One of the great things about books is you can afford to do anything.
George R. R. MartinRead
The distinction between literary and genre fiction is stupid and pernicious. It dates back to a feud between Robert Louis Stevenson and Henry James. James won, and it split literature into two streams. But it's a totally false dichotomy.
Interpretation
The divide between literary fiction and genre fiction is misguided and harmful.
George R. R. Martin argues that the classification of literature into 'literary' and 'genre' fiction is not only trivial but also damaging to the understanding of literature as a whole. He traces this inappropriate distinction back to a personal rivalry between well-known authors, suggesting that it has created unnecessary categorizations that limit the appreciation of diverse narrative forms and styles.
In practice
In a discussion about the value of different literary forms during a writers' conference.
One of the great things about books is you can afford to do anything.
I hate outlines. I have a broad sense of where the story is going; I know the end, I know the end of the principal characters, and I know the major turning points and events from the books, the climaxes for each book, but I don't necessarily know each twist and turn along the way. That's something I discover in the course of writing and that's what makes writing enjoyable. I think if I outlined comprehensively and stuck to the outline the actual writing would be boring.
There is only one god and his name is Death. And there is only one thing we say to Death: “Not today.
I did not do it. Yet now I wish I had.’ He turned to face the hall, that sea of pale faces. ‘I wish I had enough poison for you all. You make me sorry that I am not the monster you would have me be, yet there it is. I am innocent, but I will get no justice here.
But a voice inside her whispered, There are no heroes, and she remembered what Lord Petyr had said to her, here in this very hall. 'Life is not a song, sweetling,' he'd told her, 'You may learn that one day to your sorrow.' In life, the monsters win, she told herself.
I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.
If certain books are to be termed 'immigrant fiction,' what do we call the rest? Native fiction? Puritan fiction? This distinction doesn't agree with me.
I remember going into a bookshop, and the only book I saw with a black child on the cover was 'A Thief in the Village' by James Berry, and I thought, 'Is this still the state of publishing?' Then I thought, 'Either I can whine about it or try to do something about it.'
To encounter 'Beowulf' is like taking a sledgehammer to a quarry face. You must bang in there.
Most crime fiction, no matter how 'hard-boiled' or bloodily forensic, is essentially sentimental, for most crime writers are disappointed romantics.
Writers of feminist dystopian fiction are alert to the realities that grind down women's lives, that make the unthinkable suddenly thinkable.
Under adversity, under oppression, the words begin to fail, the easy words begin to fail. In order to convey things accurately, the human being is almost forced to find the most precise words possible, which is a precondition for literature.
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