Louise Penny, quoted in the New York Times book review, August 24th: “I don’t buy into the notion of genres, perhaps for obvious reasons. I think that’s an effective marketing tool, but nothing more. Good storytelling is good storytelling. There are no borders or boundaries in literature and to try to define is to limit. Finis.”
Oh, Joy! Wonderful! Even ends in fine, archaic Latin.
… But, oh, yes. She’s published.
I recently applied to a contest that asked, as part of the upload, what the genre of my novel is. I answered dutifully, Thriller.
Yes, I know that the judges have to have some way to classify submissions, and I have just read a bit about plot, timing of events, when backstory is best introduced, and so on.
Problem is, I am reading Redemption, a fine story of New Orleans by Frederick Turner. I have studied New Orleans music and give presentations about it. Turner creates 1913 New Orleans – Storyville in particular – with such skill that you swear you’re there in that so steam, seamy, funky place right along with his protagonist Fast-Mail Muldoon. When you read his descriptions, highly articulated, precise, and unafraid to use a full vocabulary, you think “Literary Fiction.” Turner doesn’t mind taking a healthy paragraph to describe the quality of the mud on the banks of the Mississippi or a chapter to let Fast-Mail Muldoon ponder lost love. But if Turner were to submit to my contest, Redemption’s genre would be Historical Fiction/Suspense.
Just a reminder for me that fiction writing is story-telling. Storytelling is about language; thus all fiction ought to be “literary,” and the whole point of telling a story is having a compelling plot.
Perhaps a banal observation, but I’m relatively new to the business side of writing. It’s easy to get lost in trade arcana.