Originality has its limits; to make sense to people, we have to begin in familiar territory; to say something new, we must connect it with something people already know.
But the worlds of publishing and producing constrain originality far beyond that, in their expectation that books and other creative works fit into an existing genre, and that books
within a genre fit narrow specifications and tick off the requisite number of anticipated elements.
The popular mystery/detective genre has its well-established requirement of Clues, Character-Suspects (among whom the perpetrator must exist), the Escalation of further perpetrations of subsequent crimes (and further clues), and the False Suspect thrown in our path to throw us off the scent, and so on. I've never written one, although like most of us I've read many over the years.
The romance genre should have the protagonists Meet Cute but initially behave more like antagonists, give us some Steam but establish reasons to defer pleasure for awhile, and insert a Setback just as things are lighting up (a misunderstanding or an unreconcilable difference) before it resolves as HEA (happily ever after) or at least HFN (happily for now). Nothing I've written qualifies as a romance novel, although I've read my share of these as well.
If an author writes within a popular genre, and writes well with an interesting twist that makes their book ever so slightly different while still mostly fitting the template, they stand a chance of finding a literary agent and landing a publishing contract as a debut author. The publishing industry knows they have a built-in audience.
There are some genres that have fallen by the wayside, styles of writing that were once written and sold in large quantities. Would you like to be a brand new author today and find yourself pitching a book set in the 1800s in the west, featuring an upright male citizen who is a bit of a loner, who rides into a town where the establishment institutions of social order aren't working, so he makes a stand, bravely facing death and being outnumbered, but with his skill with a pistol he and his sidekick, with whom he has his conversations, prevail, only to find it necessary to ride off into the sunset because the little town is ambivalent about him?
Or perhaps you'd like to be fishing for a lit agent for your debut book that features a vivacious gal who finds herself in surrounded by deceptive creeping danger, and is fraught with self-doubt and doubt about the attractive but flawed male of wealth and power who lives in near-isolation in a crumbling old mansion; he starts off hateful but she forces his reluctant admiration and shows him her mettle, then she gradually finds that beneath his compromised and ethically questionable exterior and all his characterological flaws, he's actually shiny and principled -- ?
If you're an established author with a proven track record, it might please you to put forth a book that's a clever twist on the old classic western or gothic genre, but I suspect it would be a far more difficult sell for a first-timer.
One of my favorite examples of a creative work that doesn't shoehorn nicely into existing genres is actually a film (originally a screenplay),
Miracle Mile. It kicks off as a conventional romance / romantic comedy, invoking the trope of a main character reaching a misunderstanding about something that makes him believe there's a crisis afoot, resulting in him behaving in amusingly silly ways and luring others into doing likewise. Except this time it turns out that the crisis
isn't the result of a miscommunication and the story becomes an apocalyptic end-of-world tragedy.
That it ever got made (without being revamped to make it fit into genre packaging better) is a testimony to screenwriter Steve De Jarnatt and his durable stubbornness. He was a graduate of American Film Institute and had credentials for prior work on Hollywood films, but even after the
Miracle Mile screenplay won awards there were misgivings about proceeding with the project as written:
De Jarnatt decided to shop the script around to various Hollywood studios and was turned down several times by executives that didn’t like the downbeat ending. The filmmaker said, “I certainly could have made it a few years ago if (the hero) woke up and it was all a dream, or they saved the day.” In fact, at one point, he was approached to shoehorn Miracle Mile into Twilight Zone: The Movie (1983) only with a happy ending, but he turned that offer down as well.
-- from
Radiator Heaven
I hadn't anticipated as much difficulty fencing my manuscript as I encountered. Like most newbie authors probably do, I thought the
writing was the primary challenge. Thousands of people crank up their word processors for NaNoWriMo every year thinking maybe they've got a novel in them, probably assuming that if they do indeed write one, and it's good, they can get it published.
I thought of my book as fitting into a genre: the LGBTQ coming-out story. I figured it would fit on the same shelf as
Conundrum: From James to Jan and
Rubyfruit Jungle and
The Best Little Boy in the World and
Stone Butch Blues and
Emergence and so forth.
Unfortunately, as with the western and the gothic romance, the LTBTQ coming-out tale is treated as an "old genre". As I wrote in my various query-letter incarnations, there have been such stories for lesbian coming-out, gay male coming-of-age, and transgender (in both of the conventional transitional directions) stories *, but nothing addressing that "Q" that sits there at the end of the acronym; nothing that explains
genderqueer -- or gender variance by any other name -- that doesn't overlap with the previous four letters. Well, that may have been part of the problem: the people I was trying to sell on the story's concept didn't see any unaddressed need there, because they, too, didn't have a notion of any remaining category for which we didn't already know the story.
Aside from that, "need" isn't the operative word by which the publishing industry makes its assessment. They think in terms of "market", not "need". They consider manuscripts in terms of their potential audience, the people already poised to go out and buy such a book. Genre, in other words.
Instead of being conceptualized as a part of an LGBTQ coming-out genre, my book was typically seen as either an LGBT book or as a memoir. The LGBT genre is mostly fiction, and mostly erotica-romance at that, with an occasional literary fiction piece from an established author. The memoir genre is occupied by the personal narrative by someone we've already heard of, a celebrity or a person who made the news and attracted our attention, and hence has a "platform".
Submission Stats as of October 2019:
Total Queries to Lit Agents: 1453
Rejections: 1441
Still Outstanding: 12
Total Queries Directly to Small Publishers: 117
Rejections: 58
Still Outstanding: 43
Pub Contract Signed (then went out of business): 1
Pub Contract Signed (rights reverted, creative diffs): 1
Pub Contract Signed (publication pending): 1
* to be fair, there aren't many bisexual coming-of-age / coming-out stories either. As with so many things pertaining to bisexual people, I think there's an attitude that if we have lesbian and gay equivalents covered, the story / concerns / situation of bisexual people won't be meaningfully different so we dont need to bother.
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