Photo courtesy of Deadline | Hollywood
A while ago, I told you about a novel I had adapted from one of my old screenplays (see “Adapting a Screenplay—Fun Times”). As I was writing the book, I thought my biggest challenge would be making a decent novel out of what is essentially a blueprint for a movie, which is what a screenplay is. The good news? I showed a recent draft to a few trusted friends, and the consensus is that the story works. Now for the bad news.
Finding Your Genre
Typically, when writing a novel you have pretty good idea about which genre you’re in. We’ve been trained to think this way, and it’s my view that this is mostly due to the influence of movies and television. What’s the first thing an agent asks you (after “Who are you again?”)—what is it? And they’re not talking about the story, my friend. No, they are asking whether it’s rom-com, horror, thriller, period, coming-of-age, etc. In other words, they want to know how to market it.
And here’s the thing—because we as writers are already trained, we will write according to these predefined genres, or categories. Of course, Amazon makes it easy too. When you publish your book, you are asked to select up to three categories. Here’s one—Fiction->Romance->Contemporary.
But what if your story doesn’t fall neatly into a pigeon hole?
This is where I found myself after finishing my novel. And I will tell you in all honesty, this is precisely why I had struggled with the screenplay. In my mind, I had a great story, but it wasn’t targeted at a particular audience (kids, millennials, older adults, etc.). So, now what?
Well, I had a great conversation with my friend Melodie Ramone, who I interviewed recently. Melodie is not only a brilliant writer, but she knows the publishing world well—particularly when it comes to what publishers want from fiction. And what they want is apparently no different than what those pesky Hollywood agents want—they want to categorize the book so they can market it in the same tired way they do all the others that fall into your particular genre.
Sadly, my book is what Melodie calls a “genre bender.” And, bless her, she didn’t discourage me from publishing it. Sure, I’ll probably never get a literary agent to look at it, but who cares? I’m focused on indie publishing anyway. Of course, I still have to figure out how to market the damned thing, and that is still the problem.
In researching genre-bending types of fiction, I ran across a term I wasn’t familiar with—family fiction. I tried looking it up, and guess what—there is no definition. I found items as diverse as “Christian fiction,” “family saga” and “domestic fiction.” In fact, there’s a site called FamilyFiction.com that appears to try and own the brand, categorizing itself as a purveyor of Christian fiction.
When I searched Amazon’s Kindle store, I found that “family fiction” is a recognized search term. The first book that popped up on the list at the time of this writing was The Doctor’s Unexpected Family by Kristen Ethridge. You got it—Christian fiction. The second was A Legacy of Secrets by Jean Reinhardt, which is listed as a family saga. Then there’s Alone by Holly Hook, which appears to be targeted to the YA/Sci-Fi/Fantasy crowd. I saw other titles with “family” in them, which unfortunately means that Mario Puzo’s The Family is included. Now, most people are aware that Amazon is great at leveraging big data, but the fact that Christian fiction-themed books appear alongside stories about La Cosa Nostra tells me that family fiction is not a true genre, at least as far as they’re concerned.
Alternatively, if you visit Goodreads, you’ll find a list of family fiction that features books as diverse as The Round House by Louise Erdrich, The Casual Vacancy by J.K. Rowling and An Acceptable Time by Madeleine L’Engle (which is part of her “A Wrinkle in Time” series). Now granted, the only reason the list contains these books is because readers shelved them that way, which tells me that readers themselves don’t really understand what family fiction is. They probably figure, hey, if it’s about a family, then it must be family fiction. So wait, could it be that simple?
Bringing It Home
Back to my story. My book is told mostly in the first person by a thirteen-year-old girl. But occasionally, I use third-person omniscient because there are important scenes that don’t include her but drive the other characters—her mother and father, for example.
I still haven’t figured out how I am going to market this thing, but Melodie gave me some great suggestions. I will keep you informed as to my progress. In the meantime, I would love to see some comments about what you consider to be family fiction.