What is Your 'Genre's Promise'?

This month we will study ‘the fiction novel’s promises,’ and how we use them to write and sell fiction.

There are rules that govern fiction writing. Most are soft rules that can be broken when the story needs a twist or to jar the reader emotionally. Experienced writers can break the rules and still sell their novel. This is not true of the genre’s promises.

Each genre is built around fundamental promises that must be kept if a writer dreams of becoming a published author. These promises define a book’s genre. The following examples give a brief definition of some genres.

· The Heroine is the heartbeat of a romance novel, but if the story focuses on her and not the romance, the novel fits the woman’s fiction genre. The reader expects a certain type of story, character, conflict, and experience, whether it is emotional release, fantasy, or fun.

· The Hero drives a fantasy novel forward, but if a troupe of characters do not accompany him or her, the novel is an adventure, or historical adventure.

· The Victim keeps readers turning the pages of a thriller, if the main character is not a victim the novel is more likely a mystery.

The novel’s readers expect certain elements to be included in a novel, in the right place. When they browse the bookstore shelves, they are looking for a novel that promises a satisfying, emotional experience. The romance reader expects the story will be driven forward by the character's motives and actions. This makes romance novel’s plots character driven. If the situations and events move the plot forward, the romance reader will be disappointed with the story.

Readers also abhor the presence of author intrusions, except in fantasy novels. Author intrusions are situations where the author takes the liberty to resolve a story's conflicts by interrupting the natural sequence of events, or cause and effect, to include a situation from their imagination, instead of drawing on the character's motives and goals. This is true of most situational driven plots.

The fiction novel reader also expects the character to have weaknesses that will make them real. When the reader picks up a novel, they expect a certain aspect of emotional growth in the character. This is true in all genres. The character must grow until they are worthy of a happy ending, even if the reader had a bad day. A novel does not work if the reader resents the character’s good luck or success.

“Will the reader think this character is worthy of a happy ending, one which is denied the person reading the story?” I have helped many writers who were told their story suffered from a weak ending. I suggested that the reader resented the character’s happy ending, believing they were not worthy of it. I asked the writer to read their work, with the genre’s promises in mind, and give the reader what they want and expect. In the writing industry, we call this “meeting reader demands.” After all, this is the purpose of fiction. We write for the reader, not ourselves. If the reader is not happy, there is no reason to publish the novel or short story. If the reader is not happy, they will not buy another one of our books.

However, many writers forget that each genre offers their reader's a specific promise. The reader knows the couple in a romance novel will overcome their problems, resolve the conflicts, and make a life long commitment in the end. The mystery novel promises the reader the detective will have a hard time figuring out who the criminal is, but when the reader looks back at the clues, it will be obvious. The thriller genre promises readers the characters will become emotionally involved in a life and death fight, and the protagonist will not necessarily have a happy ending, but the characters will find the emotional stability and contentment they desire. If the novel does not provide this emotional experience, then it fits the spy or adventure genre.

Writers break their genre’s promises when the character’s personality types are not compatible with each other. For example: when picking an antagonist, or Villain, the reader forgets to make them the opposite of the protagonist, or Hero. To use a comic book term, the Villain must be the Hero's nemesis. This is a very important aspect of most novels.

This is why writers need to understand their markets, genres, and why certain readers are drawn to a particular type of story. Let’s say you are writing about a woman whose nurturing side enables her to defeat the large corporation that is preparing to destroy her home. Logic may indicate the Amazon archetype will be the best character type for this story. No. The Amazon type will die before surrendering their independence, but they will not risk everything save strangers or an ideal like ‘hearth and home.’ This personality type is motivated by self-gain, so there must be a personal benefit before they fight. While they Amazon is the wrong choice for a romance or woman’s fiction, she is perfect for a thriller or Sci-Fi.

Picking a personality type for a character is not hard. The Internet is full of articles and personality tests that writers can use to create the perfect characters. Best sellers are a great place to look for the reader’s idea of a perfect couple, hero, or troupe, depending on the genre. I do not suggest you copy characters from a published novel, but studying what the readers expect in the characters and plot will save months of rewrites, heartache, and rejection for writers of all genres.

