Literary versus Commercial Fiction
I had a nice response from readers answering my plea for questions. I’ll try to reply to one question a day until I’ve answered them all. First up is author BJ Hoff.
BJ Hoff: Maybe you could do another post on why “literary fiction”—although hyped by some publishers and editors—does not work in CBA–and with only a few exceptions, doesn’t work in the general market either. It wins awards–but doesn’t draw sales, apparently not much of the latter in either market. And you could also discuss what literary fiction is. What makes it “literary?” I’m still convinced that in CBA, at least, there’s much confusion about what it actually is.
Nick: I’ll try to define literary fiction as I understand it. Another person’s definition may differ, though I think there will be some similarities among most lovers of literary fiction. The way I best define it is as character-driven fiction with plenty of what Henry James called “felt life.’ (Please don’t ask me to define “felt life.” I’m not sure I can). Also, I think it helps to contrast literary fiction with commercial fiction. Commercial fiction—in both the secular world and the Christian world—is simply more plot-driven fiction (page-turners) where the resolution of the plot is usually more important than what happens internally to the characters.
As examples, I often cite Danielle Steel, Tom Clancy, Nora Roberts, Stephen King, and John Grisham’s legal thrillers as commercial fiction. Literary fiction tends to be more like Anne Tyler, Toni Morrison, and Tom Wolfe. Some authors may fall in both categories. Joyce Carol Oates is one example. And John Grisham has tried his hand at literary fiction too (often to the dismay of his core audience). In years past, commercial authors included Edna Ferber, James Cain, Raymond Chandler, Peter Benchley, and Pearl Buck. Literary lions of the past would include Hemingway, Faulkner, Carson McCullers, and Flannery O’Connor.
I’m hesitant to name names in CBA publishing because, for one thing, literary fiction doesn’t fare as well in our marketplace. When it’s attempted, it doesn’t often succeed. I think there might be two reasons for this. One is that we’re not that different from our secular counterparts when it comes to which we prefer. In secular publishing the commercial authors sell many times more than the literary fiction authors (with some exceptions). And so when you have a smaller pool of book buyers (as we surely do in the Christian fiction marketplace), you’ll also have fewer of those readers preferring literary fiction.
Another reason might be that literary fiction often goes deeper than commercial fiction and many times readers in our market simply want a good story to read without the kinds of problems sometimes dealt with in literary fiction. Another way to put it is that, in my opinion, much of secular literary fiction deals with issues that for many Christians do not exist or is not as important. For instance, estrangement from God. That would make a dandy theme in a secular literary novel, but most Christians do not want to read about estrangement from God, since that’s not part of their day to day world. Sometimes literary fiction is “dark,” and Christians generally do not like dark fiction. I do have an amusing anecdote about this. A Christian who happens to be an editor at a secular publishing house was constantly sending her mother copies of the novels she had recently edited. The mother eventually asked her if she ever published anything that “wasn’t so dark.” The editor had to admit that, no, she didn’t. Most of what she worked on did indeed have a dark side to it.
By the way, the literary versus commercial divide isn’t confined to just books. It exists in the world of music and art as well. “Pop” music (both Christian and secular) far outsells the more serious (and accomplished) music. And I think most of you can name an artist whose commercial works sell extremely well, but who is not generally highly regarded by serious art critics.
Well, that’s my brief take on literary versus commercial fiction. I’m sure there are editors who disagree. As it turns out, I really do prefer to read literary fiction. Not for the darkness, but for the depth of characters. I’m much more interested in the characters in a story than in the plot they must live out on the pages. But that’s NOT typical of most readers of Christian fiction.
Perhaps some of you can offer your insight into this great divide. Tell us which you prefer and perhaps name your favorite literary or commercial fiction authors.
Next time I’ll tackle a question about what happens during a publisher’s committee meeting.
Great post, Nick, and one of the best articles I’ve seen on the differences between literary and commercial fiction. My preference is a mix, I suppose. I enjoy both, but lean more toward literary. Some fiction, though, is difficult to “classify” either/or. I’ve found that to be true in both CBA and the general market, and I’ve noticed that I almost always enjoy that particular type of story. Chris Fabry writes that kind of novel. I definitely prefer character-driven fiction rather than plot-driven. Two of my favorite literary authors are Silas House and Joyce Carol Oates. I’m not sure how one would define the fiction of Susan Howatch, but she’s another favorite, as are a number of Irish writers.
One other element I might mention that I believe differentiates literary fiction from commercial is *distance.* There’s a feeling of being a bit more “removed” from the story than is usually the case with commercial fiction.
More than anything else, just give me a good, solid read I don’t want to put down.
BJ
Nick, I was thinking back to books I was required to read in school like To Kill a Mockingbird, Animal Farm, and Gone With the Wind; and books by the likes of Jack London, Steinbeck, and others that became classics. Are all of these considered to be commercial fiction that happened to have withstood the test of time? Or is there some point where commercial fiction becomes literary?
