Guest blogger: Linnea Sinclair on Writing Cross Genre
February 12th, 2009 by Michelle Diener
WRITING CROSS GENRE, Or: You’ve Got Chocolate in My Peanut Butter
It’s funny—or maybe not so funny—but I don’t consider myself a cross-genre author. I write my stories. I write about my characters. The fact that I happen to combine romance and science fiction is simply the way the stories and the characters play out in my mind. It wasn’t as if I woke up one day and decided, “Oh, goody, I think I’m going to combine two genres which traditionally hate each other and try to make a living out of it.” These are simply the stories I want to tell (or rather, these are the stories of the characters who are screaming the loudest in my head.)
I’d gather that’s the same reason many of you write your stories, and write cross-genre ones as well.
Which is way I thought I’d blog on this topic. When you write cross-genre, it’s not enough to simply want to tell the story of two (or more) characters you love. It’s just not. The entire process of writing a one-genre novel is complex enough. The processes of writing cross-genre are more than double that trouble. Which is why, according to my agent (Kristin Nelson) and my editor (Anne Groell, senior editor at Bantam Spectra) and other agents and editors I’ve shared a martini or three with at various book conferences, so many writers-trying-to-be-cross-genre-authors fail to get past the first reader and out of the slush pile. They don’t understand the relationship between chocolate and peanut butter. And they don’t comprehend the capacity of a peanut-butter cup.
Uber-famous author Mary Jo Putney said something last month when she was a guest on a radio show that also uber-famous author Catherine Asaro and I hosted. The topic was Writing Cross-Genre Romance. “Every book,” Putney said, “has only a limited amount of real estate.”
I knew that. I know I knew that but until Mary Jo Putney put it just that way, it hadn’t impacted me fully. Every book has only a limited amount of real estate. Every peanut butter cup can contain only so much chocolate and so much peanut butter.
It’s all about balance. Balance constrained by and beholden to limitation. You have 110,000 words to work with, or perhaps three-hundred ten pages to work with. And in those three-hundred ten pages you must—if you write cross-genre—do fully and completely with two genres what other authors with those same three hundred ten pages do with one.
Daunting, eh?
And you wonder why authors drink.
Writing cross-genre means you need to address the plot and character arcs of two stories. You have to respond not only to the tenets of romance (ie: the HEA) but the tenets of mystery, science fiction, fantasy or political thriller.
If you really want to be insane, try combining three genres in one book: romance, science fiction and police procedural. When you do that it’s called The Down Home Zombie Blues (Bantam Dell, 2007) and now you know why you find me frantically clutching a gin and tonic in the lobby bar in any book convention you go to. I did that to myself: crammed three genres into one five-hundred fifteen page doorstop. Uh, book.
Using Putney’s analogy, it was like building a skyscraper on a postage-stamp-sized plot of land.
Okay, by now you’re thinking: “Linnea, we didn’t invite you here to listen to you whine. You’re supposed to tell us how to do it.”
That’s a big ten-four, Bunky. But you needed to know the risks to your sanity and your liver first.
How you do it (in a manner more likely to get you published) is this:
(1) Recognize you have limited real estate in which to tell your story. Recognize you have half or less for each genre-arc. This means writing tightly, writing concisely. This means every word counts. This means you don’t have the luxury of backstory (not that any good writer should but there are ways to sneak in backstory without doing info dumps. But that’s a topic for another blog…). This means you probably should hit the ground running with your story.
(2) Understand reader expectations for each genre. This is huge, kids. So huge that quite honestly if you write cross-genre, you need to have I MUST UNDERSTAND READER EXPECTATIONS tattooed on your patootie. Or at the very least, hanging in neon over your computer. What science fiction readers expect from a book is not the same as what romance readers expect. Science fiction readers expect solid and consistent world building (among other things). Romance readers expect an HEA (among other things).
The only way you’re going to learn reader expectations is by reading (extensively) in the genres in which you’re writing. I’ve been reading science fiction since I was a wee kidling. I’ve been reading mysteries since I was a wee kidling and I spent ten-odd years (and dang, was they odd!) carrying a badge and a gun as a licensed private detective. I also judge a fair number of regional and national writing contests for RWA and other groups. I can tell—immediately—when a romance author has little experience with police procedurals or science fiction and yet is trying to write cross-genre, because he or she has watched a few episodes of Law & Order or Star Trek and thinks she or he has a handle on the genre.
