The double-edged sword

Ally Sheedy as Allison Reynolds

In The Breakfast Club, introverted Allison dares rich-girl Claire to say if she’s a virgin. When Claire demurs, Allison says,

It’s kind of a double-edged sword isn’t it? … If you say you haven’t [had sex], you’re a prude. If you say you have, you’re a slut. It’s a trap.

This is how I feel when the question comes up about the distinction between literary and genre fiction. If you write literary novels, you’re a prude. If you write genre books, you’re a slut.

Is it really that simple? Nothing in this world is so simple. Yet, here are some true-life examples from my own experiences:

Prude

While shopping around my first novel, I got a tip that a prestigious national imprint had a new editor seeking fresh manuscripts. I sent mine along, hopeful but also realistic about my chances.

The rejection slip I received was fairly scathing. The editor claimed my book read of a desperate MFA student who doesn’t understand the “real world.” It was fairly derogatory (and oddly personal, considering this editor and I shared a mutual friend). A simple “thanks, no thanks” would have sufficed, but this editor decided it was my turn in the barrel.

Make no mistake: This hoity-toit imprint reeks of MFA aftershave. It’s not a punk-lit imprint. It’s not an edgy alt-lit imprint. It publishes high-minded literary fiction. The author list is upper-middle- to upper-class, blindingly white, and yes, many of them hold an MFA.

And I hold an MFA too, so perhaps the criticism is spot-on—except I wrote the bulk of novel before I set foot in grad school. I didn’t aim for it to be a literary masterpiece. I wanted to write a page-turner. It’s categorized as literary fiction because it’s not mystery, science-fiction, fantasy, romance, Western, thriller, or YA/New Adult. Write a story about a character and his family, and it’s not merely literary, you’re trying to “be literary.” Who knew?

In my novel, the main character has grown up in a town of physicists who design and perfect weapons of mass destruction—this is the actual childhood I experienced. I thought it would be a good read. (It is a good read.) My character is snarky, sarcastic, crude—and at times, he can be a right asshole. The technical background of the novel is, as they say, ripped from the headlines.

This seems pretty real-world to me. I thought I was writing a funny novel with an unusual setting and situation. This editor took it upon herself to declare I’m actually a Raymond Carver-esque hack penning quiet stories of bourgeois desperation. And that I should stop being that writer.

So, there’s the rejection slip telling me to quit being literary, even though that’s a categorization I never asked for. And it came from a literary publishing house. It’s kind of a double-edged sword, isn’t it?

Slut

After Amazon published my second novel, I began to sense a change in the attitudes of many of my writer friends. At first it was slight, like a shift in air movement when a door in the room is opened. Gradually, though, the emotional tension grew to the point it could not be denied.

I wondered if the problem was one of jealousy. My book had been picked up by a large company, but Amazon was not what you would call an A-list publisher (back then, at least—times have changed). And, they only published my book in digital Kindle format. I had to rely on CreateSpace to offer a paperback edition. The advance money was not huge, and the publicity not so widespread. It all seemed pretty modest to me, and I thought my friends would recognize it as such.

My novel is set in an alternate universe where human reproductive biology is tweaked in a rather significant way. This book is obviously science-fiction. Since the protagonist is a thirteen-year-old girl, it neatly fits into the YA slot as well.

And I’m comfortable with those categorizations. I grew up reading Asimov, Bradbury, Silverberg, and other science-fiction writers of the Golden and Silver Ages who laid so much groundwork for the genre. More importantly, I wanted to write a another page-turner, a real unputdownable book. From the Amazon reviews, I think I succeeded.

The tip-off for the issue with my friends was when my wife asked one of them if she’d read my new book. The answer was a murmured, “I would never read a book like that.” This from a person I counted as a friend, and had known for ten years.

Before this, I’d heard her repeat the trope that all genre fiction is formula, as mindless as baking a cake from a box of mix. I always let it go, for the sake of harmony. Now it was being thrown in my face.

The funny thing is, one Amazon editor told me she felt in hindsight my science-fiction YA novel was not a good fit for their imprint. They were more interested in “accessible” genre fiction for their readers, and that my work was—yep—too literary. It’s a trap.

