Exploring Genres - Collaborative Writing

by Jeanette O'Hagan

We often imagine writing as a solitary pursuit - the writer huddles alone in his or her attic, putting words on paper (or computer file) with a big do-not-disturb sign on the door.

In fact, while there are long stretches when writing requires peace or at least lack of interruptions, producing a book most often calls for a team of people from critique partners, beta-readers, editors, proof-readers, graphic artists, formatters, publishers, booksellers, and publicists.

But there is another way, that writers can collaborate and that is in the actual writing itself in collaborative works. There are in fact quite a range of opportunities.

Types of Collaborative Writing

Ghost Writing

In ghost writing, an experienced and capable writer is employed or invited to write a story on behalf of someone else, often a celebrity or someone with a unique and fascinating story or both. This is most often done with memoirs, but can happen with fiction. In many cases the ghost writer is paid and his or her name does not appear on the cover or may appear but in a secondary fashion (eg Deva Star with Jane Smith).

Jeanette Grant-Thomson has done some ghost-writing, in addition to her own fiction and non-fiction.  For instance, Healing Song was co-written in connection with Merrilyn Billing and tells Merrilyn's story.

Illustrators

In picture books particularly, the illustrator contributes as much to the story as the writer. There are many wonderful examples of this synergy between image and word such as Wombat Books' Same by Katrina Roe and Jemima Trappel, Can God See Me by Penny Reeve and Shannon Melville, Do You Remember? co-written by Kelly O'Gara and Anna McNeil, and illustrated by Kelly O'Gara.

Though I do confess a particular affection for Colourful Memories, written by Catherine Bauer and illustrated by my daughter, Kathleen O'Hagan.

Partnerships

In some cases, a more established well known writer might partner with a newer writer with fresh ideas.

In other cases, two or more writers may combine together to write the one book or series of books.  In fiction, each writer may be the primary writer for one of the main characters.  Of course, the writers need to agree on a range of things like settings, the plot, the subject, the themes, characters etc and may need to write the other writer/s character in their own character's scenes.

Meredith Resce, Rose Dee, Paula Vince and Amanda Deed worked together to write The Greenfield Legacy together, each one writing one of the characters to produce a great story about the legacy of past decisions.

Anthologies

In anthologies, authors can contribute short stories and/or poems that may centre of a theme or subject matter, or genre, or setting.

Glimpses of Light (published in 2015, the International Year of Light and edited by myself and Nola Passmore), includes a range of short stories, non-fiction pieces, flash fiction and poems on the theme of light. Contributions were from both new and more established writers, including Jo-Anne Berthelsen, Jo Wanmer, Adele Jones, Lynne Stringer, Nola Passmore, Adam Collings, Paula Vince, Anusha Atukorala, Ellen Carr, Jeanette Grant-Thomson and others.

The science fiction and fantasy anthology, Medieval Mars, has stories set in a futuristic Mars conceived by Travis Perry, that is a Mars that has been terraformed, settled and then regressed to a medieval level of technology. Each story is set in different spots in the world and written by different authors, including Adam Colling's Lynessa's Curse. The stories were published both as the collection Medieval Mars and individually as short stories by the authors.

Book Bundles

In book bundles, multiple authors contribute their books (either full length novels or novellas) usually of similar genre, theme, or setting.

Narelle mentioned some romance book bundles in the November genre post.

I've participated in two - On the Horizon - which involved 22 authors writing sci-fi & fantasy set in low technology worlds. Akrad's Children was included in this and the aim was for volume of sales over a short period. Over 900 copies were sold over the three month period the bundle was available.  The boxed set continued in an altered form in Limited Horizon - with 12 Fantasy and Science Fiction Novels, Novellas, and Short Stories from 12 authors, including my Heart of the Mountain. Many of the authors in this series are secular, but write in the same or similar genres to me.

Book Series

This year, I was part of a group planning on writing a series of full length novels set in the same world. Initially we had maybe 10-12 people involved. Three or four of the authors got together and formed a premise, setting and timeline of the world. I wasn't initially that keen on some of the elements, but after much thought, come up with a premise for a storyline that fitted into the world & which I liked.