The concept of a story’s promise is widely used in the fiction publishing industry. To explore these promises a writer needs to look at several different fiction genres. You will see that different genres can have the same types of characters, similar protagonists and antagonists, the same conflicts, resolutions, climax and black moment. But, they unfold at different paces and have varying emotional impacts on the readers. This is the result of the story's promise.

Here are some examples of how each genre unfolds to elicit different emotional responses from the readers.

· A fantasy novel promises the reader an adventure where a troupe of mismatched characters overcome impossible odds, conflicts, and complete a quest with nothing more than luck, team work, and magic. The character in the fantasy novel may have problems related to their back-story that prevents them from realizing their full potential.

· The thriller promises a roller coaster ride of story twists that create an unpredictable ending.

· A Sci-Fi novel promises the reader a team of intelligent people will survive on their wits alone. They need to dig deep inside them discover strengths, weaknesses, and how to work as a team, if they want to survive.



The Hero in a Sci-Fi who is self-efficient, Type A, and emotionally stable, would be completely unsuitable for the fantasy novel. So, the Sci-Fi takes the character on a journey from self sufficient individualist to team oriented survivor, while the fantasy takes the same character from homebody, or no-body to self-sufficient hero. The difference in these two genre’s promises force the characters down different paths toward their character growth. To some writers, this seems like a minor problem, but it can be a major problem when it comes time to pitching a novel to the publisher.

Broken promises also cause plot problems, especially when the writer puts their own personal wants and needs first. Writers, like everyone, have their own problems. They are on their own journey of emotional and character growth. In many cases, they write a book for self healing, and then wonder why editors don't take the time to read it, or publishers send them form rejection slips. The person who bought a novel chose it because the story promised to reach a need in their lives. It promised a satisfying ending, characters who the reader could care about, and a plot that will unfold in an interesting and entertaining manner. When a novel or short story fails to unravel in the proper sequence, and in an entertaining way, the reader feels let down.

The romance reader wants to read about selfless characters. This reader will not relate to the Amazon archetype’s motives and goals. That is why a clever writer knows their reader and gives them familiar characters. This is why I suggest that all writers join reading clubs, yahoo groups, fan clubs, and even create their own groups and newsletters. These will all give them a chance to study the very people who will be reading their fiction.

These promises are used when writing, submitting, and pitching a novel. New authors can learn how to do this. First, study the genre from published books and the Internet. Second, a smart writer reads their genres best sellers. One habit reappears consistently in the lives of every published author I know. It is secret that takes the mystery out of the craft of writing. Simply put it is, “avid readers make the best authors.”

Published writers and avid readers, can usually list the popular authors and best selling books in their genre, because they read them. They know their market, and they know their reader.

Next, a wise writer makes sure the genre's promises are the foundation of the themes and subplots in their stories. A good story makes the genre's promises a focal point in the story, not just a vague subplot. Taking the time to read best sellers will prove this is a fact, not just a theory.

Finally, they will write their sales pitch, synopsis, query letter, and promotional material around these promises.

There is a big difference between fiction and marketable fiction. In many ways, the craft of writing is unforgivable, but a skilled writer can use the rules to free themselves from the formulas that are used to create marketable fiction. All a writer needs is a little creativity and a solid understanding of the elements that are common in all good fiction. If you are ready to write your break out novel, or if you are trying to write your very first novel, then it is time to start focusing on the genre’s promises and using them to meet the reader’s demands.

Most importantly, you need to remember one thing – have fun.



Suzanne James is a published author and freelance content/line editor, and author of “Is Your Manuscript Ready To Submit?” To date she has edited 10 published novels. More than one was nominated for, or won, national awards including the EPPIE.

She has taught more than 2000 writers in her online courses, How to Write and Edit a Novel, Write Well: Prose to Proofreading, and How to Write Romance at www.writersonlinecourses. She also teaches at writer’s workshops and continuing education course in Southern Ontario.

She hosts two sites designed to teach new writers, and help published authors promote themselves. www.inspiredauthor.com www.authorsconnecction.com

Her personal website is at www.writer-writer.com



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