Tease

When Claire refuses to reveal if she’s a virgin, bad-boy Bender suspects she’s a tease:

Sex is your weapon. You said it yourself. You use it to get respect.

Between being a literary author and a genre writer, there’s a third way: The literary-genre writer. These are the teases. They write genre fiction, but make it literary to get respect. And, often they do.

Examples of teases are Haruki Murakami, China Miéville, Cormac McCarthy, and Margaret Atwood. Much of their work is patently genre, but they are received and analyzed with the same awe and respect reserved for literary novelists.

The knee-jerk reaction is to say these writers prove it’s possible to write literary-genre fiction. I don’t think that’s true at all, though. It only proves that authors accepted into the literary realm gets to have it both ways: To avoid the stigma of genre fiction while incorporating the high-stakes dramatic possibilities genre fiction offers.

Consider another literary-genre writer: Kurt Vonnegut. He writes science-fiction, but his books are rarely shelved in that section. Hell, he even wrote a diatribe about how bad science-fiction writing is (Eliot Rosewater’s drunken “science-fiction writers couldn’t write for sour apples” screed). Yet, Vonnegut is rarely, if ever, permitted into the same circle as Atwood or McCarthy. There’s something “common” about Vonnegut. Only at the end of his life was he cautiously allowed into the literary world. Some still say he doesn’t belong there.

I remain unconvinced it’s the sophistication of a novel itself that moves it into the upper literary tiers. I can point to plenty of books supposedly in the literary strata that are not exceedingly well-written or insightful. Something other than an airy quality is the deciding factor.

The success of a handful of literary-genre writers doesn’t open doors, it only creates a new double-edged trap. An author who pens a literary-style novel can claim it’s literary. See, he added his book to the “Literary Fiction” section on Amazon! But does it mean he’s a member of the literary world? Not at all. There’s something else holding him back.

The trap

The literary/genre distinction purports to explain every aspect of a story: Its relevance, its significance, its quality, its audience, even the goals of the writer when they sat down to write it. Nothing in this world is so simple.

There’s a smell about the literary/genre divide. It smells like class. Literary is upper-class, and pulpy genre is for the proletariat. This roughly corresponds to the highbrow/lowbrow classifications. We even have a gradation for the striving petty bourgeoisie, middlebrow.

(Even calling a novel “middlebrow” is treated with disdain—a lowbrow attempt to raise a genre book to a higher status. It’s easy to fall down the literary/genre ladder, but difficult to ascend.)

I definitely believe the Marxist notion of class exists, both abroad and here in the United States. What I don’t believe is that a work of fiction is “of a class.” Books are utilized as a marker of class—tools to express one’s status. Distinctions like literary vs. genre communicate to members of each class which books they should be utilizing…I mean, reading.

Amazon says new Kindle replicates experience of holding real book cover in public

This is not the most original thought, but is it really that simple? Nothing in this world is so simple. And I don’t want it to be simple. As with food, the best reading diet is varied, eclectic, and personal.

Note the real damage here. If a writer writes the books he or she wants to write, and puts their heart and soul into making it the highest-quality they can for their readers, all that hard work is instantly deflated by the literary/genre prude/slut highbrow/lowbrow labels.

And if a writer introduces genre conventions into their literary work, they’re a sell-out—a prude tarting it up for cheap attention. And if the author of a genre novel tries to achieve a kind of elegance with their prose and style, they’re overreaching—a slut putting on a church dress. You use it to get respect. We’re punishing people for being ambitious.

I’ve said it elsewhere: People will judge a book by its cover, its publisher, the author’s name, the number of pages, the title, the price, the infernal literary/genre label, its reviews, the number of stars on Amazon—everything but the words between the covers. You know, the stuff that matters.

Three specials for the new year

If you’re looking for new books to read this year, I’ve partnered with over 300 authors to offer specials on new books and boxed sets:

NEW MYSTERY & SUSPENSE – A collection of new mystery, crime, and suspense novels, many with a special price. Includes my novel of suspense and paranoia, Man in the Middle, on sale for 99¢.

