By Vikki VanSickle
Saturday’s round table discussion, Zombies, Witches, Killers and Cowboys: Visions of the Future of the Novel, featured a group of authors from various genres with a wonderful natural chemistry. The scope of the discussion was large, touching on themes such as genre, love, the imagination and the writing process. The audience was very welcoming—and obviously full of Jo Nesbø fans.
Moderator Andrew Pyper kept the tone of the discussion light and fun. At one point Nesbø described storytelling as inviting people to your house; if they like it, they will come again. The event very much felt like we had been invited into a cozy collective living room. The discussion included a number of personal anecdotes and I’m sure if given the opportunity the audience would have stayed all afternoon to hear these mix of authors talk.
The question of genre and categorization was one of the more interesting and heated discussions. Genre writers often feel sidelined or undermined by the literati. According to Nesbø, crime fiction is respected and prestigious in Scandinavia, but this is not the case in North America or England, causing Pyper to surmise what a M.G. Vassanji or Anne Michaels crime novel would look like, to much laughter from the audience.
Redekop brought up the case of Margaret Atwood, who made her mark as a literary writer and poet before diving into genre fictions such as The Handmaid’s Tale, Oryx and Crake, and The Year of the Flood. Redekop wondered if she had written these novels first, would she be considered “merely” a science fiction writer? Atwood herself refers to these novels as “speculative fiction,” which many sci-fi writers find evasive and suggest that in using this term Atwood herself is aware of (and avoiding) the stigma of genre writing.
Deborah Harkness and Alen Mattich talked about the constraints of genre. Harkness referred to genre as a weapon, used by critics and literary award committees to demean so-called genre writers and exclude them from the literary elite. She also talked about genre policing, in which readers and critics are quick to exclude titles based on an arbitrary set of rules or perceived notions about genres.
Harkness is a historian and a professor and talked about the snobbery of her own colleagues, who assumed she would write her fiction (which features witches and vampires) under a pseudonym. Mattich agreed that in North American and British literary circles there is some derision of genre fiction, but he felt that the constraints of genre fiction benefit the writer. With no constraints, Mattich believes it would be harder to succeed. The framework provided by these categories, as arbitrary as they may be, allows the author a framework to push against or an opportunity to test the boundaries and perhaps come up with something fresh and new.
There was some discussion as to why we categorize. Harkness believes the categorizations exist only for the reader, and Redekop confessed that as a librarian, categories are are a useful tool when readers are seeking something to read.
Nesbø pointed out that genre is all about expectation. When a reader picks up a crime novel or a paranormal romance, they expect certain conventions. Like Mattich, he felt that these expectations make it easier to frame a story. So what of the cross-over novel, that holy grail sought by publishers, which seems to defy genre or categorization? The panel agreed that to write for the masses, or seek something as elusive as the cross-over novel, would endanger the story. As Nesbo says, don’t go to the people, invite them to come to you.
As for the future of the novel? The group steered away from discussion of format (re: e-books) and instead focused on content and what readers want. The panelists all agreed that story is here to stay. As Mattich says, people don’t like random events or information. We like a story to explain things.
Redekop took this one step further, suggesting that we are genetically predisposed to create stories in order to understand the world around us. Nesbø suggested that some of the most interesting writing is not in the novel, but in other formats, pointing to cable TV and shows such as Mad Men. He believes that in the future readers will want to be challenged, and that writers of all forms and genres should be ready for a world of intelligent readers.