Watching is not reading. Viewer expectations—where lots of flashy explosions can divert or amuse—are not reader expectations.
Both Chinese food and Italian food use noodles. But the two don’t taste the same.
The advantage writers today have when contemplating cross-genre is the access to the Internet. There are easily accessible reference sources, from Wikipedia on down. (And lots of misinformation as well, so writer beware.) There are easily accessible craft-of-writing blogs, craft-of-writing Yahoo groups, craft-of-writing sites. There are places where you can ask questions and get answers quickly. There’s really no excuse for not knowing what an MDT looks like in a patrol car. There’s really no excuse for not knowing what an FTL drive can do in a starfreighter. Readers (and acquisition editors) of those genres know those things and expect the writer to know those things—correctly. Remember, you’re writing perhaps one to three books A YEAR. Readers can read one to three (or more) books A MONTH. Readers are absorbing the knowledge—the setting, the worlds, the rules, the tenets—at a much faster rate than you, writer, are.
Which is why I implore you to be well-read in the genres you want to combine into your top-notch, page-turning, can’t-put-down story.
(3) Lastly, recognize that when you write cross-genre, someone is always going to feel shorted and is going to write you a fan email telling you that your book hoovers. The fact that you are combing chocolate and peanut butter means the chocolate purists will rise up in arms, and the peanut butter aficionados will recoil in horror. It’s going to happen, likely from the troll brigade that infests Amazon, and it’s going to hurt (your muse). If the worst you get is: “Ditch the romance and you’ve got a great sci-fi story” or “Ditch the sci-fi and you’ve got a great romance story,” consider yourself lucky. At least one-half of the troll’s brain recognizes the effort you put into the craft of writing cross-genre in the same amount of literary real estate that a solo-genre writer works with.
It means, also, that you met (and possibly even exceeded) reader expectations for that half of the genre.
But if professional (and I would underscore that word) reviewers or crit partners (or acquisition editors) note thin, flimsy or inaccurate world building or shallow, cardboard characters, then you have a lot of work to do. A lot of reading to do. A lot of understanding how to cram double the reader expectations into half the literary real estate. How to make the chocolate as tasty as the peanut butter.
And yes, you should never read a Linnea Sinclair blog when hungry. I tend to use a lot of food analogies. Anyone want my husband’s recipe for chili?
BSP! Hope’s Folly hits the bookstores February 24, 2009. I’ll let the reviewers warble on my behalf:
“Hope’s Folly … is a rapid-fire romp through futuristic political intrigue and high-risk passion… The tug of war between decorum and passion keeps the romantic intrigue smoldering…. Sinclair builds on a secure reputation as a leading fashioner of science fiction romance. She straddles and blends these genres with a unique bravura and wit.” –Philip K. Jason, PhD, Naples (FL) Press Club
“Ms. Sinclair shares her phenomenal writing talent with a well-built sci-fi world, and characters who charm their way right into the reader’s heart. Hope, fear and longing play heavy roles in Hope’s Folly as a crew struggles to survive, and an uncertain attraction progresses into a romance that sizzles.” –Darque Reviews
“If you’re a fan of science fiction and romance, this book does both equally well and in spades…
This is classic Sinclair; evidence that the author knows no bounds and readily takes us readers on one imaginative and thrilling ride after another. Truly an excellent book. Five Scoops!” –Lurv A La Mode
Thanks for reading this! See ya’ at the bar. ~Linnea
21 Responses to “Guest blogger: Linnea Sinclair on Writing Cross Genre”
Thanks, Linnea, for the thoughts on writing cross-genre. I do feel like I cross that line at times. I do historical fiction, which can be as ambiguous as sci-fi at times. Your imagery of limited real estate definitely rings true.
Good luck with HOPE’S FOLLEY!
Thanks for a wonderful blog, Linnea. I write historical fiction with a mix of romance, but they aren’t historical romances. I love the real estate comment by Mary Jo Putney!
Ooh, my anti-spam word is JAZZ. I like that!
Okay, typing this on a tiny netbook while sitting out by the pool so apologies for any typos (no excuse for the ones in the blog other than fingers-farts…)
Definitely, historical authors face the same challenges that cross-genres do in allocating space to the setting or culture and space to the ’story.’ The advantage historical authors have–in some instances–is they can say “Paris, France, 1812″ and most readers have a reasonably correct image come to mind. Saying “Port Rumor, Gensiira System, 30561″ doesn’t evoke a similiarly common image.