We set up a calendar of publication for 2019 on a monthly basis (I had May), with the idea that each author would bring out a novel set in the world (and consistent with each other's works). We started with a lot of enthusiasm and I was quite excited about the idea though I had other writing projects to finish before I could get started.

Then over time, one by one, people began dropping out for various reasons. Much to my disappointment, the main organisers decided to pull the plug on the project. I have still got my plot synopsis, which maybe one day I will write.

I think multi-author book series a great concept and would love have another attempt at something like this (novel or novella) again, hopefully with better success.

It has been done. Again, Narelle mentioned the Tuscan Legacy book series, romance novels with a common setting and plot thread.  There's also the Jane Austen project - in which various well established authors were invited to write modern adaptations of the different Jane Austen novels in a contemporary setting.

Pros and Cons

Advantages

Writing in partnership with other writers may spark imagination and creative energy. It may draw on the strengths of each writer and add depth to characterisation or setting. Plus it builds in feedback and editing on each other's writing.

Sometimes the more established writer/s brings visibility and connection with a larger fan base while the newer, up and coming author can bring new ideas and inspiration and a freshness to the stories or a particular insight (if, say from a particular demographic or culture).

In much collaborative writing, authors can be introduced to the fans of the other authors. While readers, attracted by an author they know and love, may discover new authors with similar writing styles, themes or genres.

Different forms of collaborative writing often enables authors to pool or share marketing efforts, thus allowing a bigger splash or more impact per buck.

Disadvantages

With partnerships, the partners may have different understandings of what needs to happen or want the story to go in different directions. So there is a potential for disagreement which may derail the project.

Logistics may be a problem; for instance, finding the time to plan, to share segments for feedback or  different writers may write at different paces etc. Finances, copyright, royalties, costs must all be worked through and agreed upon and then held to.

The bigger the group, perhaps the more likelihood that either the project may take a long time or fall apart altogether.



There are pitfalls to consider in collaborative writing, but such projects can be both fun and worthwhile.

Have you ever been involved in such a project or considered doing so? What advantages and disadvantages did you find? Would you do it again?




*****

Jeanette started spinning tales in the world of Nardva at the age of eight or nine. She enjoys writing secondary world fiction, poetry, blogging and editing.

Her Nardvan stories span continents, time and cultures. They involve a mixture of courtly intrigue, adventure, romance and/or shapeshifters and magic users.

She has published numerous short stories, poems, two novellas and her debut novel, Akrad's Children and Ruhanna's Flight and other stories.

Her latest release, Stone of the Sea (the third novella) is now available. .


Subscribe (here) to Jeanette's monthly email newsletter for the latest on cover reveals, new releases, giveways, and receive the short story Ruhanna's Flight for free.

You can also find her on:

Facebook |Jeanette O'Hagan Writes | Twitter | Instagram | Pinterest

Collaborative writing, ACW-CWD Crosspost, exploring genre, Jeanette O'Hagan, Book Bundles, collaborative book series, ghost writing, co-writing,

Exploring Genre: Steam Punk and Gaslight

by Alison Stegert

Historical Fantasy Sub-Genres: Gaslamp and Steampunk

Gaslamp (Gaslight) fantasy and steampunk are atmospheric sub-genres of fantasy that exploit historical features and foibles of the 19^th century, particularly in Britain and its colonies.

A Bit of Background…

The European Enlightenment of the 17^th and 18^th centuries exalted Reason above all else, a focus that both ignited scientific enquiry and spawned revolutions. At the same time, the Enlightenment calcified the imagination. Two centuries of constrictive rationality created a hankering for escape and a hunger for whimsy. In other words, at the turn of the 19th century, the world was ripe for fantasy.

The Nineteenth Century

Welcome to the Romantic Era, the age of sturm und drang—intense emotion, when fairies flitted in gardens and mad scientists cooked up monsters during electrical storms. This shift of focus to emotions and intuition, myth and magic provided fodder for creatives of all types, not least writers.

