Today’s post on how to transcend genre in fiction is authored by Igor da Silva Livramento, friend and fellow writer, academic, and creative-writing advisor. He’s also a composer, music theorist, and producer. You can find him on LinkedIn, and also take a look at his blog and his page on Bandcamp.
In today’s entry, I will discuss (albeit quickly) something that has bothered me for a long time: The genre/literary fiction split. I’ll try to propose solutions for that, including some writing exercises to get those creative juices flowing on our way to transcending genreBy the way I phrased it, you may notice I consider literary fiction a genre too. Food for thought, eh?.
The light, the composition, and the colors of this photo, all point in specific directions in terms of affective response. Genre isn’t very different. But just as we can transcend the qualitative nature of affective responses in a photo, so we can transcend those of genre(more…)
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).
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(more…)
By “concept”, we usually refer to an abstract theme, topic, or group of ideas. And so, in this context, concept fiction refers to writing that is not plot-based but rather themed-based.
In some way, this might make you think that concept fiction is a matter of genre, but this is not entirely accurate. True, most e.g. crime fiction is plot-based (whereas literary fiction isn’t), but there is an important difference.
Whereas the idea of genre fiction (or of literary fiction) informs the aesthetics and form of the narrative – that is, what it looks like – concept fiction refers to the process itself: how to write the narrative.
Of course, having a different methodology of writing directly affects the outcome – and so, to some extent, the aesthetics. This means that:
although concept fiction is applicable to any genre (or literary fiction, or experimental fiction), it does somewhat blur the established borders between genres and can destabilize its own position in the literary category.
Especially if you’re a genre writer, the first element above might sound like something bad. It isn’t, but it also depends on your priorities. We’ll get back to this later in the post. For now, a simpler way of putting it would be this: “Concept fiction helps your work stand out from the vast crowd of mediocre works”.
Much better, isn’t it?
In this post we’ll take a closer look at all these elements, and see how writing concept fiction can help you produce intelligent narratives that are cohesive, symbolically rich, and intriguingly original.
Concept fiction means to begin with the theme before you begin with the plot and even the characters(more…)
