Harlan Ellison’s Wonderful Rant

We live in a time of word sat­u­ra­tion. Writ­ten con­tent of all kinds—blogs, sto­ries, arti­cles, essays, this blog—is freely avail­able for down­load­ing, print­ing, email­ing to friends, or, in the case of some of my for­mer stu­dents, copy­ing and pass­ing off as your own work.

For a long time I was resis­tant to offer­ing any of my writ­ing for free because begin­ning at 21 years old, I was paid for my words. I was a reporter for a week­ly news­pa­per, and lat­er a dai­ly, and each week I got a pay­check.

It was­n’t a lot of mon­ey, but even now, 17 years lat­er, I can remem­ber the dis­be­lief I expe­ri­enced when I opened up that first enve­lope and real­ized they were actu­al­ly pay­ing me to write. What I did­n’t tell the pub­lish­er was that I prob­a­bly would have done the work for noth­ing. (Or maybe for 3 squares and a cot.)

This morn­ing, I stum­bled upon a fair­ly famous rant by Amer­i­can writer Har­lan Elli­son. I’d heard about this polemic of Ellison’s before, but until I watched it, I did­n’t real­ize how much I agreed with it.

His main point: Writ­ers should be paid for their work.

What a con­cept. He’s right, of course, and his vocif­er­ous defense of this prin­ci­ple is mak­ing me recon­sid­er how much, and what type of, writ­ing I offer freely myself. Enjoy.

 

 

My favorite line in the video is when he says, “Lady, tell that to some­one a lit­tle old­er than you who has just fall­en off the turnip truck.”

Folks, that’s a writer at work. I just hope some­one paid him for this because I don’t want him burn­ing my house down for show­ing it.

By Chris Orcutt

CHRIS ORCUTT is an American novelist and fiction writer with over 30 years' writing experience and more than a dozen books in his oeuvre. Since 2015, Chris been working exclusively on his magnum opus. Bodaciously True & Totally Awesome: The Legendary Adventures of Avery “Ace” Craig is a 9-episode novel about teens in the 1980s. It’s about ’80s teens, but for adults (in other words, it’s decidedly not YA literature), and he’s applied this epic storytelling approach to the least examined, most misunderstood, most marginalized narrative space in American literature: the lives and inner worlds of teenagers.

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