The 19^th century in England was a time of incredible social change. Starting in Great Britain, the Industrial Revolution (1780 – 1840) heralded a new urban lifestyle, featuring a working class, advances in trade and business, and the mechanical manufacturing. The power of steam was harnessed for transport, textiles, iron production.

The Royal Circus

A series of formidable monarchs ruled during the 19^th century. George III’s chronic illness and mental health issues came to a head when his youngest daughter Amelia died in 1811. His intense grieve left him unfit to rule, so his son, the Prince of Wales, ruled as regent from 1811 - 1820 (aka, The Regency Period).

The Prince Regent made a right royal mess of things, running up debts, flagrantly spending, and generally behaving immorally. Upon his father’s death in 1820, he was crowned King George IV, dying ten years later after a prolonged illness.

His brother William IV took over, ruling for seven years, during which he did not produce a legitimate heir. His niece Alexandrina was next in line, ruling as Queen Victoria from 1837 to 1901. The British Empire grew during her long reign, and she, dour and indomitable, left an indelible mark on history.

Her son succeeded her, reigning from 1901 to 1910 as King Edward VII.

Historical Fantasy Genres

Both gaslamp/gaslight and steampunk occupy the above piece of historical real estate, Regency to Edwardian eras, but they use the space differently.

Gaslamp (or Gaslight)

Gaslamp fantasy is historical fantasy with magical possibilities. The setting is usually Regency, Victorian or Edwardian, and usually it’s placed in Britain or its (former) colonies. The name refers to the ambiance created by the gas lamps that lit the streets of the time. The nomenclature derives from the comic series Girl Genius by Kaja Foglio.

Gaslamp Hallmarks

The tropes of gaslamp differ from those of straight fantasy (e.g., Tolkien) or straight Faerie (e.g., MacDonald). Victorian times saw a spike in curiosity about the spiritual world with many people dabbling in seances and other occultic practices. These themes sometimes make their way into gaslamp fantasy. Similarly, there was a resurgence of interest in fairies and other fey creatures and folklore.

Gaslamp explores fantastical possibilities and supernatural elements, time-slip, alternative histories and parallel worlds. Its tone can range from broodingly gothic to ‘swashbucklingly’ adventurous. A librarian from the New York Public Library described gaslamp fantasy as: “Jane Austen or Charles Dickens meets Harry Potter.” It can include mystery, boarding schools, pirates, monsters, spies, and manners.

Classic Gaslamp Examples

The gaslamp classification didn’t exist at the time these works were published, but they fit. Consider:

Peter Pan and Wendy by JM Barrie – Victorian, magic, parallel worlds, magic, mythical and fey characters

Alice in Wonderland by Lewis Carroll – Victorian, magic, portal, time-slip

A Christmas Carol by Charles Dickens – Victorian, time-slip, ghosts, eerie ambiance

Dracula by Bram Stoker Victorian, mythical character, magic, eerie ambiance

Contemporary Gaslamp Examples

Jonathan Strange & Mr Norrell by Susanna Clark

The Prestige by Christopher Priest

The Golem and the Jinni by Helene Wecker

A Great and Terrible Beauty by Libba Bray

The Dark Days Club by Alison Goodman (Australian author)

Steampunk

While gaslamp plays up magical possibilities, steampunk emphasises the technological possibilities afforded by 19^th-century advances in steam power. Some argue that this focus on technology pushes it more toward science-fiction than fantasy. Often the technologies are anachronistic, for example, steam-powered robots or androids; or they can be ‘retrofuturistic’, for example, a reimagining of a blimp as a family vehicle or a war machine.

The punk aspect of steampunk refers to the tone of the genre, which can be irreverent, brash and disaffected. There’s a vague or overt sense of dissatisfaction with the state of affairs, often an anachronistic callousness, and sometimes a lack of optimism about the future.

Steampunk is not only a literary genre, it’s also an aesthetic. Costumes and settings are Victorian but amped up, for example, women wearing corsets as daywear or men donning thick goggles as eyewear. Clockwork and steam engines of all sizes and descriptions abound.

