Upmarket? Women's? Southern?Fixin' the Fictions

Confused about which genre you'd like to read? You're not alone. Let's define some of the most popular genres in fiction today.

Fiction is woven with various genres, each offering unique storytelling experiences. From timeless classics to contemporary works, there are several distinct categories that capture the hearts and minds of readers. In this blog post, we will explore the differences between upmarket, southern, women's, mass-market, and classic fiction. By delving into the defining characteristics of each genre, we can better appreciate the diverse landscape of fiction and discover new literary delights.

1. Upmarket Fiction: Upmarket fiction occupies the intersection between literary and commercial fiction. It combines the engaging storytelling of popular genres with the thought-provoking depth found in literary works. Upmarket fiction often explores complex themes, delves into intricate character development, and provides a compelling narrative that resonates with a broad readership. These novels bridge the gap between commercial success and critical acclaim, appealing to readers seeking entertainment and intellectual stimulation.

2. Southern Fiction: Southern fiction captures the essence of the American South, painting vivid portraits of its unique culture, history, and landscapes. These stories often showcase rich characterizations, evocative settings, and the intricacies of southern society. Southern fiction offers readers a glimpse into the soul of the South and the human experiences that shape its inhabitants.

3. Women's Fiction: Women's fiction encompasses many stories about women's experiences, challenges, and relationships. It delves into the multifaceted lives of women, exploring themes of love, friendship, family, self-discovery, and empowerment. Women's fiction often focuses on the emotional journeys of its female protagonists and offers readers an intimate exploration of relatable struggles and triumphs. These novels celebrate the strength, resilience, and diversity of women's voices, resonating with readers of all genders.

4. Mass Market Fiction: Mass market fiction refers to books designed for a wide readership and typically published in a more accessible and affordable format. These novels often encompass various genres such as romance, mystery, science fiction, and fantasy. Mass market fiction prioritizes fast-paced plots, engaging storytelling, and broad appeal. These books are popular choices for readers seeking entertainment, escapism, and immersive narratives that can be enjoyed across diverse audiences.

5. Classic Fiction: Classic fiction represents timeless literary works that continue to captivate readers across generations. These novels hold significant cultural, historical, or artistic value and often explore profound themes, offer social commentary, or showcase groundbreaking writing styles. Classic fiction encompasses a wide range of genres, from ancient Greek literature's philosophical musings to Victorian novels' character studies. These enduring works serve as a testament to the power of storytelling and remain essential reads for literary enthusiasts.

Exploring the differences between upmarket fiction, southern fiction, women's fiction, mass market fiction, and classic fiction reveals the incredible diversity within the world of literature. Each genre offers its own distinct flavors, themes, and storytelling approaches, catering to readers with varied preferences and interests. By embracing the richness of these genres, we can embark on a literary journey that expands our horizons, introduces us to new perspectives, and deepens our appreciation for the art of storytelling. So, whether you find solace in the classics, seek relatable women's narratives, or crave the excitement of mass-market fiction, a captivating world of fiction awaits your exploration.

If you enjoy fast-paced plots and character-driven narratives, keep an eye on this page for the release date of Whims of God. Coming this summer!

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Ol' Miss Maggie Had a Job, AI-AI, Uh-Oh!

'How I Learned to Stop Worrying and Use the AI Bomb'

Realizing AI is the filthiest word in the indie author lexicon now, I’ll tread lightly, so… hear me out.

First, know this. I’m no fan of AI in the general sense. I think it’s a creativity killer and will continue to be. How could it not? AI is doing what AI does, evolving. It was that evolution that eventually elbowed me out of a job. I’m not angry, and I’m not bitter—much—but it is a fact that those advances are often cheaper and more convenient than their human counterparts.

I’m not saying they’re better, just more efficient.

Again, hear me out.

Although the AI monster was hovering close, a phone call made me say when. A potential client needed their website SEOd. While I went to the kitchen for my usual two o’clock Folger’s infusion, this young man explained all his needs. They were simple. Small website, local market, standard copy with hypers attached. And then, as I watched the coffee filling my mug, the young man sighed and said, “But my marketing budget is thin.”

