Seeing Red is dark, humorous Orwellian fiction noir set in Detroit

T.M. Doran is the author of several novels, including Terrapin: A Mystery, Iota, and the “Toward the Gleam” trilogy: Toward the Gleam, The Lucifer Ego, and Kataklusmos. He is also a regular contributor to Catholic World Report.

His new novel is titled Seeing Red, and it has been described by Augustine Wetta, O.S.B., as a “sort of Orwellian fiction noir set in Detroit” that is “darkly—and consistently—funny”, and as a “sharply written novel, shimmering with mystery and edged with redemption” by novelist and cultural critic Peco Gaskovski.

I recently corresponded with Doran about being a novelist, the story behind this new novel, and some details about Seeing Red.

CWR: When did you first decide to write a novel? And what was the genesis of this new novel?

Doran: I’ve been writing stories since I was a boy, often emulating someone I was reading at the time. Later, I committed to reading enduring literature and learned about the craft of writing from the best authors. I embarked on Seeing Red ten years ago with the idea of a group of misfits trying to forge their own futures free of state coercion and intimidation. The story went through many versions; I put it away, picked it up again, applied a wrecking ball more than once, committed to a do-or-die version in the fall of 2021.

CWR: Do you have a particular process you follow when working on a novel?

Doran: Maybe it’s my engineering training. I fill journals with big and small ideas, everything from major themes to a line of dialogue to a character trait. Some entries get into the story, some get in and are later jettisoned, some never make it in. I prepare cluster diagrams (mind maps or roadmaps) for the novel itself, characters, each chapter, so I have the journal and clusters in front of me when I write, rather than staring at a blank screen or a blank sheet of paper.

Also, reading authorities on subjects I’m writing about: faith-related subjects, science (even quantum physics), a historical period, filmmaking for Seeing Red, Mars for a work in progress that’s firmly rooted in modern day Dearborn, Michigan. I want readers to experience my very best work.

CWR: What is Seeing Red about?

Doran: On an impulse, a desperate Hollywood screenwriter whose career and life have gone off the rails decides to visit the rural Michigan movie set that earned his screenplay an Academy Award. Unexpectedly, he discovers a band of Red Cards hiding there, a category of people who aren’t allowed any medical care, are kept on a tight leash, and pressed by the state to submit to euthanasia.

CWR: What kind of story is Seeing Red?

Doran: On one level, Seeing Red is about an oppressive state rejecting the dignity and rights of every person, no matter their limitations or usefulness. On a deeper level, Seeing Red is about the flawed and fragile characters in the tale—Max, Gena, Fiona, John, Jefferson, Colleen, Sarah, Castro—“seeing” and valuing each other, in spite of physical or moral flaws and apart from their necessary dependence on one another.

CWR: Is this supposed to be the modern world?

Doran: Some things in Seeing Red point to the past, some to the present, some to an altogether different world—the strange words people occasionally use. Several prominent filmmaking characters in the story may seem familiar to readers. Filmmaking permeates Seeing Red: a beloved book made into a film by a renowned director, the characters in that book and the actors who portray them, the Red Card fans of the book/film who are drawn to the empty set, the drama the Red Cards themselves inspire.

CWR: Why did you write Seeing Red?

Doran: I hope to entertain readers with a mysterious story that keeps them on the edge of their seats while exploring the value of every human life, what people owe each other because of our common humanity and God-given dignity.

CWR: Why bother with novels when we can read non-fiction—papal encyclicals and other writings—that affirm the dignity of all human life?

Doran: Naturally, such spiritually and morally grounded works deserve to be read. Novels and all good art, however, can appeal to those who would never read an explanatory book about human dignity; also, good storytelling engages our imaginations with fresh insights on truth and beauty, or the consequences of the corruption of truth and beauty.

CWR: Who is the main character?

Doran: The screenwriter’s name is Castro Hume, a person who has gotten into the habit of making bad decisions. The last thing Castro needs is to get involved with these Red Cards who are defying the state by hiding off the grid.

CWR: What was your most difficult challenge in writing Seeing Red?

Doran: The temptation to make people with serious illnesses or limitations overly sympathetic. Everyone has weaknesses, failings, temptations, along with God-given value.

CWR: What would you like readers to take away from the novel?

Doran: Doing the right thing isn’t easy and often involves heroic sacrifice. There is far more to every person than we see on the surface.

CWR: Why did you name the main character Castro?

Doran: Readers will find that out. One of the story’s mysteries.

CWR: Is this a Catholic book?

Doran: A number of characters embrace Catholic beliefs and values, especially the dignity of each and every person, and are willing to risk their lives for those convictions. Because Seeing Red is a different world than ours, this story might interest (attract) family and friends who are unbelievers or not practicing their faith.

CWR: What might readers find in the novel that they might not expect?

Doran: Humor. Frequent humor. What authentic friendship looks like. Things that challenge the culture to experience true joy, beyond awards, accomplishments, physical or mental limitations. Though there are dark and grim moments in Seeing Red, this is a hopeful story.