This week I’m pleased to present a post by freelance
author Mariana Ashley. But, first, congratulations to Ruth Douthitt and Alvarado Frazier, winners
of the free tickets to the Writer’s Hour presentation. You’ll be receiving
instructions about how to attend soon. And now, I hope you all enjoy Mariana’s
post about how authors of all stripes can learn from literary fiction.
***
If you walk into the nearest bookstore for a work of
fiction, you’ll have to specify to find something that caters to your personal
interests. If you’re into genre fiction, you’ll peruse aisles marked with
headings that denote the overarching theme of the book; fantasy, sci-fi,
romance, mystery, horror, and historical fiction all represent wildly popular
and substantial areas of fiction. With genre fiction, you usually know what
you’re getting into: horror fiction will haunt you with skin crawling tales;
mystery fiction will keep you guessing the culprit of a crime until the last
page, and so on. The tenets of genre fiction are easy to grasp, but what about
that one area of fiction whose volumes far outnumber all the rest?
Of course, I’m talking about literature and literary
fiction.
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| Image by klosphoto. |
As a rule, literary fiction has traditionally
centered on fictitious stories with narrative elements firmly rooted in some
realm of reality. Works of literary fiction are by and large written to uncover
larger truths about all aspects of the human experience, from the highest
powers in government to the lowliest urchin on the street. Literature has lofty
ambitions in this regard, but the myriad ways authors convey their startling
truths make for interesting reads.
For example, the renowned short story author Raymond Carver
choose to focus on the domestic lives of middle class Americans in an
attempt to elevate, understand, and ultimately glorify a demographic then
rarely depicted in a literary fashion. On the complete other side of the
literary spectrum, the British writer David Mitchell blends magical realism and
fantastical geographic locales (settings in apocalyptic futures or in the
distant past are normal for him) to write compelling narratives on the human
condition. But they’re both considered literary for their attention to detail and
their ear for relatable and poignant stories of humanity.
choose to focus on the domestic lives of middle class Americans in an
attempt to elevate, understand, and ultimately glorify a demographic then
rarely depicted in a literary fashion. On the complete other side of the
literary spectrum, the British writer David Mitchell blends magical realism and
fantastical geographic locales (settings in apocalyptic futures or in the
distant past are normal for him) to write compelling narratives on the human
condition. But they’re both considered literary for their attention to detail and
their ear for relatable and poignant stories of humanity.
Perhaps the most effective way of explaining
literary fiction to you is through advice most often given to aspiring authors
in writing workshops: “Show, don’t tell.” If you’re a writer, you would do well
to abide by those words. So with that maxim in mind, I’d like to share with you
some advice borrowed from literary greats to help improve your writing:
- Refine your characterization, plot development, and overall sense of narrative by showing things to your readers and letting them piece together the rest. But don’t try to “hide the ball” with your readers. Tell them things when it’s appropriate.
- Try to cultivate your own niche on subjects about which you feel most comfortable writing. Carver wrote stories about the American household because that’s what he knew best. If you can’t figure out a fitting niche, cultivate one through research.
- Trust your readership to have the intelligence to put together the pieces as you spool out the nuances of your story.
- Present characters whose trials and flaws make for a meaningful and ultimately relatable reading experience. In other words, let (natural) conflict drive your stories.
- Regarding conflict, not every character has to be a bank robber or a drug addict in order to make a story compelling. The small anxieties and dramas of life can be just as interesting as anything else.
About
the Author: Mariana Ashley is a freelance writer who
particularly enjoys writing about online colleges. She loves receiving reader feedback, which can be directed here.
Tell
me your opinion: What lessons have you learned from reading genres you don’t
write?
Related
Posts: Why You Should Write More Than One Genre
Plot vs. Character: Which Is More Important?
Are You Writing What You Know?
Plot vs. Character: Which Is More Important?
Are You Writing What You Know?
Story by K.M. Weiland
Tags: Feature , literary , reading , write what you know
Really great post!
That's are really great post. I always wonder when I'm writing whether to try and write a blockbuster genre orientated novel in order to make some money and get on a best seller list. After I figure I'll create something more substantially literary and interesting and then use the popularity from the other book to lure people in. But this seems like a better method.
I tend not to read genres I don't write very often, for example I read a unknown romance novel (non - historical) and it was really boring. I normally read historical romances so there wasn't much plot weaving and stuff, it was just mainly about romance and relationships. However I have read children's books like Jaquline Wilson and I think that making my stories relatable is probably a good idea.
Thanks so much for stopping by and sharing with us today, Mariana!
This was a really good article. Many people are not familiar with what "Literary Fiction" really is. I label myself as a Literary Author (and Literary Writing Coach) as my works are filled with human reality at the forefront behind an entertaining story. Literary Fiction to me is fiction that is written with the motivation to change someone, inspire someone, or simply open them to a new world of a person or group of people, or even their inner self, that haven't had exposure to.
