Genre: Fantasy and Speculative

By Iola Goulton

Many bookshops have a section called ‘Sci-fi/Fantasy’ or similar, which annoys writers because they see the genres as being quite separate—and they are. What these novels do have in common is the requirement for world-building: the ability of the author to create a credible imaginary world in which the story takes place. This includes developing the physical characteristics of the world (e.g. geography and ecology) as well as the history, culture and religion of the different people groups in the story.

The world might be a long time ago on a faraway planet (Star Wars), it might be a futuristic version of Earth (Star Trek), it might be post-apocalyptic Earth (The Hunger Games) or it might be contemporary Earth but featuring a sub-culture hidden from the rest of us (Harry Potter or Twilight). Each of these require a different type and level of worldbuilding.

This genre isn’t heavily represented in Christian fiction, although publishers like Enclave Publishing and Splashdown Books specialise in what is generally referred to as speculative or visionary fiction. Mainstream publishers such as Thomas Nelson and Wombat Books are producing some titles in this area, suggesting it is a growing market.

Science Fiction

Usually set either on another planet or system (Star Wars), or featuring star-travelling humans in the distant future (Star Trek). Science fiction novels usually feature an adventure plot rather than a romance plot, although there are some exceptions. There is usually a heavy reliance on technology, but the key to a successful sci-fi novel is the same as for any other novel: plot, character and conflict.

There’s not a lot of Sci-fi the Christian market—Kathy Tyers is the only author I know who specialises in this genre, although Christian authors such as CS Lewis and Lynne Stringer write general market sci-fi from a Christian world view.

Fantasy

Fantasy usually has an Earth-like setting. Where a science fiction novel depends on science and technology, a fantasy world often incorporates magical elements (e.g. Lord of the Rings), or mythical creatures (e.g. dwarves, elves and dragons). Technological advancement is often similar to medieval Europe. There are a lot of authors writing Christian fantasy, many of which feature an allegorical romance representing Christ’s love for the church.

Paranormal

Stories featuring vampires, werewolves and other shapeshifters, mermaids, zombies, witches, wizards, or humans with psychic abilities. Paranormal novels tend to be contemporary, and paranormal romance is especially popular. The author needs to define the ‘rules’ of their paranormal society and ensure that characters obey these rules (or face the consequences). There’s probably a little less world-building in a paranormal novel than other genres discussed here, because there are a number of long-standing genre conventions (Stephenie Meyer faced a lot of criticism for not abiding by those conventions with her sparkly vampires).

Paranormal romance (PNR) has been rising in popularity in the general market over the last decade, but predominantly in the general market. It doesn’t usually fit with a Christian worldview. The only examples of PNR I’ve seen in the Christian market are novels like The Widow of Saunders Creek by Tracey Bateman (traditionally-published speculative fiction with a romantic element), Barbara Ellen Brink’s self-published Amish Vampire series (which I haven’t read, so can’t really comment on their Christian element) and the new Amish Vampires in Space from Marcher Lord Press (I admit. I'm tempted to buy this to see how it works).

Dystopian

Stories set on some alternate version of a future Earth. Classic examples include The War of the Worlds, The Day of the Triffids, the Tripods trilogy by John Christopher, and The Running Man by Richard Bachmann (better known as Stephen King). They tend to have an adventure plot, often centred on a chase or survival, and are particularly popular in Young Adult fiction (e.g. The Hunger Games trilogy by Suzanne Collins). Christian authors writing for this market include Jerel Law (Son of Angels) and Krista McGee (Anomaly).

 

Time Travel

Features the hero, heroine or both travelling back or forward in time, having to adjust to a new way of living. Time travel romance was popularised in the general market by novels such as Diana Gabaldon’s Outlander series, and Christian authors to have used this plot device include Tamara Leigh and Meredith Resce.


Do you write fiction that requires some level of worldbuilding? How do you describe what you write? What do you feel are the essential ingredients in a novel of this type?


I am a freelance editor specialising in Christian fiction, and you can find out more about my services at my website, or follow me on Facebook, Twitter or Pinterest. I love reading, and read and review around 150 Christian books each year on my blog.

Australasian Christian Literature - An Industry Perspective.

With the launch of this new blog connecting Australasian writers, I thought it was timely to take a look at the dynamics of our industry. As a writer, knowing and understanding your industry is vital. The cogs and wheels of our literary world will influence a writer’s work, contributing to its position in the marketplace, and formulating a reader base. If we do not have an understanding of the industry, we are flying blind.

