Writers, Know Your Genre

Struggling to place your book in the right genre? Do you know that there are certain rules within genres that you shouldn't break? And what does it mean when you do break them? This might help.

Yes, I can hear those of you already screaming: I don't "do" rules. Or, those who state that art has no rules. Except, that's not true. Art very much does have rules. There are rules of technique in painting and photography -- ways to create depths of field through the use of light and shadow, for example. And when it comes to knowing what type of exhibition you might attend at a gallery, the rules of genre come into play. There is a universe of difference between classic and contemporary art or installation art and performance art.

Fiction is the same.

If you intend to write commercially -- that is, to be a household name who churns out book upon book of the same type of story -- then it will pay you dividends to know the rules of your chosen genre.

Why?

A couple of reasons. First, your genre will inherently deliver certain expectations to its audience. Genre audiences expect a book to meet certain criteria. Failure to do so can create frustration - sometimes even anger! (GOT) - that they didn't get the payoff they wanted.

If you are deliberately obfuscating this payoff, you might consider if your story is more appropriate as a literary piece rather than a NY Times beach-read bestseller. It might be helpful to learn the rules of genre to equip you with the knowledge of how to play with genre tropes and expectations. If your obfuscation isn't working and just serves to make the story appear rather messy and ill thought-out, or seeks to be different just "because", you might want to consider abiding by genre rules to get it into shape.

Second, it helps your agent sell the book to the publisher and helps the publisher sell the book to its intended audience. If you are writing a detective procedural story, then pitching it as a detective/crime novel informs them of where the book will sit in the market, then they can form a marketing plan.

So, here are some basics surrounding genre norms and expectations. In the last twenty years or so, there has been more genre blending than in existence previously, so bear in mind that much of these descriptions could well end up mixed together.

First, let's address some umbrella terms that encompass multiple genres under their canopy. These are best considered as categories.

Speculative Fiction

Encompasses genres that imagine worlds and possibilities beyond our reality - what might be possible rather than what currently is. It includes science fiction, fantasy, and supernatural tales, exploring themes like advanced technology, alternate universes, magical realms and horrific entities.

Women's Fiction

Women's fiction centres on stories that focus on the experiences, relationships, and growth of female protagonists. These narratives often delve into personal development, family dynamics, and societal roles, offering a deep exploration of women's lives and emotions. However, there is an argument to be had that using the term "women's fiction" is sexist, because it asserts that fiction is inherently male by default, and that men are not concerned by their wives, families or society. Maybe it should be renamed as: fiction men won't want to read. When there is no equivalent label for stories about men's emotional concerns, it's kind of difficult not to take it as a warning label.

Literary Fiction

Characterised by its emphasis on style, depth, character development and, sometimes (not always) elevated prose. These stories often tackle complex themes and ideas, providing readers with a profound and contemplative reading experience that goes beyond mere entertainment. It spans all genres. Literary fiction is considered as art over entertainment. It's often the case that the authors earn their living through prize funds and guest appearances in the media rather than the high volume sales of books like Twilight, Potter, or the Jack Reacher series.

General Fiction Mixes commercial (genre) fiction rules and styles with literary techniques and devices with the intent to be both entertaining and profound in its character and thematic elements.

Crime Fiction

Crime fiction revolves around criminal activity, be that from an investigative perspective, a legal or judicial role, or on the corrupt side of crime, stretching between the criminals themselves and those who enable them. Most people in the industry identify detective, forensic and procedural novels as the crime genre, but it encompasses much more - organised crime, petty criminals, detectives, legal dramas, corrupt police, gangs, etc.

Historical Fiction

Stories that are set in the past, prior to, or at the very rear end of, the period of current living memory. So, in 2024, WW2 stories would be considered historical fiction. Back in 1980, they might have been considered contemporary. Or contemporary history, being that it was a global, lifechanging event.

Contemporary Fiction

Stories that are set in modern day era - within the last thirty to fifty years, generally speaking. There's a bit of a grey area on where contemporary fiction ends and historical fiction begins. Or is it the other way around...? Whichever, a story set in the 1970s-80s is considered contemporary, same as a story set in our current day. Sixties fiction is on the cusp, I'd say. So much cultural change happened in that decade that still shapes our world today - miniskirts, rock music, bikers and recreational drug taking - it still feels reasonably modern, whereas the fifties feels like a different era entirely. (As my brother once told me: it used to be that every boy wanted to grow up just like his dad. When Elvis came onto the scene, everyone wanted to look like Elvis. This is reflected in the film Greece)

Many people mistake contemporary fiction for literary fiction because they don't know what their genre is, but a modern day story that takes place in real world settings with real world conventions is not automatically a literary story.

