What Genre do You Write?

What Genre do You Write?

Gwynn Scheltema

Seems like a simple question, but increasingly these days it can be confusing. Genres not only have subgenres, but subgenres have sub-subgenres: Steampunk is a sub genre of science fiction (or science fantasy) but steampunk itself has sub genres like steamgoth, gaslight romance, clockpunk and dieselpunk.

Then of course, you have the age cross-overs and cross-genres like paranormal romance, crime fantasy, or action comedy.

The mind boggles.

Why does knowing your genre matter?

Initially, it doesn’t matter. When you begin your first draft, story is key and the story will land in the genre it fits best. But once that draft is done, knowing your genre is important. You’ll need to know so you can fine tune your manuscript and pitch it to the right agent or publisher.

It’s a marketing issue. How many places will your book fit? Knowing your genre shows a better understanding of the market, which can only help your submission. If you don’t know where your book fits, you’re saying you don’t know your target audience.

We all like to think that our book is unique, but the reality is, if we can correctly categorize it, readers can access it and agents and publishers will know immediately whether it potentially fits their market.

Genre and editing

And because knowing genre is a marketing issue, it becomes an editing issue, so you can mould your submission to fit publishing needs and reader expectations.

Let’s take the crime/mystery genre as an example and the typical “dead body”. In a cosy mystery, your readers will expect to spend a few chapters meeting the inhabitants of a cosy community and getting to know the protagonist and her friends before the “dead body” is discovered. The actual killing will be off stage. In a police procedural mystery, the “dead body” is there by the end of chapter one. Readers may even witness the murder. It will be important to follow real police investigative and forensic procedures.

Some publishers have well-defined expectations that can help tremendously at this editing stage. Harlequin, the world’s largest publisher of romance, provides clear, detailed guidelines on their website for each of their genre imprints, from the word count to the level of sexual content.

So what is my genre?

Genre definitions are constantly changing and evolving, but you have to start somewhere.

1. Prepare a book jacket blurb

Once the first draft is done, prepare a book jacket blurb (the paragraphs on the back cover that entice readers to buy because they answer the question “What is this book about?”.)  Writing the jacket blurb helps to distill the thrust of the story: the conflict, the stakes and the character arc.

It also helps define what genre it is, because it focuses on the main thread of the story.

2. Define the main genre

With your book jacket blurb in hand, you have your main dominant story thread. Use that main thread to define the main genre. For instance, if your book involves a mystery and a romance, is the dominant story thread a classic “who done it” with a bit of romance thrown in for character growth? (mystery) Or is it really about a relationship blossoming between two people who happen to be solving a mystery together? (romance)

Here’s a list of some of the main genres to get you started:

  • Action/Adventure — epic journeys, lots of conflict/pursuit, high stakes, some violence.
  • Crime/Mystery — stories that involve solving a crime, usually a murder.
  • Fantasy —magic, other worlds, myths and mythological/mystical figures.
  • Historical — fictional characters and events in an historical setting
  • Horror— stories that invoke dread or fear.
  • Thriller/Suspense — harm/danger about to befall a person or group and the attempts to evade the harm/danger, high tension.
  • Romance —love/intimacy/relationships.
  • Sci-fi —impact of technology, aliens, science-related alternative worlds, often futuristic
  • Women’s fiction — stories about women experiencing emotional growth

Once you have your main genre, you can explore subgenres. This link on the definition and characteristics of the main genres is worth looking into.

3. Define your reader

Nail down the age group your book is aimed at: children, young adult, new adult or adult. If your manuscript appeals to more than one group, you have an age cross-over. (Think Harry Potter (children/adult) or Hunger Games (YA/adult).)

Imagine your ideal reader. If you were that reader looking for your book, where would you look? Again, focus on the main narrative thread. Is your ideal reader looking for a romance with a bit of mystery thrown in, or are they problem solvers who like mysteries and might like some relationship stuff thrown in?

Ask your beta readers where they would expect to find your book. Ask your critique group. Tell other writers your blurb and then ask them, “What section of a bookstore would you look in to find my book?”

4. Visit a book store

Go to a bricks & mortar bookstore or hop on the Net. Identify half a dozen books similar to yours and find where they are shelved. Go to Goodreads and check the Listopia recommendations for your main genre, like “Best Science Fiction.” That will lead you to the sub-genres like “Best Steampunk Books.” Read the blurbs on the back covers. Does your book jacket blurb follow a similar pitch?

