Ask the Author: Jerry B. Jenkins
Answered Questions (131)
Jerry B. Jenkins
Kara, if it's not explicit in the story, it's for you as the reader to ponder. She did die in the Wrath of the Lamb earthquake, which occurred in Soul Harvest, the fourth book of the series. Her death is not explicitly shown in the main narrative, but it is confirmed in the Dramatic Audio version of the story that she perished along with most of the Chicago office staff when their building collapsed.
As for her spiritual status, I don't definitively state in the books whether Verna was saved or not. The Left Behind Wiki notes her spiritual state as "presumably condemned", and there is no mention of her receiving the seal of God or making a profession of faith before her death. This ambiguity leaves her fate open to interpretation, though the narrative leans toward her not having been saved.
As for her spiritual status, I don't definitively state in the books whether Verna was saved or not. The Left Behind Wiki notes her spiritual state as "presumably condemned", and there is no mention of her receiving the seal of God or making a profession of faith before her death. This ambiguity leaves her fate open to interpretation, though the narrative leans toward her not having been saved.
Jerry B. Jenkins
Thanks for your kind comments, Caleb. If I left something vague or unresolved, it was on purpose so you can figure it out. What do you think became of her? Is there evidence she was a believer when she died?
Jerry B. Jenkins
I recommend the 40 Left Behind Kids books for kids between 9 and 12.
Jerry B. Jenkins
Harold and Edna were an elderly Christian couple who lived in Palatine, Illinois. They were friends of Rayford Steele (the series’ protagonist) and his wife, Irene. Irene Steele had shared the gospel with them before the Rapture.
What happened to them?
Both Harold and Edna were raptured—they disappeared along with millions of other believers at the beginning of the first book, Left Behind. Their disappearance is mentioned early in the series as part of the shock and confusion that follows the Rapture.
Role in the series
Their characters mainly serve as examples of ordinary believers who accepted Christ and were taken in the Rapture. They don’t have an ongoing role in the plot, but their absence affirms Irene Steele’s evangelistic efforts and highlights the contrast between those taken and those left behind.
What happened to them?
Both Harold and Edna were raptured—they disappeared along with millions of other believers at the beginning of the first book, Left Behind. Their disappearance is mentioned early in the series as part of the shock and confusion that follows the Rapture.
Role in the series
Their characters mainly serve as examples of ordinary believers who accepted Christ and were taken in the Rapture. They don’t have an ongoing role in the plot, but their absence affirms Irene Steele’s evangelistic efforts and highlights the contrast between those taken and those left behind.
Jerry B. Jenkins
Sorry, thought I answered this, and sorry if this is a dupe. For some reason, the title of I, Paul was changed to Empire's End. Go figure. Anyway, it exists, but under than strange title. :)
Jerry B. Jenkins
Sorry, Caleb, I thought I answered this, but apparently not. By now you've probably self-published this on Amazon, but for future reference, agents don't cost you money--they make you money and their compensation comes only if you make money. Always try that route first. Traditional publishing pays you, not the other way around.
Jerry B. Jenkins
Sorry for the hassle, Robert. Go figure, after announcing at the end of I, Saul that the sequel would, naturally, be I, Paul, the publisher decided on a title change. The sequel is called Empire's End. Why, I'm not sure, and what empire, I don't know that either. :) As a now ten-year-old out of print book, Amazon has it overpriced, but you should be able to find a used copy at a reasonable cost.
Jerry B. Jenkins
Ann, The way I understood this from Dr. LaHaye was that the 144,000 are not necessarily virgins but rather they have "not been defiled." A man's relations with his lawfully wedded wife would not be considered defilement.
Jerry B. Jenkins
The heart if the king is in the hand of the Lord, which makes me believe that whoever wins the presidency is whom God chose--giving us what we deserve, either way. That said, in Trump's previous administration, what may have appeared as playing footsie was accompanied by promises that if those enemies countered his wishes, their trade with America was jeopardized.