With real-estate space constraints (and also time constraints–nothing can be more paralyzing than deadlines!), the space allocated for describing Paris, 1812 or Port Rumor, 30561, will fight with the space the author uses for characterization, dialogue, plot, and so forth. Good historical authors know how to use dialogue to enhance “setting” and IMHO and IMHE, cross-genre writers can learn much from reading them.
Further problems come (boy, I’m just Little Mary Sunshine this morning, ain’t I?) when copy editors aren’t familiar with one of the crossing-genres. When I plopped in the police elements in my SFRomance, THE DOWN HOME ZOMBIE BLUES, my CE changed all instances of characters sighting a rifle to “citing” (as in issuing a citation to) a rifle.
I went on a STET frenzy but the ARCs all went out with “cite” and not “sight.” Oy!
Hi Linnea, interesting blog. Games of Command was the first story of yours I read. When I was offered it for review, but did a little research first because the cover and title did not scream ROMANCE…and I only read Romance – need that HEA.
And as you know, the rest is history. GOC of course includes my All-Time Fave Hero, Kel-Paten. I simply adored Philip in Hope’s Folly, and can’t wait for more.
Many times I think it would have been easier to beat myself with a stick and just get it over with, than to mix up genres. But the stories that come to you are the stories that come to you.
I do think my reading life would have a big hole if you hadn’t mixed it up, Linnea. As a reader, it just brings a new level of fun to dive into a mixed genre book, especially one with high adventure AND romance.
I hope the publishing gods will continue to let you do what you do best. There a lot of books out there, but not that many of them leave me wishing for more after the end rolls around.
Linnea, thanks for a great blog! I think it was Allison Brennan who used the phrase “blended genres.” I like that, because the good ones blend them seamlessly.
Blended or cross-genre books are more common now, and that’s a good thing. It keeps things fresh and interesting, for the writer and the reader.
What a great article, Linnea!
And yes, I would like your husband’s recipe for chili.
Great article, I started reading cross-genre books because I like having a relationship to follow in a good story.
The first book I found of Linnea’s was “Accidental Goddess” when she was writing as Megan Sybil Baker. This had be scouring the internet looking for more of her work. I could never put the books down once I started.
I would love your husbands chili recipe also.
Linnea wrote:
Writing cross-genre means you need to address the plot and character arcs of two stories. You have to respond not only to the tenets of romance (ie: the HEA) but the tenets of mystery, science fiction, fantasy or political thriller.
———–
I’m about 7/8ths through HOPE’S FOLLY. She’s done exactly what she’s described doing here — dividing the real estate (against a nasty deadline) to present both types of genre reader with something to get their teeth into.
I hesitate to ask a centipede how it walks.
But there does exist a solution to this real estate dilemma.
Instead of dividing the real estate into apartments (or the hotel into two separate towers that just look out at each other over the roof swimming pool) — combine it all into a one-room-schoolhouse.
OK, thin analogy.
But the way I see to accomplish the genre-blend is at the level of the world building and the Art underlying the worldbuilding. After you’ve had the idea for the story is way too late to tackle the real estate problem.
Linnea’s world for this series is built, (and well built, too) so there’s nothing to do but suffer with the messy retrofitting of the apartments.
Having suffered, when she builds the next world from scratch, she may astonish us with her use of Artistic License to build a world where the two (or more) genres don’t fight for square footage.
It’s the difference between college dorm mates, and a married couple.
I think SFR is growing up.
Jacqueline Lichtenberg
http://www.simegen.com/jl/
Kathy and PB&J
thanks for stopping by and adding the nice comments!
Edie, BLENDED is superb! Yep, as much as possible it should feel seamless. Real life is blended–at any given moments, we have emotional, economic, spiritual, parental, cultural issues going on in our heads. Maybe that’s why the complexity of cross genre, when well done, is so satisfying.
Carolyn, my husband’s faboo chili recipe is whatever yours is…but add ground cloves. Cloves are the spice that many chili-makers ignore. They think adding more cayenne or such makes it better. It doesn’t. Add whatever you usually do for spice then mix in ground cloves (to taste). You’ll be surprised at how awesome the chili is! (and my husband is an amateur chef, yes, when he’s not chasing the little white ball around the course…)
And my antispam word is GRAPE! LOLOL–I likes ‘em fermented.
Linnea, fabulous blog and great having you at Magical today! I love the chocolate and peanut butter analogy btw. Can you tell where my thoughts are drifting? Thanks for the chilli secret too. I thought I made a mean batch, but haven’t used the cloves yet. Guess what I’m having for supper tonight?