One way to do this is to have two windows open, one on Amazon and the other on Goodreads. Read the blurb on Goodreads and then search the book on Amazon to see its classification.

I always like the section below the “purchase” button with the phrase “People who bought this also bought….” It’s a great way to find other novels that are categorized the same way. Could your book fit here?

Still not sure?

You’re fine as long as you know your main genre and reader age. Agents will be able to spot a crossover even if you haven’t mentioned it. If your query letter has a good hook and good comparables, the sub-genre will be apparent to them.

However, the time you spend on defining your genre will help you make a better connection between your story and your reader. And your well-crafted blurb will be ready for those moments when someone (maybe an agent or publisher) asks “So what are you writing?”

DID YOU KNOW?

Vicki Delany, our guest at this year’s fall retreat, Turning Leaves  2017, writes in several subgenres of the crime/mystery genre. As  Eva Gates she writes the cosy Lighthouse series, and as Vicki Delany she writes a Police Procedural series featuring Constable Molly Smith.

In Conversation with…literary agent Hilary McMahon

In Conversation with…literary agent Hilary McMahon

Hilary McMahonToday, we chat with Hilary McMahon, Executive Vice President of Westwood Creative Artists (WCA), one of Canada’s oldest and most respected literary agencies. Hilary maintains an extensive and diverse list of adult and children’s writers. She also represents WCA authors on trips to American and British publishers and the Frankfurt and London Book Fairs. 

Why did you become a literary agent?

I earned a degree in journalism and English, but soon realized that I wanted to read other people’s stories far more than I wanted to write or teach. I’m an obsessive book reader, an extrovert interested in people and relationships, and a tough negotiator with a head for details and numbers. This job allows me to combine all those different skills.                                                                                                    

books-20167_640 (1)Being an agent is a tough job. So what is it that has kept you in the field for more than 20 years?

Nothing compares to the magic of being engrossed in a great book. I love being part of the process that begins with an idea or rough manuscript, and ends with a finished product that can be shared, enjoyed, discussed around the world. And working with writers can certainly be challenging at times, but it’s never dull…

If we were to spend some time in a typical day with Hilary McMahon, what would it look like?letters-286541_640

That’s one of the many wonderful things about this job, there is no typical day! It’s an illusion that I read all day. Today for example, I have reviewed a section of an author’s revised novel and then shared it with an interested publisher, worked on some blurbs for our Frankfurt catalogue, checked a film contract and sent it off to the author, given a non-fiction author feedback on her proposal, spent time crafting a tactful rejection letter, done the deal memo for a middle-grade series I’ve just sold, addressed a picture book writer’s concerns about the illustrations for her new book, and followed up on some projects out on submission. I had hoped to make a dent into my towering pile of submissions but I don’t know if I’ll get to it…

What do you like to see in a query from a writer? And is it different for a fiction versus a non-fiction query?

You’d think it’s obvious, but I need to see excellent writing! A skillful, original, compelling pitch.

For fiction, you need to hook me with a brief description of the work and draw me in with a short sample. It certainly doesn’t hurt if you include some details about places you’ve been published and any relevant awards or education.

For non-fiction, your expertise in the field is going to be important, to me and to publishers – I need to know that you have some authority about your subject. Most simply, I need to be compelled to move from the query to a writing sample.

hand-861275_640What is the one piece of advice you want writers to know once they land that elusive agent?

That just because you have an agent it doesn’t guarantee your work will sell! There’s still a lot of hard work ahead, but at least you aren’t doing it alone.

What are you reading now and how do you feel about it?

I’m reading a really intriguing submission, clever and sparely written and definitely original in story and in the telling.  But I’m still trying to decide if it’s something that I could sell…

If time, place and money are no object, who is the one person or character you’d like to have dinner with…and why?Jane Austen

I’d love to have dinner with Jane Austen, after she’d spent a bit of time in 2016 – I would love to hear her take on this modern world!

Want to get up close and personal with one of Canada’s top literary agents? Come to our fall retreat, Turning Leaves 2016.

Hilary is our special retreat guest, joining us for meals, evening chats and sharing insights and expertise in a Saturday morning workshop on catching and holding an agent’s attention. She’ll also review Turning Leaves 2016 participants’ query letters in advance and hold private one-on-one feedback sessions.