differences.

At $4.99, the collection is deliberately priced on the high end of the (very few) comparable ebook volumes of Mormon short stories out there. I figured $1 for each 10,000 words plus another buck for more than a decade of free literary criticism here at AMV and elsewhere. Plus, it feels to me like an EP and EP’s are/used to be $5.

Proceeds from sales of the collection will go to fund Mormon literature projects. Specifically, I hope to bank enough to cover the bulk of the costs for the Mormon alternate history mini-anthology I plan to edit. And by costs I mean token payments (at least $15, hopefully more like $25) to contributors. I hope to also subsidize some of the web hosting costs for AMV and its sister blogs.

Anyone who can’t justify the spend right now but really would like to read the collection should email me at william at motleyvision dot org. Be sure to indicate if you’d like a .pdf, .epub (for Nook, Kobo, Sony Ereader, etc.), or .mobi (Kindle) file. I know what’s it like to not have the funds to buy books even though you’d really like to support the author. It’s more important to me that you experience my writing. I’m not going to just make it free on Amazon or whatever, but email me, and I’ll shoot you back the format of your choice no questions, no judgement.

I created it myself in Adobe InDesign. I thought about using a striking black and white photo like one does with short story collections, but I also wanted to tie it into the A Motley Vision branding. Plus I like minimalist book covers. In fact, my preference would be to have no words on the cover at all, but in the end I bowed to convention.

The maroon color is the exact same color as the one I’ve used for AMV since moving it to WordPress many years ago. That would be #3d0807 or R=61, B=8, G=7. The typeface is Avenir. I’ll let you figure out what the squares represent.

The calculus is simple: the only publishing house that would potentially be willing to take this on is Zarahemla Books. I’d be happy to be part of that list. It’s great company. But a) there’s no guarantee that Chris Bigelow would want it; b) since proceeds would be split with ZB, that’d dilute the net income from sales; and, c) it just seemed like this project was an AMV one. Future projects might not be.

My sister Katherine and father-in-law Tim provided editorial work. I did everything else.

Probably won’t happen—at least not anytime soon. Yes, I have friends who I could convince to do the layout for free or at a reduced price. Or I could take the time to up my InDesign skills enough to do it myself, but at the moment I’m not inclined to spend that time or good will. Sorry. If a print version does happen, it won’t be until after the alternate history anthology, which means late 2016 at the earliest.

So those are all the details. I’m happy to answer questions in the comments. Stay tuned for more here (and elsewhere) on the stories, my future projects, etc. And thanks, as always, for your support of me and everybody else involved with A Motley Vision and the MormonLit community.

My 2014 Whitney Awards Ballot

5.4.15 | | one comment

The voting window for the 2014 Whitney Awards* closed last week. The gala takes place Saturday, May 16, 2015, and you still have two more days to purchase tickets. I’ve already explained my criteria for judging the nominations for the historical fiction category and shared some advice for Mormon writers of historical fiction. Now, it’s time to reveal how I ranked the five finalists (and if you paid attention to my previous posts, this list won’t come as a huge surprise):

  1. Softly Falling by Carla Kelly
  2. An Ocean atween Us by Angela Morrison
  3. Eve: In The Beginning by H.B. Moore
  4. Deadly Alliance, by A. L. Sowards
  5. Gone for a Soldier by Marsha Ward

As a nominations judge, I was invited to vote in any of the other finalists categories that I wanted to (and read all the books in), but I decided that I didn’t want to do another huge reading push so I just voted in the Historical Fiction category. I kind of wish that the big push for this wasn’t in March and April because they tend to be busy months for me in other areas of my life. On the other hand, I wouldn’t want the awards to be any later than they are.

*I’ve been inconsistent in how I refer to the awards. Technically these are the awards for books published in 2014 so The Whitney Awards organizations call them the 2014 awards even though they are awarded in 2015.