Okay, now let's break down the main genres and subgenres that traverse all of the above categories.

Suspense

This genre puts off the inevitable from happening to the individual by slowly building on the fear and suspicions of the protagonist; centred around one character at a time in a tightly focused canvas, employing first person or tight third narration in the subjective voice to create the tension and stakes; works on the insular to create the mood and intense atmosphere.

Thriller

Tries to avert the inevitable happening to the story world; centres around various characters and events across a wide canvas, often employing lots of twists, countdown tactics, and high global stakes; most often uses third person narration in the objective voice; works on big events to create the narrative tension.

Horror

Usually features either supernatural, alien or psychopathic levels of evil that are beyond reason, logic and mercy that tap into our primitive fear of the dark reflex; usually accompanied by gore; ends with either the implication of the eternal evil beaten back but never fully slayed, or ends with the protagonist trapped in/with the eternal evil, or drastically damaged by the consequences of it; Never a happily-ever-after (HEA) ending.

Adventure

Involves a quest to either find or save something, though usually both, choosing to act to achieve the goal; occurs on a wide canvas of settings, often with a large cast of characters/societies; Must end in triumph of the quest.

Survival

Characters are cut off from the world and forced to act to avoid fatality;  no choice but to continue; centres around smaller cast and setting, focusing on the protagonists' internal resilience and creative instincts to survive.

Romance

People meet; they fancy each other; various obstacles arise to prevent them from being together, often their own initial dislike of one another, but eventually they live HEA; HEA is a vital component of romance novels; sex scenes are often implied rather than depicted, though can sometimes veer more towards erotica.

Erotica

People meet, they fancy each other and sleep with each other; often explores kinks and fantasies; can be romance or any other story, but if the raunch is for fantasising about and giving the reader a carnal thrill, it’s erotica; must contain sex scenes; doesn't necessarily need an HEA ending.

Love Story

People meet. They may fancy each other, or they may not to begin with; might fall into a fraught complex relationship or maybe gradually fall in love as the story progresses; they may or may not end up together, depending if it is a tale of tragedy or triumph; emphasis is on feelings, emotional growth and emotional complexities over sexual thrills; sex scenes may or may not feature but are likely to be more realistic, humorous or quirky than in erotica.

Political

Focuses on political systems, ideologies, and power dynamics within society; set in realistic environments reflecting real or plausible political scenarios; the plot revolves around political conflicts, campaigns, and movements, with high stakes and tension; central to the genre are themes of governance, corruption, and social justice.

Drama

Explores the complexities of human relationships, emotions, and societal issues; delves into the highs and lows of the human experience, often featuring intense personal conflicts, emotional struggles, and profound moments of revelation. Key elements include richly developed characters and realistic dialogue; encompasses a wide range of themes, from love and loss to ambition and redemption, offering thought-provoking insights into the human condition and the dynamics of interpersonal relationships.

Sci-fi

Based in real science, scientific theory and technology; usually set in the future, but can be historical or alternative history.

Sub-genres:

• Cyberpunk - d ystopian settings from dissident point-of-view, veering into high tech criminal underworld.
  

• Solarpunk - u topian settings exploring what might be possible in the future that will advance mankind for the better.

• Steampunk - combines elements of science fiction, fantasy, and alternate history, envisioning a world where steam-powered technology is prevalent - gadgets, airships, and automatons coexist with corsets, top hats, and gaslit streets; narratives often explore themes of innovation, exploration, and social upheaval, blending historical settings with fantastical elements where the past meets the future in unexpected ways.
  

• Dystopian - h appens in a time or place when society has gone severely downhill, or mostly destroyed.
  

• Utopian - happens in a time or place when everything appears perfect on the surface.

Fantasy

Based in magic and the supernatural; science is often medieval or non-existent ; anything can happen at the wave of a wand, generally speaking.

Subgenres:

• Sci-fi/Fantasy - based loosely in science and technology but with magical science employed to enable the plot.