I have asked three questions to three industry insiders; Rochelle Manners - Director of Australia’s leading Christian Publishing house, Wombat Books; Anne Hamilton – Spokesperson for Omega Writers; and Jenny Blake – Otherwise known as ‘Ausjenny’, one of Australia’s leading literary bloggers.

I hope you find their answers as insightful and informative as I have.

1.      In your opinion, what sets Australasian Christian Literature apart from the rest of the world?

Anne Hamilton: This is a sweeping generalisation with all the flaws inherent in broad statements but I think there is a distinctive edgy aspect to Aussie and Kiwi romance, compared to that coming out of the States. On the other hand, we tend to be less experimental than the UK. To a large degree, the reverse is true in areas like speculative fiction. It's more conservative here - we don't have writers pushing the boundaries and coming out with horror. Even our fantasy stories tend to be a lot less dark than either the US or UK. We tend to ignore genre categories to a large degree and this can have an impact on overseas sales.

Jenny Blake: As a reader I would say the setting, language, and our unique style. We have sayings unique to us, as well as a different history and background.  As in life, our writing has a different flavour. You can see that we don't take ourselves seriously, and you can see it in characters. You can see the ‘Larrikin’ in some of the characters.

 Rochelle Manners: This is a hard question to answer. What sets it apart? There are so many things that could be suggested to be different. We have different styles, we have new authors, and we have different life experiences and perspectives. Australian Christian material doesn’t always follow all the “rules” that are often in place, especially for Christian fiction. Our books have a lot of potential locally when they relate to the Australian situation and experience. They might even be good to explore on the international front because they do relate and show the Aussie experience. What I hope can set us apart is actually the community. We can, in Australia, grow a community of Australian experience through literature that can touch lives.

2.      What do you see as the biggest hurdles our industry needs to jump in order to excel on the world stage?

Anne Hamilton: In no particular order: the tendency to ignore genre, the tendency to assume writing hasn't changed in the last fifty years, the tendency to stay with well-trodden plots and not take risks, the tendency to romanticise Christian characters as one-dimensional 'goodies', the tendency towards the formulaic especially in terms of the Christian conversion scene and over-explaining. That said, market forces tend to want the last one because that's what allegedly makes it 'evangelistic'.

Jenny Blake: From a readers point of view there are so many good books available now. In fact, I would say a glut of good books. Australian writers have to compete with all these books. It's not that readers do not want to read Australian books, as I know many are excited to read books set here, but they have to be well edited and to the standard readers are use to. Also one thing that annoys readers is not knowing what genre the book is, or reading a mislabelled book. We need to define what the book is. Cost is another issue, but now that books are available on ereader that will help. 

Rochelle Manners: Hurdles – how do we compete! We are in a small country down under and our bookstores and media in the Christian industry mostly notice what is coming from America and the “famous” well known authors, not the new ones from our own local country. There are images and reputations that need to be developed so that we, (Australian industry professionals in publishing and writing), can be seen as strong, reputable and profitable. We need to change perspective, and also simply have people know who we are - new authors and new publishers facing a big world. I think the trick is to increase networks and continue to increase profile and quality.

3. Where would you like to see Australasian Christian Literature heading in the next few years?

Anne Hamilton: YA literature today is very complex in terms of plot and character motivation. As that age group matures, I can't see the taste for multi-level plots and double or triple think changing. I think that particular audience will want the same within Christian literature. So I'd like to see us rethinking the very nature of our storylines and introducing surprises that are well foreshadowed even now. I suspect our reliance on the American model is holding us back.

Jenny Blake: As a reader this is hard to say. I would like to see more Australian books out there both set in Australia, as well as books by Australian authors set in other places. I would like to see the books on a par with the American books, and featuring our uniqueness. I would love to see more historical Australian books about our history. This also applies to New Zealand.

Rochelle Manners: We have big plans. I would like to see Australian Christian Literature first of all really touch lives and be noticed here in Australia. I would like to see us increase the digital world with Christian material that is high quality, and I would like to see us start to get noticed more on an international stage.

Note: Wombat Books have had some recent international successes including:

Puggle’s Problem (children’s literature title) translated into Korean.

Coming Home (children’s literature title) translated into German.

A Simple Mistake, Best Forgotten, and Fine Lines (fiction titles) translated into Korean.

EBP also attended the Korean Christian Rights Fair in August 2013.

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