And that... right there... was the moment I became obsolete. There were other factors. My grandson needed us, and my husband was recovering from cancer, but that phrase brought it all to a head. Staring at a sink full of neglected dishes, I realized my job had to die. This young man with a family to feed and a business to start had little money to throw at an SEO content writer. His copy was simple, but he’d need more work as the months advanced, and I knew it would be cheaper if he did it himself. The skill held a learning curve, but it was small, and since the Content Management Systems I used had SEO (AI) programs integrated into their formats, that learning curve became a meandering trail I knew a novice could walk.

After leaving my mug near the greasy lasagna pan on the stove, I slumped at my kitchen table and began digging my SEO grave. “There may be something cheaper,” I said. “Let me give you some links.”

I could have drowned the truth in another sip of Folgers, but I didn’t. I couldn’t. My conscience wouldn’t let me because, unlike AI, I could feel. I felt that young man’s pressure. I heard the yammer of a toddler in the background and a wife giggling after, and I couldn’t throttle the truth. Deep down, I knew it was time. Given the speed of technology’s winged feet, I knew my other clients would also discover my uselessness, and I’d have to confess to them all. Because the bottom line is this: Those programs sometimes were (and are) more convenient, and let’s face it… cheaper.

And when money is tight, efficiency matters.

Period.

Like that young man years ago, Indie authors and writers are small businesses too. We have budgeting needs, and we must use the tools afforded to us in the most cost-effective way possible. AI can benefit indie authors as we navigate the confusing universe of editing, proofing, marketing, and writing software options. AI can be, dare I say it? Useful. It provides a self-service route for indie authors with anemic marketing budgets. I’ve used AI myself. And yes, I’ll keep using it.

Will I type hopeful words into ChatGPT and reach for my Krispy Kreme while AI rattles out the next GAN? No. I’d never do that as creation is a process, not a trip down technological lanes with “Roomba-Writer” dusting our plots. However, I will use it more practically and never criticize others who do the same. Indies are financially stricken, and any cheaper alternative becomes a beacon of hope when a carton of eggs costs eight bucks, and a decent editor costs hundreds or thousands.

And make no mistake. AI isn’t new. ChatGPT is only its most controversial.

LaMDA (Language Models for Application) programs have been lurking in technology-based communication for years. I know this because… treads lightly… I worked with them.

After divulging my secrets that day on the phone, I dusted my ego and searched for alternative work. I found it in a company contracted by history’s most trampled search engine. Since that job came with an NDA attached, we’ll call that search engine… “Schmewgle.”

Yes. I helped teach “Schmewgle’s” pet lapdog to bark human speech... and it did.

But I wasn’t alone in teaching that dog a new trick, nor was “Schmewgle.” There’s more than one AI pet in the contentious AI pen, and many are now self-learning. Every word entered into an AI program translates to data the program uses to learn. Predictive speech/text, correction, translation, summation, and various other AI communication modules are commonplace now. I’m often surprised when I hear indie authors swear they’d never employ them... because they have.

If you’ve used Grammarly, you’ve used AI; if you’ve used Word, you’ve used AI. And while assimilation may be futile, I’m not saying to stand nobly while the AI bull runs you down.

I am saying to grab the AI bull by its horns.

Tame it.

Ride it.

Use it.

AI is a tool like a wrench or a potato masher. The problems arise when indie authors assume it is the yellow brick road to a bestseller list. It’s not, and only a fool would think it could be. While accessible and cheap (for now), indie authors utilizing any AI program should tread lightly when assuming it can completely replace the knowledge and expertise of a seasoned human editor or proofreader. It can’t.

Editing goes beyond word placement and evaluating patterns of dialogue. Editors consider the writer’s voice, the content, and the breathtaking flow of human emotion. AI is cold. It calculates data and responds, but as poet Joyce Kilmer beautifully noted in his poem, Trees, ‘Only God can make a tree.’

And only human writers can make readers feel.

Perhaps one day, AI will write a novel as expressive as Conroy's or as thought-provoking as Faulkner's or Woolf's. Still, it's a tool for now—a convenient pet with bare-bone knowledge of human frailty related to misplaced commas and passive verbs.

As an indie author and as a courtesy to my hardworking editors, I’ll use AI as the tool it is meant to be… a writerly Roomba cleaning the copy before sending it for professional—human—appraisal. Running copy through Grammarly or PWA is an efficient alternative to nit-picking commas with my aging eyes and coffee-addled brain. No editor wants to see my insomnia-inspired, unwashed word salad. For that, AI is beneficial and a means to an end. But that’s all.