And I love combined genre books! You go! Also, thanks for the chuckles too. You’ve got a great sense of humor there.
Great article!
I’ve always enjoyed books that blend different genres. After romance, I love a good mystery with my SF (if all three are in a story, I swoon).
I really admire fellow readers like Kathy who are willing to do that research and/or adjust expectations for cross genre books. They can be new territory for us and it does involve some cognitive restructuring, in other words a different way of evaluating a story’s structure.
I think a whole legion of adventurous readers did that for paranormal romance and romantic suspense. So in addition to SF readers and romance readers, there’s a contingent of cross genre readers whose expectations closely match such books. Win win all around, imho.
I don’t drink, should I give up trying to write SFR?
In the past week or so on several different discussions of SFR I’ve heard that being well read in both genres is the key to writing blended or cross-genre fiction. I’d add to that loving both genres is important too. It seems to me you can be well read, and know the tropes, but just not burn for a genre. I think that shows sometimes in books that have all the right nuts and bolts, but no real spark.
Love the Chocolate in my Peanut butter comparison.
Try putting some unsweetened coco powder in your chili with the coves. It’s the secret behind Cincy style Chili, which is either an addition harder to kick than cocaine, or the most repulsive thing ever served over spaghetti noodles depending on your point of view.
Well, I’m a grape again. I think it’s figured me out. Although lime would be spot-on…
Jacqueline, I think you’re spot-on again with this:
**It’s the difference between college dorm mates, and a married couple. **
I know I said it’s fodder for another blog, but one of the big issues with doing cross-genre is avoiding info dumps…
“Well here we are, Captain Grxffiltre, at the third planet from the wormhole which you know was colonized by the T’reip’ors three hundred years ago after the Borotootoos attacked the space station at the Drifts and life as we knew it here in the Weekywoo Empire was changed…”
Jacqueline has some awesome blogs on info dumps (how not to) on our Alien Romance blog:
http://aliendjinnromances.blogspot.com/2008/09/sexy-information-feed.html
http://aliendjinnromances.blogspot.com/2008/08/source-of-expository-lump.html
But her marriage and roommate analogy say a lot. See, info dumps are like roommates. There’s a lot of redundancy (backstory), a lot of explanations about what roommate 1 likes or doesn’t and what roommate 2 will tolerate or not (info dumps) and in general it takes a long time for cohesion.
A marriage is different. There are short cuts, hand signals, shared preferences, one tube of toothpaste (no redundancies)…there’s an understanding we’re in this together with the same goals (I’m talking a good marriage here…). A cross-genre novel needs to work like a good marriage.
Cocoa powder in chili, MFitz? Now, that’s unique! Wait until I tell the huz!
**It seems to me you can be well read, and know the tropes, but just not burn for a genre**
Then you shouldn’t write in it. Writing a good novel is only slightly less difficult than having your eyeballs pulled out through your ears. You really really gotta love it to put up with what it takes to get published and continue to STAY published.
~Linnea
Great post! As soon as I saw the title “WRITING CROSS GENRE, Or: You’ve Got Chocolate in My Peanut Butter”–I was hooked.
Great blog, Linnea. I’m off to find some Reese cups and a cup of coffee.
I’m still GRAPE! Ah, I guess that means I must pour myself a glass of wine…
Thank you for checking in and reading the blog, Cyn and Karin. ::Linnea holds out tray of chocolate peanut butter cups AND chocolate martinis…with one virgin martini for Mfitz…::
Cool. My spam word is “comet”. How appropriate.
Hi Linnea. Sorry I’m a bit late in chiming in. Was gone most of yesterday and evening. Thanx for joining us here at MM and terrific subject matter. I write sfromance as well and can relate with the whole blending efforts.
You had some great words of wisdom and I’ll have to print out this blog to keep many of them fresh in my mind.
Incidently, I still wear all that silver jewelry you helped talk me into last RT conference.
Love that stuff.
Umm, jools! Don’t get me drooling, Liz. Thanks for stopping by and, sigh, I’m still a grape.
Michelle, you made a great choice having Linnea here. Of course I’m late getting here, as usual.
Can’t wait to have you with The Pink Fuzzy Slipper Writers Tuesday!
I’m sure Edie will be there.
[...]Over at Magical Musings, Linnea Sinclair muses about Writing Cross Genre[...]