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How NOT to Write Genre Fiction: The Dangers of Pleasing Your Audience

November 16, 2020

There are many guides out there that promise to teach you how to write genre fiction. And yet few of them will tell you the most important thing: Writing genre fiction is an inherently people-pleasing act, which is an always dangerous business.

In a sense, genre fiction is the opposite of literary fiction. Whereas literary fiction deals with abstractness and generality, genre fiction deals with concreteness and specificity. To put it another way, if literary fiction is about “everyone, always”, genre fiction is about “that one, right there and then”Of course, this is a somewhat simplistic way of putting it. Quality literature (including genre fiction) can always extrapolate from the specific to the generic, even if it does so operating on a subconscious level. Take a look at my review of The Lighthouse..

If this sounds a bit too theoretical, worry not; I’ll unpack it in more detail in this post. My purpose is not to offer you tips on how to write genre fiction, but tips on how not to write genre fiction – though obviously enough, the two processes overlap.

In other words, I’ll highlight the pitfalls of writing genre fiction, together with my opinion on how to avoid them (there’s a twist in the plot here).

write genre fiction
If you’re writing genre fiction (say, fantasy with witches), there are things you can do, and there are things you can’t do. This is always a problem in anything that would like to call itself artistic creation
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Reality in Frankenstein: Dreams and Temporal Distortion

November 9, 2020

Note: the following article on reality in Frankenstein is a modified excerpt (pp. 150-152) from my doctoral dissertation, “Time is Everything with Him”: The Concept of the Eternal Now in Nineteenth-Century Gothic, which is available for free from the repository of the Tampere University Press. For a list of my other academic publications, presentations, etc. feel free to visit the relevant page on the main Home for Fiction website.

Reality in Frankenstein is a matter of temporal perception. On more than one occasion Victor Frankenstein alludes to a distorted sense of time, which effectively precludes the possibility of defining reality. As the grieving scientist admits, “[s]ix years had elapsed, passed as a dream” (F 61).

However, the most powerful sense of loss of reality for Frankenstein comes after his friend, Henry Clerval, is found dead. The hapless man mentions how everything “passed like a dream from [his] memory” (F 135), and a little later, while in prison, he insists saying “if it all be true, if indeed I did not dream” (F 136).

Furthermore, he confesses that his entire life passed before his eyes like a dream, causing him to doubt whether any of it was real, “for it never presented itself to [his] mind with the force of reality” (F 136). 

reality in Frankenstein
Reality in Frankenstein is directly related to the perception of time
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Finding Connections in Writing Fiction: Why It Is Important

November 2, 2020

The title of this post claims finding connections in your writing is important. Actually, it’s more than that: It’s crucial. Indeed, I’d go as far as calling it critical. If you can’t find connections in your writing, you’re in serious trouble.

I’ve mentioned this before, in my post on imagination and creativity: “Creative writing is a connection game, and that’s where imagination plays a major part; in helping you see the connections”, I then said.

In today’s post we will expand on this concept. I will show you

  • why finding connections in your fiction is crucial
  • how to find such connections
  • what to do with them

As a sneak preview I could mention that finding connections in your writing has to do with the bigger picture and the affective power of your novel.

finding connections in writing
Finding connections in your writing is the foundation of affect
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