Variations on a Theme

Some steampunk incorporates supernatural elements such as vampires, werewolves, and witches. Although usually set in Victorian times and generally in Britain (or its colonies), a strong off-shoot of steampunk is ‘weird west,’ usually a wild west setting with gadgets and horror elements. More recent additions to the steampunk canon include non-British settings and POC protagonists.

Image Credits: https://commons.wikimedia.org/wiki/File:1889_Verne_poster.jpg   

Classic Steampunk Examples

Consider the following works as forerunners to the steampunk genre. Again, the classification of steampunk didn’t exist at the time of these authors, but their works nonetheless fit:

Frankenstein by Mary Shelley

The Time Machine by HG Wells

Twenty-thousand Leagues Under the Sea by Jules Verne

Contemporary Examples of Steampunk

The League of Extraordinary Gentlemen by Alan Moore

Leviathan by Scott Westerfield

Etiquette & Espionage by Gail Carriger

The Tremblers by Raquel Byrnes (Christian steampunk)

Maiden of Iron: A Steampunk Fable by Edie Melson (Christian steampunk)

 Other images: Upslpash

Bio

Ali Stegert writes gaslamp fantasy adventure for children. The Temple of Lost Time, book one of The Whitherworld Chronicles trilogy, is currently in submission. Set in London’s theatre district in an alternative 19^th century, cheeky theatre child Toby Fitzroy must find his long-lost father or end up in a notorious Workhouse for Wayward Children. But his search intersects with the dying, magic-addled king’s quest for the time elixirs of the mythical Temple of Lost Time and sends him to another world…

Writing gaslamp fantasy gives Alison a playground in which to indulge in her passion for Victoriana, fairy tales, and history. A former school counsellor, Alison now cares for her elderly father-in-law and writes books for children. She lives near the beach in Australia with her husband and two naughty dogs. Find out more on her blog, Spilling Ink.

Exploring Genres: Biblical Fiction

by Susan Preston

“Those who call themselves Christians and attempt to follow biblical morality as they understand it are now among the most persecuted religious groups in the world (Newsweek, January 4, 2018). Sadly, this is increasingly true even in nations where “Christianity” is considered the predominant religion.”

So, if Christians are being stopped from sharing their faith with others who are interested how can we fulfill Christ’s commission to ‘go into all the world?’

I heard a minister say, “People prefer their truth wrapped in fiction.”

If that is the case, Christian writers are demonstrating and sharing their faith – not necessarily overtly, which can put some readers of, but by the way they write their characters’ lives.

Where does Biblical fiction fit in to this?

Apostle John series by Susan Preston (new covers)

Because, as Solomon wrote in Eccl 1: 9 “What has been will be again, what has been done will be done again; there is nothing new under the sun.”

We can be encouraged, inspired and even challenged by the lives of those who have ‘gone before.’

The first Biblical fiction book I read changed the way I understood the Bible. Before reading Lynn Austin’s first book in the Gods and Kings series, much of the writing in the Bible was, to be honest, boring. After that, I never read anything about Hezekiah again without ‘seeing’ him as a person.

I used to run church kids groups and holiday programmes. After several years it was rather ‘ho-hum’ another lesson on a parable.

If it was now, my lessons would be vastly different. In researching for what I thought would be one book, I discovered so much about the life, the times, the challenges and the faith of the people through the centuries.

To include some of this in a story/book/series gives the reader a much better reading experience as pointed out by Debbie Roome in a recent post in a post called Story Telling in 3D.

Many ‘Biblical fiction’ writers appear to be taking research from some of the old movies like Ben Hur and others of that era.

Modern saddles were not invented until 365 AD.[JO2]

“The first saddle is believed to have been invented in 365 AD by the Sarmations. Proud horsemen who used their horses in battle and also sacrificed them to the gods, their saddle creations were brought back to Europe by the Huns.”

