What inspired the concept behind Book of 42², and why the specific format of 42-word stories across 42 genres?
As for inspiration, while recovering and relearning to walk after the final four of eight back operations in 2012, I was reading Douglas Adams’s novels and watching the mini-series. At the same time, I wanted to give back to writers and editors who were always there for me before after while creating the project, people like Darlene Campos, Cathy Mackenzie, Dawn Greenfield Ireland, Cicely Wayne, Karen L. Milstein, Michael Gibson, Terry Groves, and so many more. Book of 42² was born from that.
The idea was simple: create a space where anyone, from anywhere, could share a story in exactly 42 words. It was a form short enough to be inclusive, but challenging in a way that demanded precision. I chose 42 genres based on the inspiration. For a set number of stories, I squared 42. Staff consisting of editors and critique partners selected 1,764 stories, which created an opportunity to highlight thousands of voices in one book and to make the talented authors visible to the world, where, previously, some felt ignored.
How did you go about curating thousands of authors from around the globe, and what was the most surprising submission you received?
Curation was madness and patience. It also involved a team of several editors and critique partners who helped by reading and choosing stories. We opened global calls, networked through writing groups, social media, Submittable, and let word-of-mouth carry. I gave writers freedom to submit under pseudonyms (up to four times), and then we sorted, ranked, and filtered blind.
Most surprising submission? The one in the Siblings chapter that almost made me cry on repeated reads. You’ll have to guess which one. Hint: It involves a leap year.
That story is one of many examples in the anthology of what a writer can do when they blend precision with talent.
As chief editor and compiler, how did you balance showcasing diverse voices while maintaining a cohesive anthology structure?
By letting structure serve the voices, not override them. Each chapter focused on genre, with internal introductions to ground the reader. We honored regional English varieties and authorial voice, even when it broke style norms. We wanted authenticity, not perfection.
What does the number “42” symbolize for you personally or creatively?
It’s a nod to Douglas Adams, and it became a creative constraint. Limitation can drive creativity. “42” became a litmus test: Can you move someone with just that? If not, rewrite it. Some see 42 as a kind of a meme. For the anthology, it’s a philosophy.
For me, the Book of 42² is a reminder of my struggle and the promise behind it. I mentioned eight back operations. During the last four, the doctor told me I might never walk afterward, or worse, that I could die without them. So afterward, I used what Adams inspired to make a difference for as many writers as possible.
Was there a genre among the 42 that proved most challenging or unexpected for contributors—or for you as editor?
Mystery. No question. It drew everything from horror to heartbreak to slapstick to satire. Writers leaned in hard. That chapter had more rejections than any other. It became a surprise favorite because of the challenge to find the right pieces for the chapter. As an editor, though? “Craft of Writing” was brutal. Try narrowing down a chapter where the judges are also the contributors and legends like Bruce Boston and LindaAnn Loschiavo are in the mix.
Your goal is to spotlight the writers featured in the anthology. What are a few standout themes or voices that emerged during the selection process?
Themes of loss, absurdity, identity, and resistance kept cropping up. What stood out most, though, were the new voices who didn’t play it safe. People wrote about war from a refugee tent, about love through the oddest places, and siblings on opposite sides of revolutions. The honesty caught us off guard in the best way.
How do you see this anthology contributing to the broader literary community—especially for underrepresented or emerging voices?
It proves that accessibility doesn’t mean mediocrity. Most contributors weren’t from MFA programs. They were nurses, retirees, high schoolers, and second-language writers. The book says: You have 42 words. Say something that matters. That’s a gateway into the literary world many never thought they could enter.
Are there any success stories from contributors that have emerged since publication that you’d like to share?
A few have gone on to publish novels or get invited to festivals. But for me, the success was the email I got from someone thanking me for helping them feel heard. That’s impact.
You’ve received multiple accolades for your own writing. How does it feel to have your stories—like Tsunami, Kindness & Decency, and Far from the Crowd—recognized alongside your editorial work?
