I’ve mentioned before I’m currently in the submission process with my novel, The Prodigal Hour. So far it’s okay; not spectacular, but not terrible, either. Of course, “spectacular” would probably be defined as “offered representation,” and I’ll be sure to let you know when that happens. I considered talking more about the submission process itself, but I think I’m going to do so more after I’ve been offered representation, and not before.
I’m going through the process as you’d expect; search the Internet and Writers’ Market and etc. for agents who are either actively seeking new clients or sound like they may be vaguely interested. And then I send a query, which looks pretty much as you’d expect a query to look: intro, synopsis, bio, and out. The intro gives me some trouble, though, because that’s where I mention the title, word count, and genre of my novel, and boyhow is that last characteristic ever a trouble spot. Many might think it’s easy: time travel automatically = science fiction.
But not so fast, I say.
Because I don’t feel like I wrote a science fiction novel. I don’t generally read science fiction novels. Science fiction is all wars among and treks across the stars, and it has a long and illustrious history I don’t feel a part of. Growing up, my choices for reading material were all Dean Koontz and Stephen King pretty much straight across the board, with digressions into Douglas Adams and Christopher Stasheff. Given that among my first experiences with Stephen King was a short story called “Strawberry Spring,” after which I read Different Seasons, I always had trouble thinking of him as a ‘horror’ writer. I never read It and never got to his straight-up horror until after I’d already read “Rita Hayworth and Shawshank Redemption” and “The Body.”
Try showing someone with no previous knowledge of their origins the movie adaptations of The Shawshank Redemption and Stand By Me and then explaining to them they were both based on books by a horror writer.
Because they certainly aren’t horror stories.
Admittedly, King is a bit of an exception; he himself is pretty much as much a genre as “horror”. People buy his books for his name, not for the genre.
Few people are going to buy The Prodigal Hour for my name, and you’re probably already reading this, anyway.
So far, I’ve been calling it a techno-thriller, but even that is a bit of a misnomer. It is thrilling (well. That’s the hope, at least), but character and plot work in pretty much equal measure, and it’s certainly not just about the thrills.
I sort of understand the requirement; it determines, basically, where your book is placed on bookstores’ shelves, which is key. I rarely venture to the scifi/fantasy shelves except to grab Neil Gaiman’s newest book, and again, I’m buying the name, not the genre.
I’m also thinking ahead. This one may be about time travel, but my next two big ones are about vampires and then werewolves, and both do things with those myths I’ve never seen nor heard done before. You can lump them all into science fiction/fantasy, I suppose, but I certainly wouldn’t, and I honestly think publishers and booksellers do more harm than good in categorizing books. Yesterday, Mitzi Szereto wrote about how publishers label books and how those labels can affect their sales, specifically related to erotica.
One of the things that’s gotten me thinking about this, too, are the writers who write stories that seem pretty categorically genre but whose books are not placed there. Lethem started out writing mostly weird science fiction tales. Crichton’s got Jurassic Park and Timeline, at least, not to mention Sphere and The Andromeda Strain. Alice Sebold’s The Lovely Bones was narrated by a dead girl, while Audrey Niffenegger’s The Time-Traveler’s Wife seems like science fantasy.
And then there’s Michael Chabon. He just won a Hugo for The Yiddish Policeman’s Union. The Hugo is a major award so known for science fiction that, when a handful of fantasy novels won (including JK Rowling’s Harry Potter and the Goblet of Fire and Gaiman’s American Gods), some controversy got stirred up.
I haven’t heard any such controversy about the award having gone to Chabon’s novel, which is mostly an alternate history set in the present (I haven’t read the book. I tried. Got about twenty pages in before I gave up on it). But Chabon is an author with both mass appeal and a Pulitzer under his belt, and, in fact, more so than controversy, the win has mainly stirred up discussion like here, where IO9 asks which mainstream authors its readers would like to see write science fiction.
Personally, I don’t want any mainstream authors to deign to write anything they don’t enjoy. Personally, I’d like someone to point out, hey, wait a minute, twenty of the twenty-five movies with the highest worldwide gross ever have been genre movies, and, arguably, science fiction or fantasy movies. The only exceptions are Titanic, Finding Nemo, The Lion King, Indiana Jones and the Kingdom of the Crystal Skull, and The Da Vinci Code, the last two of which are certainly genre movies (adventure and thriller, respectively) even if not science fiction or fantasy.
Seems like it’s mainstream to me.
It’s like people expect good entertainment from all media until they hit books, and then some weirdo mechanism steps in and says that it must be “literature” to be any good while preventing the memory that the whole reason Shakespeare is awesome is because he wrote swordfights and fairies and witches so damned well into really exciting stories.Tags: alice sebold, american gods, audrey niffenegger, different seasons, entrekin, fantasy, genre, harry potter, hugo, jk rowling, jurassic park, lethem, literary agents, marketing, michael chabon, michael crichton, mitzi szereto, neil gaiman, publishing, pulitzer, querying, science fiction, shakespeare, stand by me, stephen king, submission, the lovely bones, the prodigal hour, the shawshank redemption, the time-traveler's wife, the yiddish policeman's union, timeline