They did not include stirrups. This is the history of stirrups –

“The stirrup was invented in China in the first few centuries AD and spread westward through the nomadic peoples of Central Eurasia. The use of paired stirrups is credited to the Chinese Jin Dynasty and came to Europe during the Middle Ages.”

Well-written, and well researched Biblical fiction brings life to the words in the Bible. (Both Testaments.)

When Jesus taught it was from ‘the scriptures’ – there only was an Old Testament, and this was what He taught from. After Him the Apostles used the Old Testament, and the letters of the other Apostles.
 

Understanding the pain

There were many ‘pain-points’ for the people of the Bible.

To the Israelites the Temple was where God dwelt. In many instances the Bible shows that the Temple was what was worshipped, not God.

Understanding this helps a writer of Biblical fiction better bring those people to life.

The day was counted from sunset to sunset, not as with our modern calendars. This was one of the most difficult things for me to ‘get my head around.’ The next day started as soon as the sun set on the previous one.

People, even in New Testament times, did not sit down to a dinner of ‘meat and two veges.’ Meat was only eaten on special occasions. If they were near a sea, or large lake, fish would be part of their diet… but not all the time. In the Old Testament, a time when meat would be eaten by a family was after a ‘peace’ or ‘thank’ offering had been made.

Biblical fiction can be a joy to read

Some writers of Biblical fiction have done the research necessary to make the books authentic. One such – Lynn Austin’s Biblical historical series. (There are two different series.) Jill Eileen Smith gives us a peep at some of the ‘heroines’ of the OT as does Mesu Andrews. 

Nearer the time period I write about, Carol Ashby has done an awesome amount of research on Roman times, and Carlene Havel is a recent discovery of a great writer.

As for me…

Three of my books have won awards, and all had great reviews from Readers’ Favorite Book Reviews.

I put a great deal of research into everything I write, as I imagine other authors do.

Sometimes, I am a slow learner. A long time ago I was told my book covers do not reflect the genre they represent… but I loved the images, four of which were from a Christian friend in Tasmania, a gifted photographer.

Well, I finally listened and had new covers made. Time will tell if they DO reflect the genre.

You can see them here… http://www.susanprestonauthor.com/apostle-john-series-2/

I read other genres, but Biblical fiction is close to my heart now that I have ‘met’ the people behind the words in the Bible.

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Susan Preston’s Christian faith is important to her, but she does not preach in any of the stories, instead, respecting her reader's right to make up their own minds.

She describes herself as a story-teller. Research, fascination and curiosity became a combination of treasure hunt and mystery tour. (She is still researching.)

Susan’s life experiences were not always happy – the death of a son, then in 2013 the death of her husband/best friend. The emotions from all these experiences contribute to her understanding of the people of the stories.

She was a registered Psychiatric nursing sister, a registered computer trainer and assessor, possessor of the Master’s qualification for Microsoft Office 2007 which she says comes in very handy, and has numerous other qualifications.

Susan says, “The ‘people’ in the books have become ‘family’ as I learned to walk in their shoes.”

Exploring Genre: The Relationship between Genre and Book Marketing

By Iola Goulton | @IolaGoulton

Australasian Christian Writers and Christian Writers Downunder share a post on the first Monday of every month, and this is the first joint post for 2018. Happy New Year!

Our 2017 posts focused on genre, and we are continuing that theme in 2018. If you'd like a catch-up, click here to read the useful summary Jeanette O'Hagan provided us with in December.

Because we believe that every author needs to understand the concept of genre, what genre they write in, and the expectations of that genre. Why? Because understanding is the core of your marketing strategy.

We're not alone in that belief. In her recent blog post 18 Rock Solid Book Marketing Strategies for 2018, Penny Sansevieri of Author Marketing Experts says:

Be clear on your genre. You shouldn’t even be considering publishing unless you know, without question, what genre you’re in. Book sales only happen when your book is in a clearly defined market. Don’t make the reader try to guess.

In fact, although Penny doesn't say so, most of her marketing recommendations can be related to genre:

Social Media

Knowing what genre you write will help you focus your social media efforts on the networks your readers use, not the networks recommended by the latest social media guru.

