It has been observed—I forget where or by whom—that only kids have heroes. I’m not entirely sure that’s true, but I do think you have to stop being a fan in order to become wholly a professional. You can continue to admire and delight in the work of another writer, but if you’re slavish in your devotion, if you’re stuck in the role of full-blown fan, your own growth will be limited.
I can really relate to that.
It’s taken from The Crime of Our Lives, an excellent book by Lawrence Block, collecting the author’s essays, introductions and columns about his colleagues and his experiences in the field of genre fiction. It is not as one might think, an autobiography (and I realize the title of this post is misleading), but a collection of personal reminiscences about other people1.
It’s quite a good read – but then, I am a fan… or rather, I admire and delight in his work, without giving in to slavish devotion, and I consider Block’s Telling Lies for Fun and Profit one of the best books about writing I ever read2. And I did read a few.








It was a pleasure and a privilege, as a long time Fritz Leiber fan, to be part of
One year later, with the same editor and the same publisher, I was part of the volume
The ball was rolling, so when Benjamin proposed a third contribution, I was happy to join his team once again – this time writing about an author, William Peter Blatty, whose work has been to long in the shadow of the movies based on it. And as a ghost-story aficionado, it was great fun writing It Ain’t Over Until the Fat Lady Sings: William Peter Blatty’s Elswhere and the Haunted House Formula.