Fiction writing was in my blood from a very young age, but I never considered writing as a real career. I thought you had to have some literary pedigree to be a successful author, the son of Hemingway or Fitzgerald.
The Booker thing was a catalyst for me in a bizarre way. It’s perceived as an accolade to be published as a ‘literary’ writer, but, actually, it’s pompous and it’s fake. Literary fiction is often nothing more than a genre in itself. I’d always read omnivorously and often thought much literary fiction is read by young men and women in their 20s, as substitutes for experience.
I grew up treating a life as a writer as a career in letters, one devoted to many kinds of writing. And so it seemed normal to study both fiction writing and the literary essay as an undergrad.
'War and Peace' holds a strange place in literary history, participating in the crowning of realism as a substantial and serious literary mode in America, even as the novel also contributed to the argument that historical fiction could be by nature dangerous, illegitimate, and inaccurate.
It's perceived as an accolade to be published as a 'literary' writer, but, actually, it's pompous and it's fake. Literary fiction is often nothing more than a genre in itself.
It's my experience that people don't think of fiction writing as being as intellectually serious as other kinds of writing in academia and so without a career as a critic or essayist you can be treated as something of a spiritual medium - a fraud - for "just" writing fiction.
In writing literary fiction, you are trying to help yourself. And readers are going to literary fiction not just to be entertained, but because they feel something else will happen; that the experience will take them beyond themselves and show them something they haven't seen before.
In a sense, journalism can be both helpful and detrimental to a writer of fiction because the kind of writing you need to do as a journalist is so different. It has to be clear, unambiguous, concise, and as a writer often you are trying to do things that are more ambiguous. I find that writing fiction is often an antidote to reading and writing too much journalism.
Local color has a fatal tendency to remain local; but it is also true that the universal often borders on the void.
Local color has a fatal tendency to remain local; but it is also true that the universal often borders on the void
For example, we have developed an artistic and a literary culture. Nevertheless, the ideals of technological culture remain underdeveloped and therefore outside of popular culture and the practical ideals of democracy.
It remains a mystery to me why some of that [pulp] fiction should be judged inferior to the rafts and rafts of bad social [literary] fiction which continues to be treated by literary editors as if it were somehow superior, or at least worthier of our attention. The careerist literary imperialism of the Bloomsbury years did a lot to produce fiction's present unseemly polarities.
Liberty is the possibility of doubting, the possibility of making a mistake, the possibility of searching and experimenting, the possibility of saying No to any authority - literary, artistic, philosophic, religious, social and even political.
Non-fiction, and in particular the literary memoir, the stylised recollection of personal experience, is often as much about character and story and emotion as fiction is.
I am in the Master of Professional Writing program teaching Humor Writing, Literary and Dramatic.
Good writing is good writing. In many ways, it’s the audience and their expectations that define a genre. A reader of literary fiction expects the writing to illuminate the human condition, some aspect of our world and our role in it. A reader of genre fiction likes that, too, as long as it doesn’t get in the way of the story.