Write More Books

... in the same genre. Especially series. Readers love series.

Price Your Books to Sell

Pricing is often related to genre. If you're trying to sell the Kindle version of your self-published romance novel for $9.99, you're not going to make many sales because that's out of line with what romance readers expect to pay.

Make Sure Your Cover Matches Your Genre

Thriller readers aren't looking for books with werewolves or unicorns on the cover.

Connect With Your Readers

Which means knowing who your readers are. Which means knowing your genre.

Maximise Amazon

In particular, make sure your books are categorised properly on Amazon, so people who are looking to buy your genre find your books. Because people search Amazon for three main things: author, title, and genre. And they'll never know to search for you by author or title if they don't know your genre.

Build Your Fan Base

The easiest way to start is by finding and following readers who've read and reviewed books like yours. You know, books in the same genre.

Redo Old Covers

Especially if they don't reflect your genre.

Be Aware of Your Brand

And make sure it reflects your genre. If you're writing urban fantasy, your website should have a dark, gritty urban feel. No matter how much you like lambs frolicking in fields, that's the realm of Rural Romance.

Support Other Authors

Especially in your genre. Because if their readers keep seeing your name and realise you have a book, they might just check you out.

Collaborate

The best collaborations are the ones where there is something that unifies the collaborating authors. Like genre.

For example, 13 members of Australasian Christian Writers and Christian Writers Downunder have recently collaborated to develop and promote an Australia Day Giveaway—books by Australian authors, set in Australia, or both. That promotion has raised awareness of Australian Christian Fiction as a genre, promoted the participating authors, and given us all a boost to our mailing lists.

(We're considering running a couple of genre-based group giveaways during the year. Keep an eye on the Facebook group for details.)

Most authors I know find marketing harder than writing. 

If you don't know and understand genre, you're making marketing even harder. Certainly harder than it needs to be.

If you do know what genre you write, great! Perhaps you'd like to contribute an article? It's called content marketing, and it's a great strategy for people who aren't comfortable with pushy-pushy-pushy self-promotion.

If you're not sure what genre you write, go through our previous posts and make sure you check out the new post on the first Monday of each month. And leave a comment telling us something about what you write. Maybe we can help!

About Iola Goulton

Iola Goulton is a New Zealand book reviewer, freelance editor, and author, writing contemporary Christian romance with a Kiwi twist. She is a member of the Sisterhood of Unpronounceable Names (Iola is pronounced yo-la, not eye-ola and definitely not Lola).

Iola holds a degree in marketing, has a background in human resource consulting, and currently works as a freelance editor. When she’s not working, Iola is usually reading or writing her next book review. Iola lives in the beautiful Bay of Plenty in New Zealand (not far from Hobbiton) with her husband, two teenagers and one cat. She is currently working on her first novel.

Website | Facebook | Instagram | Pinterest | Twitter

Exploring Genre 2017

by Jeanette O'Hagan

This year, the cross posts between Christian Writers Downunder and Australasian Christian Writers are focusing on genre. I've found it an interesting series and some more in depth look at different sub-genres in more depth. So just to recap -

Why Genre?

Iola Goulton started off the year asking the question - why genre?  She reminded us that genre's are useful for managing reader expectations and in helping to target promotion and marketing.

Then over the next several months we've looked at specific subgenres - or some broader categories - in fiction, non-fiction and poetry.

Fiction

Fiction has a number of broad categories such as romance, speculative fiction (science fiction and fantasy), crime and detective fiction, historical dramas, thrillers, military, women's fiction and literary - among others.  Fiction can also be aimed at children (picture books, chapter books, middle-grade), young adult (teens), new adults (teen-early twenties) or adults.

Romance

While romance can often be a subplot or theme in a range of other genres, in category romance the focus is on the relationship and the obstacles to a romantic relationship between the hero and heroine or romantic couple.  Category romance is hugely popular and generally has some firm expectations. It can also range from sweet to steamy (or blend into erotica, which is really another category).

There are a wide range of sub-genres with romance.

