Originally shared by Mike Reeves-McMillan

Genre Considered as a Restaurant

(This is a blog post, which I’m copying in full here to promote discussion.)

If you’ve spent much time around writers, you’ve probably heard someone complain that “genre” is just a way for publishers and booksellers to impose marketing categories for their own convenience, and it should die in a fire, because we’d all be better off without it.

I’ve said things adjacent to this myself. After all, my first novel is set in a secondary world–like a fantasy, but with no magic–that’s loosely based on Shakespeare’s Italy, and combines the language of a literary novel with the plot of a serial-killer mystery thriller, told in diary entries. Consequently, it’s almost impossible to sell, because what’s the audience for that? What genre does it even fit in?

It’s easy, then, to fall into bemoaning the idea that a book even needs a genre. Recently, though, I’ve started to think about genre with a new metaphor: that of a restaurant.

We’re very fortunate in the 21st century to have access to the cuisine of so many cultures. My father, who grew up in New Zealand in the 1930s, once told me how much things had improved in his lifetime. When he was young, “going out” meant going to the pub for a roast dinner, which probably wasn’t even very tasty. At the time we were talking (the 1980s, I think), you could choose to get a meal from most parts of Europe and Asia, plus Latin America if you looked around a bit. These days, in most major cities worldwide, you can eat food from any inhabited continent.

That gives us a richness of choice which itself creates a new situation. We now have to ask ourselves, when going out to eat, which flavours, which experience, we want to have. What are we in the mood for?

Hence my metaphor of genre as restaurant, or rather, as cuisine. Different cuisines offer different satisfactions. Do we want the blended spices of India? The balance of sweet, hot and sour that Thai offers? The subtle flavours of France? Robust, earthy Mediterranean food? And if we want Mediterranean, is that Italian, Greek, Turkish, Middle Eastern, or North African?

Likewise, different genres offer different satisfactions too. Some of them are emotional: horror offers a thrill of fear, suspense offers a thrill of excitement, romance offers the warmth of intimacy, fantasy offers the imagined experience of having magical powers. Others are mental: mystery offers an experience of a puzzle solved, SF offers the exploration of a what-if. Our brains are wired to find these things satisfying, originally for survival reasons. The most successful genres, and the most successful books, I believe, combine emotional and mental satisfaction, but depending how you blend the flavours and which ones you emphasise, you can satisfy very different palates.

This is also why, although I read primarily fantasy, there are fantasy books (and authors) that leave me cold. Something in the blend is off. I had the experience, while in the US, of eating at a Thai restaurant where all the food primarily tasted sweet–no sour, no hot, just sweet. I love Thai food, but I didn’t love that.

I’m not always in the same mood, either. Just like I don’t always eat the same cuisine, I don’t always read the same genre or subgenre (or write it, either). Sometimes I want my fantasy to also contain mystery, or comedy, or be a thriller.

Just as there are different approaches to cooking, there are different approaches to writing. If you are working in a classic genre–French provincial cuisine, say, or noir detective–you have to get it exactly right. There’s nowhere to hide. You either produce an excellent, textbook example of the genre you’re attempting; you successfully update it into a modern version, without losing the essentials that made it great originally; or you fail, because you’ve created something that doesn’t match up to expectations, that isn’t well executed. And your failure is obvious, because we have well-known examples to compare with. We know what it should taste like.

If you’re being more experimental, or attempting “fusion,” using fancy techniques or ingredients, or combining ingredients that don’t classically go together, your possible failure modes are different. People may give you credit for attempting something new and different, but then go back to the classics for their next meal, because your imagination exceeded your ability to execute (for example, 99.99% of steampunk); or they may enjoy it, think you did it well, but decide that it’s not an experience they want all the time. Or they may become extremely excited if you pull it off, and come back again and again, and rave about it to all their friends–while struggling to express exactly what it is.

Genre, then, is like a restaurant sign. It tells us approximately what kind of experience we’re about to have. Covers and blurbs elaborate on this, which is why covers are so important, and why you need to have a cover that fits into your genre as well as standing out, and which doesn’t mislead readers about what the book is like. (This is a large part of the reason that I self-publish: because I don’t trust publishers to make good decisions about my covers.) And among the things I look for in a blurb (and in reviews) are the signals that tell me: this book is tragic, this book is funny, this book is action-packed, this book explores character deeply.

A bookstore, then, is a food court. And to market your book, you need to convey to people what they’re going to get when they consume it. One way, the easy way, to do this is to sit within an obvious genre, to, metaphorically speaking, call your food stand The Spicy Wok or A Taste of Turkish. If you’re going outside the well-understood genres, though, you need to think hard about who is going to want those particular flavours, and how you convey to them that that’s what you’re selling.

Here’s my review of the book from which I’ve been posting excerpts lately, Damon Knight’s Creating Short Fiction. It’s full of useful stuff, even if you’re a novelist, though the part on short fiction structure is also excellent.

Gene Wolfe’s method for breaking “writer’s block”: if he can’t write, he forbids himself any form of entertainment until, out of sheer boredom, his unconscious gives in. He claims the longest he’s gone without being able to write is four days.