{"id":2829,"date":"2015-07-29T22:01:17","date_gmt":"2015-07-29T22:01:17","guid":{"rendered":"http:\/\/Genre-Considered-as-a-Restaurant"},"modified":"2015-07-29T22:01:17","modified_gmt":"2015-07-29T22:01:17","slug":"genre-considered-as-a-restaurant","status":"publish","type":"post","link":"http:\/\/csidemedia.com\/mikerm\/2015\/07\/29\/genre-considered-as-a-restaurant\/","title":{"rendered":"Genre Considered as a Restaurant"},"content":{"rendered":" \n

Originally shared by Mike Reeves-McMillan<\/strong><\/p>\n\n\n\n

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Genre Considered as a Restaurant<\/strong><\/p>\n\n\n\n

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(This is a blog post, which I’m copying in full here to promote discussion.)<\/p>\n\n\n\n

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If you\u2019ve spent much time around writers, you\u2019ve probably heard someone complain that \u201cgenre\u201d 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\u2019d all be better off without it.<\/p>\n\n\n\n

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I\u2019ve 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\u2019s loosely based on Shakespeare\u2019s Italy, and combines the language of a literary novel with the plot of a serial-killer mystery thriller, told in diary entries. Consequently, it\u2019s almost impossible to sell, because what\u2019s the audience for that? What genre does it even fit in?<\/p>\n\n\n\n

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It\u2019s easy, then, to fall into bemoaning the idea that a book even needs a genre. Recently, though, I\u2019ve started to think about genre with a new metaphor: that of a restaurant.<\/p>\n\n\n\n

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We\u2019re 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, \u201cgoing out\u201d meant going to the pub for a roast dinner, which probably wasn\u2019t 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.<\/p>\n\n\n\n

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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?<\/p>\n\n\n\n

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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?<\/p>\n\n\n\n

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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.<\/p>\n\n\n\n

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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\u2019t love that.<\/p>\n\n\n\n

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I\u2019m not always in the same mood, either. Just like I don\u2019t always eat the same cuisine, I don\u2019t 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.<\/p>\n\n\n\n

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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\u2019s nowhere to hide. You either produce an excellent, textbook example of the genre you\u2019re attempting; you successfully update it into a modern version, without losing the essentials that made it great originally; or you fail, because you\u2019ve created something that doesn\u2019t match up to expectations, that isn\u2019t well executed. And your failure is obvious, because we have well-known examples to compare with. We know what it should taste like.<\/p>\n\n\n\n

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If you\u2019re being more experimental, or attempting \u201cfusion,\u201d using fancy techniques or ingredients, or combining ingredients that don\u2019t 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\u2019s 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.<\/p>\n\n\n\n

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Genre, then, is like a restaurant sign. It tells us approximately what kind of experience we\u2019re 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\u2019t mislead readers about what the book is like. (This is a large part of the reason that I self-publish: because I don\u2019t 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.<\/p>\n\n\n\n

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A bookstore, then, is a food court. And to market your book, you need to convey to people what they\u2019re 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\u2019re 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\u2019s what you\u2019re selling.<\/p>\n\n\n\n

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Genre Considered as a Restaurant
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