Jerry B. Jenkins
Sorry if this is a dupe, but I don't see that my answer was transmitted. Here it is:
It's all right with me, Brent, provided it's labeled as fan fiction. But you'll also need permission from the Tim LaHaye estate through his daughter, Linda Murphy: lindamurphy7777@gmail.com
It's all right with me, Brent, provided it's labeled as fan fiction. But you'll also need permission from the Tim LaHaye estate through his daughter, Linda Murphy: lindamurphy7777@gmail.com
Jerry B. Jenkins
Brent, I'm not sure you need permission, based on the legal stuff I sent (which is all I know about this too. :) ). There's lots of fan fiction out there, and I doubt the writers all secured official permission from the rights holders (or needed to). Thanks for your loyal following of the series, and I appreciate your care in wanting to do it right. If you'd be most comfortable with permission, you'd seek that from Tyndale House, the owner of all publishing rights to the intellectual property.
Jerry B. Jenkins
Fan fiction, while a popular and creative outlet for fans, raises several legal issues. Here are the main legal ramifications associated with fan fiction:
Copyright Infringement:
Unauthorized Use: Fan fiction often uses characters, settings, and plots from copyrighted works without permission from the original creators or copyright holders. This can constitute copyright infringement.
Derivative Works: Creating derivative works (like fan fiction) without authorization is typically an infringement of the copyright holder's exclusive rights.
Trademark Infringement:
Use of Trademarks: Using names, titles, or other trademarked elements from the original work can lead to trademark infringement if it causes confusion about the source or sponsorship of the fan fiction.
Fair Use Defense:
Transformative Use: Some fan fiction may qualify as fair use if it is transformative, meaning it adds new expression or meaning to the original work and does not substitute for it. However, this defense is often uncertain and depends on specific circumstances and jurisdiction.
Cease and Desist Letters:
Legal Action: Copyright holders may send cease and desist letters to fan fiction authors or platforms hosting fan fiction, demanding the removal of infringing content.
Monetization Issues:
Commercial Use: Fan fiction that is sold or monetized in any way is more likely to attract legal action from copyright holders, as it directly impacts their ability to profit from their intellectual property.
Licensing and Permissions:
Official Permissions: Some copyright holders may grant licenses or permissions for the creation of fan fiction under specific conditions, which can mitigate legal risks.
Moral Rights:
Respect for Original Work: In some jurisdictions, moral rights protect the integrity of the original work, meaning the original author may object to fan fiction that distorts, mutilates, or otherwise negatively impacts their creation.
Fan Fiction Policies:
Corporate Policies: Some companies and creators have explicit policies regarding fan fiction. For example, they may allow non-commercial fan fiction while prohibiting commercial exploitation.
Practical Tips for Fan Fiction Authors
Non-Commercial Use: Avoid monetizing fan fiction to reduce the risk of legal action.
Transformative Content: Aim to create works that add new meaning or provide a unique perspective, which might support a fair use defense.
Respecting Policies: Check if the original creator has a stated policy on fan fiction and adhere to it.
Disclaimers: Include disclaimers stating that the work is fan fiction and that it is not endorsed by the original creators or copyright holders.
While fan fiction can be a legal gray area, understanding these implications can help authors navigate potential legal challenges.
Copyright Infringement:
Unauthorized Use: Fan fiction often uses characters, settings, and plots from copyrighted works without permission from the original creators or copyright holders. This can constitute copyright infringement.
Derivative Works: Creating derivative works (like fan fiction) without authorization is typically an infringement of the copyright holder's exclusive rights.
Trademark Infringement:
Use of Trademarks: Using names, titles, or other trademarked elements from the original work can lead to trademark infringement if it causes confusion about the source or sponsorship of the fan fiction.
Fair Use Defense:
Transformative Use: Some fan fiction may qualify as fair use if it is transformative, meaning it adds new expression or meaning to the original work and does not substitute for it. However, this defense is often uncertain and depends on specific circumstances and jurisdiction.