Again, thank you for this article.
When I sit down with "literature" instead of a thriller, I have to change my mindset and expectations. I'm in for a different experience from the first chapter on. As in genre books, the hook is there--I think a good hook is necessary in all fiction--but often it's more nuanced. The pace of the story is slower, the need to think about what's going on is more intensified. The rules for writing literary fiction seem to be vastly different than those for genre writing. I've read several books recently that have returned me to my love of literature.
Great post. Thanks!
I recently asked this question on my own blog, as I'm studying creative writing at a university so I'm supposed to be writing literary fiction. And as a reader, I will say I enjoy literary fiction. At the same time, when I'm read literary fiction, I do expect that I'll have to think about it more than, say, a romance novel or a fantasy story. I'd say depth of character is definitely something I've learned from literary fiction. From reading fantasy and sci fi, I've learned the importance of details in creating setting. I think as a reader, it's always a good thing to read widely and to read, once in a while, beyond your comfort zone. :)
Helpful to have another perspective on this term. I, too, recently blogged, in a somewhat snarky tone, about this.
It's interesting how people's perceptions change over time. In their day Jane Austen and Charles Dickens' works were considered popular fiction, written for the readers of their time, about the era in which they lived. Now these works are considered literary fiction. I think any author should approach whatever they are writing with the same care: good research, time spent on characterization and developing the plot, and attention to detail. All the marks of excellent writing, no matter what the genre. (I guess this precludes many of the cobbled together e-books drowning the internet right now...) If anyone is interested in reading a 19th century thriller, please pick up The Moonstone by Wilkie Collins. A riveting read, and one of my all-time favourites. The author, a master in innovation, used literary devices that were unusual for the era.
Historicals as in knights, castles, and royalty ones have SO much history and so many names you need to remember. I love to read the story but the names make my brain ache. Lol. I can't believe how many Dougals, Donalds, Fergus', Henrys etc. there were once upon a time and when they're all in the same book, shessh. I do love my castle stories though, won't give them up, just wish there were less background and characters to keep separated.
I like writing and reading what I call a borderline fiction, - literary but accessible to many. I wrote my thoughts on the subject in my blog http://www.ryzhakov.co.uk/literary-versus-commercial-fiction-are-you-in-borderline/
I often find commercial fiction boring because it lacks novelty and often there's not much in it to think about ( i am spoiled by too any good books). With literary fiction there's often another problem, the arrative structure is lacking dynamics, too much telling going on, excessiveness is often a case. So, I like something in between. I also like short novels and novellas, writing is better be concise imho
Thanks Mariana. I've been struggling over the question of whether my work is literary fiction of YA fantasy. I'm happy to sit someplace in the middle, but being a political science major and graphic designer, defining what elements made my favorite books "literature" and ensuring those elements are present in my writing has been challenging. Your post is reassuring. My innate tendencies are towards everything you've written about—except that last one. At least with my latest novel, the proving from my genre-writing friends has turned my plot into a much more conventional girl-saves-world plot than it would have been. But, you know, big themes and meditations on the human conditions.
I'm sorry, but after setting through half a semister of "literary fiction," I can't stand the idea of it setting itself apart like that. All the elements that make up "literary fiction" should be present in "genre fiction" as well, if in different proportions. In fact, I question whether "literary fiction" is not an oxymoron. Webster's defines "literary" as
: of, relating to, or having the characteristics of humane learning or literature b : bookish 2 c : of or relating to books
2a : well-read b : of or relating to authors or scholars or to their profession
So, it's just saying that it's "bookish"
Everyone,
Thanks so much for your comments. I'm glad that my post was able to galvanize such a candid discussion of literary fiction. Obviously there's not a right or wrong stance to take on literary fiction. In my opinion, the wealth of great reads given to us by writers who try to work in this genre (and it is a genre in the sense that its a category of fiction unto its own) make it indispensable to any reader of the English language.
This is the most comprehensive answer I've read about the issue of what is literary fiction. Somehow, every time the topic comes to mind those discussing it tend to glance at the sky, list classics, and in the end the questing remains unanswered.
That's a very good question I've asked myself many times. I try to look for it when I read; the signs of great literary writing. I don't know the answer, but I have a feeling it involves the absence of certain words that belong to science papers, such as eventually and consequently. Sometimes I can feel that this is good writing, for instance when I read novels by Paul Auster, Cormack Mccarthy and Jean Genet, and many of the classics of course >:)
Cold As Heaven
The best delineation between literary and genre fiction that I've ever come across is that literary is depressing and has a sad/bad ending for the characters. Most of the literary works I've read fit that, so I keep it as a general rule of thumb.
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