AI is a gadget.

A gimmick.

A writerly tool.

Twist it, turn it, tighten its teeth, but never forget it’s a wrench.

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Resources for Writers

In my decades-long writing journey, I’ve learned resources for authors are plentiful but not always good. Nor are they always legitimate. The better authorities include established authors, trusted agencies, and credible social media pages and websites dedicated to helping authors deliver a genuinely decent product.

Five of the best I’ve vetted and used are:

Writer’s Digest:

An industry perennial since 1920, WD ranks high among the gold standards of writing and publishing resources. From contests and conferences to featured articles written by trade professionals, WD offers readers and users online and tangible publications. For access to information about all aspects of publishing, look here for access to WD.

Editor Michael Garrett:

Mike was my first editor. Full disclosure: He once told me I was incredibly talented, so I’m biased. There. I’ve said it. However, biases aside, Mike brings a wealth of knowledge and expertise to the writing table. Carrying the persona of the traditional old-school editor, Mike offers burgeoning authors a direct, concise, and unflinching red pen critique of raw manuscripts. Aside from slaughtering darlings, Mike’s guidance in the business side of things is a bonus. Having worked with authors like Stephen King, Joyce Carol Oates, and Harlan Ellison, Mike also served as Editorial Associate at Writer’s Digest and is listed in respected publishing resources such as The Literary Marketplace and Publisher’s Marketplace. As an author himself, Mike’s insights into the intricacies—good and bad—of the writing process are unparalleled in my admittedly biased—yet still accurate—opinion. To learn more about Michael Garrett’s editing services, visit his website here: www.manuscriptcritique.com

Editor Karen Sanders:

Karen is my current editor and, like Mike, offers guidance not only in the written word but in the industry and all it entails. As a prolific writer, Karen provides helpful critiques and adds lessons to her editing repertoire to help clients succeed better. Providing authors a haven within her “Write here, Write Now Community,” Karen and her partners develop master classes like “Boss Your Blurb,” an essential tool in learning the sometimes-confusing formula needed when writing the all-important--and ever-annoying--backmatter blurb. Given via teachable, Karen’s Boss Your Blurb lesson comes with printable sheets, making formulating your blurb easy and concise. With more courses on the horizon and a wealth of knowledge from many internationally successful authors, Karen Sanders is another trusted resource for those dipping their toes into the publishing pool. Learn More about Karen here: www.karensandersediting.com

Social Media:

Social media boards are iffy places for writers. Many begin with noble efforts and then morph into swamps of like-farming spam, freelancers hocking their wares, or other authors posting their links. While I don’t mind such endeavors (except for the like-farming, of course—they’re out to steal information), when on a page meant for sharing ideas about the often-grueling act of writing, having a freelancer or author slam their link into your “bitch and moan” thread about finding your muse, is annoying. I’ve probably joined, inspected, and DITCHED hundreds over the years—maybe thousands—and only a few truly stand out as supportive and consistently professional.

The ‘Fiction Writing’ board hosted by Brian Paone on Facebook.

As an author and editor, Brian knows writers’ struggles in an industry meant to be cutthroat. With the board’s ‘WIP it out Wednesdays,’ ‘Fiction Fridays,’ and “Marketing Mondays,” Brian Paone’s Fiction Writing board provides insights, support, and cautionary tales presented firsthand by nearly 150 thousand other Fiction Writing members. Brian and his moderators quickly dispense scams and spam and give warnings to interlopers out to thwart an otherwise active, professional, and consistently informative board. To join Brian Paone’s Fiction Writing board on Facebook, click here: https://www.facebook.com/groups/FictionWritingOriginal/

Writer’s Haven, hosted by Author Tyler Moore on Facebook and Instagram.

Relatively young for a Facebook board, Writer’s Haven’s 1500-member community offers a soft place to fall for writers of all genres, ages, and experiences. With a good smattering of entertaining memes and advice from novice writers and seasoned pros, Writer’s Haven is an excellent source for newbie authors reaching out from their introverted hostels for connection and guidance. Join Writer’s Haven here: https://www.facebook.com/groups/755565311837722/

While these pages, sites, and professionals are far from the only reliable sources on the internet, they are a few of the best I've seen and used myself.

Have you used trusted resources for writers? What have they done to help you? What do they offer writers and authors just starting out?

Let me know and I'd love to share your success stories and their websites or links!

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