Cease and Desist Letters:
Legal Action: Copyright holders may send cease and desist letters to fan fiction authors or platforms hosting fan fiction, demanding the removal of infringing content.
Monetization Issues:
Commercial Use: Fan fiction that is sold or monetized in any way is more likely to attract legal action from copyright holders, as it directly impacts their ability to profit from their intellectual property.
Licensing and Permissions:
Official Permissions: Some copyright holders may grant licenses or permissions for the creation of fan fiction under specific conditions, which can mitigate legal risks.
Moral Rights:
Respect for Original Work: In some jurisdictions, moral rights protect the integrity of the original work, meaning the original author may object to fan fiction that distorts, mutilates, or otherwise negatively impacts their creation.
Fan Fiction Policies:
Corporate Policies: Some companies and creators have explicit policies regarding fan fiction. For example, they may allow non-commercial fan fiction while prohibiting commercial exploitation.
Practical Tips for Fan Fiction Authors
Non-Commercial Use: Avoid monetizing fan fiction to reduce the risk of legal action.
Transformative Content: Aim to create works that add new meaning or provide a unique perspective, which might support a fair use defense.
Respecting Policies: Check if the original creator has a stated policy on fan fiction and adhere to it.
Disclaimers: Include disclaimers stating that the work is fan fiction and that it is not endorsed by the original creators or copyright holders.
While fan fiction can be a legal gray area, understanding these implications can help authors navigate potential legal challenges.
Jerry B. Jenkins
The series continues to sell between ten and fifteen thousand units per month, coming up on 29 years since the first title was released. That tells me it remains relevant to this day. More importantly, I still hear from readers who say they're lives were changed from reading it.
Jerry B. Jenkins
Writing done well is too grueling to love while you're doing it. I love having written, learning as I go, being able to do it, being known for it, its impact on readers, etc., etc. I actually love the revision stage where the magic happens. But the actual writing? Ask a marathon runner at the 20-mile mark if he loves running. :)
Jerry B. Jenkins
Your perspective character is your camera and recorder, so we should see and hear only what he/she does. I would have him wondering what so-and-so is whispering about and then have another character sidle up and say something like, "You won't believe what I just heard..."
Jerry B. Jenkins
Don’t start with a book. A book is not where you start; it’s where you arrive after studying and honing your craft by writing short stuff, trying to sell it, learning the business, learning to work with an editor, etc. www.jerryjenkins.com
Jerry B. Jenkins
I do. I have two coming out this year, two more next year, and three more contracted for down the road. That’ll make a total of more than 210 books. I don’t know how to do anything else. Plus I don’t want to be that teacher who used to write. I’m still in the game.
Jerry B. Jenkins
Mike, what I'm suggesting you avoid is telling: in other words, saying, "He didn't answer." Rather, I want, as a reader, to be shown this so I can deduce it.
A quick example:
"I want to know, Biff," she said. "I deserve an answer."
Biff stared out the window.
"Well?" she said. "Nothing? What are you trying to hide?
A quick example:
"I want to know, Biff," she said. "I deserve an answer."
Biff stared out the window.
"Well?" she said. "Nothing? What are you trying to hide?
Jerry B. Jenkins
Sorry I'm just seeing this, Becca, but I do wish you all the best with your project. Unfortunately, my endorsement policy requires that I read a book in its entirety and, of course, like it, before endorsing. But it also requires that the book is contracted for with a traditional publishing house and not, in essence, self-published. Traditional publishing houses pay you, rather than the other way around, and thus manuscripts go through a vigorous vetting process before they're accepted.
Nonetheless, I applaud your zeal for and work on this and hope it has a wonderful impact.
Nonetheless, I applaud your zeal for and work on this and hope it has a wonderful impact.
Jerry B. Jenkins
Well, naturally I think so, as I wrote it. There are four in that series: Matthew's Story, Mark's Story, Luke's Story, and John's Story.
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