For me, those were stories I simply needed to tell. Interestingly, they’re all very different. Tsunami is creative nonfiction about the last time I saw my mother before she died.
Kindness & Decency started as a writing prompt in a prose class: “write an opening line.” My original version, later revised, was: “You can’t play Russian Roulette without vodka—I was worried about my blood getting everywhere but ran out of paper towels and needed both, so that’s why I’m here ducking for cover at American Grocery, with a shooter two aisles down.”
The prompt grew into a 25-page novella about a crazed gunman in a grocery store and a suicidal old man who saves everyone. The story has both POVs. It blends action and drama with trauma and grief.
Far from the Crowd is also true, like Tsunami, but centers around saying goodbye to a friend before the back surgeries I mentioned. That story leans on humor.
In a way, writing stories across such different structures helped prepare me for taking on Book of 42². If those pieces happened to bring attention to the project, it’s a bonus.
How does your creative process as a writer differ from your process as an editor compiling others’ work?
When I write, I obsess over sound and subtext. As an editor, I tune into balance and flow. Writing gets the words and story down. Editing amplifies voices in a logical and organized flow. The difference? The writer version of me chases resonance. As an editor, I’m carving a runway for others to take off on smoothly.
What themes or emotions do you find yourself returning to in your own fiction?
Regret. Defiance. Quiet strength. I tend to write characters who feel like they’re on the edge of vanishing, emotionally or socially, but who also find ways to push back. I’m interested in what people don’t say, but show, and how that tension breaks them, makes them whole, or both.
How has living and lecturing in Japan influenced your perspective as a writer and editor?
Living in Japan forced me to be precise and observant. There’s nuance in everything. It’s also helped me see the layers of language more clearly. I teach English, culture, and more, but I learn just as much about storytelling from watching students navigate two linguistic worlds. That friction? It sharpens perspective.
With your work in applied linguistics, do you find intersections between linguistic theory and literary storytelling?
Absolutely. One of my interests, for example, is phonology. In that, there’s narrative rhythm, which can overlap into storytelling. Pronunciation training teaches timing, tone, intention, which are vital facets to fiction. Also, discourse patterns show how to structure ideas and play a role in pacing, subtext, and voice. I study speech; I write to echo it.
What’s next for 42 Stories Anthology—and for you personally as both a writer and scholar?
We’re looking into an audiobook. If anyone’s curious about what’s next for 42 Stories Anthology, there’s a vlog and blog featuring writers from the book available on YouTube and Blogger. Here are the links:
https://www.youtube.com/@bamwrites42
BAM Writes A Blog
On the academic side, I’m currently finishing my dissertation and getting ready to defend it, so I’m hoping to be Dr. BAM in the next few years.
As for personal writing, I’m working on a novel I believe could make a difference. I wrote the first draft in February: 137k words, and edited it down to 107k between March and May. Once my fiancée finishes beta-reading it, I’ll start querying to find the right agent. What’s it about? That’s a surprise. Hint: It’s 42-related. Stay tuned.
Oh, and it’s also worth mentioning something else about the future: the fiancée I mentioned will be my wife as of September. Which means, I’ll be married by 42.
What has your AllAuthor experience been like so far? What are some highlights?
It’s been a big part of the anthology’s visibility, which was one of the reasons I chose to use it. Book of 42² won its first award there: the Book Cover Award in January, just a week after my 42nd birthday, by coincidence.
That said, I didn’t create this anthology for algorithms or rankings. The real highlight is watching new readers discover the authors and realize the power of 42 words. Even better are the emails that say things like, “I didn’t think I was a writer until being part of the anthology.”
So yes, I’m ever-grateful to AllAuthor for helping promote the book. What I appreciate most about the platform is that the people behind it genuinely want to see authors succeed. In a way, Book of 42² is a time capsule of what AllAuthor stands for because we both want writers’ voices to be heard.
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