• High Fantasy - swords, sorcery & castles

• Urban Fantasy - magic happens in contemporary settings, usually the city.

• Slipstream - blurs the boundaries between the real and the surreal, blending elements of speculative fiction with literary sensibilities by featuring strange, dreamlike occurrences, challenging readers' perceptions of reality; defies conventional narrative structures, exploring themes of identity, consciousness, and the bizarre in a way that feels both familiar and otherworldly; despite this, it typically maintains a more coherent narrative with subtle surreal elements than surrealist fiction.

• Magical Realism - infuses everyday reality with fantastical elements, presenting the extraordinary as an intrinsic part of the ordinary world; magical events are accepted as normal by the characters; seamlessly blends the magical with the mundane.

Surrealism

Delves into the unconscious mind, presenting a dreamlike reality where logic and reason are often suspended; employs bizarre, fantastical imagery and illogical sequences to explore deeper truths and emotions; challenges readers' perceptions and defies traditional narrative structures, often aiming to evoke a sense of wonder and disorientation by blending the familiar with the fantastical in unexpected ways; surrealism can be applied to both fantasy and reality stories.

Absurdist Fiction

Explores the inherent meaninglessness of life, often through narratives that highlight the absurdity and irrationality of human existence; uses dark humour, satire, and existential themes to reflect on the human condition, emphasizing the randomness and unpredictability of life while questioning conventional beliefs and values.

Crime

Subgenres:

• Mystery - centres around a secret that must be revealed; often there are clues for the characters to follow, sometimes the clues are for the reader to piece together through the narrative; the ending must resolve the mystery somehow.

• Detective - a crime has been committed and an investigator is charged with finding the perpetrator; the case must be solved somehow.

• Gang/Gangster/Organised Crime - delves into the gritty world of criminal organisations, focusing on complex characters and their complex relationships, such as gang leaders, members, and law enforcement; set in urban backdrops, these high-stakes stories highlight themes of power, loyalty, betrayal, ambition and survival; emphasises realistic depictions of illegal activities, intense conflicts, and moral ambiguity, often drawing inspiration from real-life events.

• Legal Fiction - revolves around courtroom dramas, legal proceedings, and the intricacies of the justice system; often feature lawyers, judges and defendants navigating complex cases, ethical dilemmas, and moral ambiguity; key elements include gripping courtroom scenes, intense legal battles, and suspenseful plot twists.

Youth Genres

Subgenres:

New Adult (NA) - aimed at readers in their late teens to early twenties, bridging the gap between YA and adult fiction; explores themes of transition into adulthood, independence and self-discovery, often featuring university-aged protagonists dealing with issues such as first jobs, higher education, and more mature relationships; may include themes of romance, identity exploration and personal growth; relatable for young adults navigating the challenges of early adulthood; often veers into erotica and the complexities of sexual relationships, though that is not a signature element of NA.

Young Adult (YA) - targets teenage readers, typically aged 12 to 18; focuses on themes and experiences relevant to adolescents; feature teenage protagonists navigating issues such as identity, relationships, and coming-of-age challenges within various genres like romance, fantasy, dystopia, or contemporary fiction; often explore complex emotions and moral dilemmas while offering narratives that resonate with young readers.

Middle Grade Fiction - geared towards readers aged 8 to 12; features protagonists typically in the same age range; emphasise themes of friendship, family, and self-discovery, presenting age-appropriate challenges and adventures that resonate with middle-grade readers; cover a wide range of genres; narratives tend to inspire imagination and encourage empathy.

Children's Fiction - targets young readers aged 3 to 8; focuses on simple, engaging stories that entertain and educate; feature colourful illustrations, straightforward language, and relatable characters that capture children's attention and imagination; covers a variety of book styles, including picture books, early readers, and chapter books, catering to different reading levels and interests. Themes typically revolve around friendship, family, self-expression, and learning valuable life lessons in an age-appropriate manner.

End note: It seems that genres are constantly being sliced, diced, spliced and mutated in order to find niche, target markets that set new novels apart from what's been done in the past, so there are probably lots of subgenres I've neglected to mention. Nevertheless, all of the above should suffice to give you a more solid idea of where your current work will fit and what are the expected conventions. Whatever you decide to do with those conventions is, of course, entirely up to you.