KINDLE UNLIMITED BONANZA – Adventure, science-fiction, romance, and fantasy books, all available free for Kindle Unlimited subscribers. Includes the Bridge Daughter Cycle boxed set and my cyber-noir In My Memory Locked. Voracious readers apply here.

SCI-FI & FANTASY GIVEAWAY – Hundreds of free science-fiction and fantasy e-books available free for a sign-up. Includes the first book in my Bridge Daughter series.

Too many books! All promotions end February 28. Please give these authors a try, or use this as an opportunity to pick up one of my reads.

Complete Series Binge Bundles Under $10

The Bridge Daughter Cycle: Books One to Three by Jim Nelson

If you’re looking for some post-holiday reading, my three-part family saga Bridge Daughter Cycle has been included in the Complete Series Binge Bundles Under $10 special. Over forty complete book series from various authors are available at reduced boxed set prices, including all three books of the Bridge Daughter Cycle for $4.99. The series includes science-fiction, mystery, suspense, and fantasy.

If you’re interested, check out the full listing here. This special ends January 11th, 2021, so check it out while you can.

Why I wrote a novel about COVID-19

Man in the Middle, by Jim Nelson

At Washington Independent Review of Books, author Tara Laskowski asks, “We’re living through a pandemic. Must we read about one, too?” Her suggestion to fellow writers:

Perhaps the solution is to just skip ahead and set everything in 2025, safely away from the horror that is this year …

In 20 years or so, this point will probably be moot. By then, we’ll be ready to curl up with an escapist historical novel set in 2020; we’ll have gotten enough social distance from masks and lockdowns and toilet paper shortages.

My perspective on all this is colored by the fact that I wrote a novel set during 2020, and it centers around the pandemic and quarantines that have affected us all.

To clarify the chronology, I started writing the book in June (or so) and published it last month. Man in the Middle is set in the first week of California’s shelter-in-place, and although March was not so long ago, paging through my diary entries of those early weeks while preparing the novel reminded me just how otherworldly the world became overnight.

That’s a key point about the book’s development: I started keeping a diary when the pandemic surged in America. For the first few months, I wrote daily, almost religiously, dumping my despair and puzzlement onto the page. When the world opened up and grew less tense, I thumbed back through my notebook and discovered a voice I did not quite know. It was me, but it was not a me I easily recognized.

Certainly I harbored many reservations before I set out to write the first draft. Was the world to be swamped with a flood of coronavirus thrillers? What if a cure is discovered tomorrow? One writer friend warned me off the project entirely. From other people, there’s been a split-brain response: On one hand, writing a book now about the pandemic is “obviously” a commercial money-grab on my part, right? On the other hand, the market for such a book has a tight, closing window, once the vaccines arrive, eh? It’s one of those social situations where they think I’m not seeing the obvious, when in fact I’d gone down those thought-paths several dozen times.

I don’t write fiction to make money. Fiction is freeing for me. No one tells me what to write or how to write it. I set my deadlines. I make my own challenges. I also happen to believe there are readers in this world who, once they’re exposed to my writing, will enjoy it as well. That, more than anything, motivates me to keep writing.

Laskowski relates a comment from her agent:

“If something is set this year and is about the quarantine experience, sort of like a locked-room crime, maybe,” she says. “But a medical thriller about covid? Nope.”

A medical thriller is exactly the kind of novel I told myself I would not write: The beautiful epidemiologist racing the clock to develop a cure; a cold-hearted technocracy blocking her progress at every turn; and her unconscious child in a hospital isolation unit hooked up to a respirator. But the reason not to write a medical thriller about coronavirus is not because we’re living through it—it’s because that thriller has been written many times over, only with different strains of disease of different origin, with different symptoms and different cures.

While I didn’t write a locked-room crime book, I knew early on I wanted it to be a novel of isolation and suspense. The year that is 2020 has been a year of unthinkables. It is also a year hosting a major, tumultuous presidential election set against a backdrop of accusations of foreign and domestic intrigue. Swirled together, these ingredients sent me back to the great political and conspiracy films of my youth (Three Days of the Condor, Invasion of the Body Snatchers, 12 Monkeys). In January, when COVID-19 was a curiosity mentioned occasionally in the news, I was reading Orwell’s war diaries, which also left a strong impression upon me. In March, when the shelter-in-place orders came down, I reread Camus’ The Plague with fresh eyes and a fresh appreciation.