Carol, that’s a good point. That’s why I added “with some exceptions” to my observation that commercial fiction sells better. Part of this is also simply subjective. One person might view Jack London’s stories as commercial fiction, others may label it literary. But if they do, it’s likely due to its longevity. Some might find a clue to London’s ability to produce fiction in his quote that he wrote, “for no other purpose than to add to the beauty that now belongs to me. I write a book for no other reason than to add three or four hundred acres to my magnficent estate.”
Really, there is indeed overlap between what we label commercial and literary fiction and you’ve named a few that do indeed overlap. Another example might be “Catcher in the Rye” by Salinger. Hugely popular, but by most counts, it’s really literary fiction.
I may still be misunderstanding the distinction, but if commercial fiction is predominant and characterized by less depth, that could explain why so many books feel shallow to me. The adrenaline rush soon fades if there’s no substance behind it. As I read back what I just wrote, it sounds harsh, and I really don’t mean it that way.
Trying another way of explaining…we use two words as synonyms for entertainment–recreation and amusement–but they’re really not interchangeable. To “re-create” means to make new, to refresh. The root of “a-muse” means “not to think.” People like what they like, but we tend to prefer the sorts of entertainment that require little thought. As believers, are we missing valuable opportunities, especially in CBA literature, to provide recreation instead of mere amusement–to entertain in ways that inspire and create a reader who is better for having read?
In the end, it may be one of those things we cannot change, but I’m encouraged by some Christian authors who convey a deep, thought-provoking message while telling a story that envelops me. CS Lewis (Chronicles of Narnia), Francine Rivers (Mark of the Lion series, Redeeming Love, And the Shofar Blew), and Brock and Bodie Thoene (AD Chronicles) come to mind.
The classics mentioned above became classics owing to their literary merit. They are now commercially successful because successive generations read them. Schools used to introduce us to them and then we developed a taste for the best literature and bought our own copies and so on.
Publishers used to balance going after money with literary concerns. They lost money on some books but stayed afloat overall because quality really counts for something. Now the only concern of publishers is whether a title will sell. That’s the nature of money: it’s amoral (not immoral): lacking in morality of any kind. Money cannot inform our values but it can convince us that values don’t matter.
A solid education can go a long way to solving this by creating a readership that demands quality. However, the society as a whole really prefers to raise poorly educated people who don’t question things and who are eternally compulsive shoppers.
That’s why I write about characters who care about ethics and I try to give the work some literary value without going overboard.
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Love Chris Fabry, too. Definitely leans toward literary. Lisa Samson’s The Passion of Mary-Margaret is an amazing book, literary in nature.
But I’ll take a Robert Liparulo, Vince Flynn, or Don Brown any day, too.
Probably a good mix of literary and commercial are some of Tom Morrisey’s novels. Love him, too.
Nick, I was surprised you named Pearl Buck as commercial, then I see in your comment that you also believe the divide is not hard and fast.
In CBA, I think Athol Dickson does a great job straddling the divide. That’s the kind of writing I think is the best.
Your comments also reminded me of your “debate” with Jim Bell a few years ago at Mount Hermon regarding the merits of plot driven fiction vs. character driven. I thought it was one of the best arguments for both I’d ever heard.
Becky
I read your post then moved on, but had to come back. I read commercial fiction by way of the Star Wars extended universe (among other authors like Feist and Eddings and Lawhead). Then I read a book like Bonnie’s Talking to the Dead. I also read the Mary Margaret one (which seemed like a love story with issues). The difference? Yes, some thematic stuff (The CBA ones tend to preach, even some of the general market ones), especially in regards to depth. I also think the language is different. A literary novel seems to take the time to express, while commercial stuff tells or relates and is a hurry to move on. The literary one makes you stop and read a page over again because there was something there to chew on, or the experience was just so wonderful you wanted it again! While everyone uses the same 26 letters, the memorable way something is said is part of that literary pursuit.
Why doesn’t literary stuff sell? I think a big part is we have readers who don’t care what they read. Looked at the top 50 novels in the CBA? I stopped looking months ago, when I consistently saw “bonnet books” (and Christian love stories, which as a pastor, gets me wondering about what so many vicarious stories does to the typical marriage today) taking 40-45 of those spots month after month. Publishers, in focusing on what sells, have given us a steady diet of “junk” food, so to speak (there is a place for it, but a steady diet?), and so our literary taste buds have become rather useless. We wouldn’t know a great story if it bit us on the butt, and if we got into the book, we probably wouldn’t like it because we are looking for the “sugar rush” of the fast food. The church is struggling with the same issues in the spiritual life of its members.
I can’t remember laughing out loud while reading any of the Star Wars books, though there were a few times I felt “disturbed/affected” by what I was reading. With Bonnie’s I not only laughed, and there are always 2 spots where I cry.
I appreciate your post, and though I may sound a bit snobbish, I am floored by how many CBA editors and agents and publishers read mostly out of the CBA itself.