Out of all this arable soil grew a claustrophobic, paranoid book about an isolated security guard who can’t tell if he’s detaching ever-so-gradually from reality. Podcasts, experts, and so-called experts fill his ears with contradictory takes on the world’s sudden course correction. That voice from my diary was now his.

Why wouldn’t I write that book? Whether or not Man in the Middle succeeds on its merits, I’ll let the readers decide. But how could I just set this inspiration aside and write about any year except 2020?

To return to the original question, no, I don’t believe people should have to read about the pandemic right now. I understand why anyone who reaches for a book today would want to read about any subject other than pandemics. Subconsciously, though, the question naturally bleeds into the territory of, Should writers be writing about the pandemic now?

As an answer, consider re-framing the original question as “We’re living through the Great Depression. Must we read about it, too?”

Imagine if the writers of The Grapes of Wrath, The Day of the Locust, The Road to Wigan Pier, They Shoot Horses, Don’t They?, John Dos Passos with his U.S.A. trilogy—and more—decided not to write about the worldwide economic collapse because people were living through it, so why would they want to read about it? For many of those authors ninety years ago, they viewed writing about the Great Depression as a responsibility.

Man in the Middle isn’t an act of personal responsibility, but I did write it for good reasons, even if they’re only my reasons.

(Probably unnecessary disclosure: Tara Laskowski is an editor for Smokelong Quarterly, which published one of my stories years ago. I don’t know if she was an editor there at that time.)

“Man in the Middle” now available

Man in the Middle, by Jim Nelson

A quick note to announce that my latest novel, Man in the Middle, is now available!

This novel of suspense follows a security guard who, during the first week of the pandemic lock-down, begins to see things he suspect he’s not meant to see: Men working underground on Internet data lines in the dead of night. Neighborhood patrols enforcing the shelter-in-place order. And a conspiracy to steal millions of dollars in BitCoin.

Meanwhile, he is left to wonder if he’s contracted COVID-19, and whether he will have to submit himself to hospital quarantine.

Man in the Middle is now available in Kindle and paperback editions. Kindle Unlimited subscribers can read it free. The Kindle edition is still on sale for 99¢, but not for long, so get it now.

Will there be a fourth book in the Bridge Daughter Cycle?

The Bridge Daughter Cycle

Short answer: Yes.

Long answer: As mentioned briefly in my interview with GSMC Reading podcast, I do have plans for a fourth book in the Bridge Daughter series.

The question has been posed a few times to me, and so I thought I would answer it here.

I hate pre-announcing books, especially a book I’ve not started, but I do have a tentative outline for a fourth novel that looks, to my eye, a solid addition to the series.

What I don’t have is a solid time frame when it will be available, or for that matter, when I’ll start working on it. It’s not that I don’t have interest in writing it—quite the opposite—but I’ve been eager to develop other projects that I’ve grown excited about (Man in the Middle, my next book), and I wanted to strike while the iron was hot.

If you’ve not caught up on the Bridge Daughter series, there’s no time like the present to start. The third book in the series, Stranger Son, was released earlier this year. And if you’re looking for the full series up to now, the first three books of the Bridge Daughter Cycle are now available in a Kindle box set edition.

Audio

Interview with Sarah Meckler at GSMC Book Review

Recently I spoke again with Sarah Meckler of the GSMC Book Review podcast. It has been a couple of years since we last spoke, which was shortly after the release of Hagar’s Mother.

It was a pleasure to catch up with Sarah. Since then, I’ve published In My Memory Locked, which we discussed at some length, and Stranger Son, which we also touched on.

If you’d like to hear the full interview, you can download the episode at Apple Podcasts or listen to it on YouTube. I heartily recommend subscribing to Sarah’s ongoing podcast series, where she interviews a wide variety of writers and genres.