Carolyn Miller introduced us to historical romance (romance set before the present day) and in particular regency romance - romance inspired by Jane Austen and set in or around the regency period - eg. early 19th century.  You can find her delightful post here.

Nicky Edwards took us on a tour of rural romance (set in the country) and medical romance (with nurses or doctors as protagonists and which includes medical drama), usually set in contemporary times. You can read more here.

Speculative Fiction

Speculative Fiction images a different reality - whether that be a variation of earth as we know it or different world altogether. It is generally divided into Science Fiction (where science or a imagined science explains the world) or Fantasy (in which a non-scientific - often super-natural - explanation is given), though these can cross-overs such as science fantasy and mixtures. There is easily over 100 sub-genres within this field - including crazy mash-ups like gaslamp fantasy or weird west.

Adam Collings  introduced us to Space Opera - epic Science Fiction set in space with a focus more on the story than a detailed or hard science - think Star Trek or Doctor Who.  And, also the Superhero sub-genre which can used a scientific (Superman) or a supernatural (eg Thor) explanation for the special powers.  Read more here.

Jeanette O'Hagan introduced Secondary World and Portal fantasies - both of which are set on an alternative (non-earth) world. In the first the world exists without reference to earth, whereas in the second, the protagonist travels through a door or portal to the other world. Read more here.

Ian Acheson introduced us to Supernatural Fiction - which focuses on supernatural beings such angels, demons and/or ghosts (and is related to paranormal and urban fantasy). It can have a faith or Christina focus or be more 'secular' in its approach. Read more here.

Shorts

We also looked at 'short fiction' from flash to novellas (though it could also be non-fiction). Read more here.

Poetry

Poetry can be non-fiction or fiction, it can be strongly narrative (ballads, for instance) or focus on a moment or a feeling or be metaphorical.

Valerie Volk gave a wonderful introduction to Poetry (here)  while the following week we explored Free Verse (poetry without a set rhyme) and Verse Novels (telling a narrative in verse)  (read more here).

Non-Fiction

And finally, Nola Passmore introduced us to creative non-fiction (and how that differs from reportage). Read more here.


It can be tempting to see genre as a straitjacket or a way of pigeon-holing our fiction.  It can be seen as restrictive or reducing writing to formula (the HEA, the red herrings and clues, etc).  Some genres have stricter guidelines  - the category romance, the cozy mystery - while others almost by their nature tend to push the boundaries  or like cross-overs with a meld of different genres (speculative fiction, Young Adult).

Writing within a genre still allows amazing variety and ingenuity, especially when there are so many.

ACW & CWD are thinking of extending this dip into genres and subgenres next year. With that in mind,

Have  your found the series helpful? How?
What did you learn (if anything)?
And are there any particular genres you'd love to find more about?

List of posts (chronological order)

Genre  

Space Opera and Superheroes

Portal Fantasy and Secondary World Fantasy

Poetry

Free Verse and Verse Novels 

Regency and Historical Romance

Rural and Medical Romance

Supernatural Fiction

Short Fiction

Creative Non-Fiction

Spaceship image courtesy of digitalart at FreeDigitalPhotos.net
Cover Image Valerie Volk  In Due Season
Other images copyright Jeanette O'Hagan

...............

Jeanette started spinning tales in the world of Nardva at the age of eight or nine. She enjoys writing secondary world fiction, poetry, blogging and editing. Her Nardvan stories span continents, time and cultures. They involve a mixture of courtly intrigue, adventure, romance and/or shapeshifters and magic users. She has published numerous short stories, poems, two novellas and her debut novel, Akrad's Children. Find her on Facebook or at her webpages Jeanette O'Hagan Writes or Jenny's Thread.

Exploring Genres - Short Fiction

by Jeanette O'Hagan

This year, the cross posts between Christian Writers Downunder and Australasian Christian Writers are focusing on genre. So far, we’ve had posts on meeting genre expectations, in Space Opera and Superheroes, Portal Fantasy and Secondary World Fantasy, Poetry, Free Verse and Verse Novels , Regency and Historical Romance, Rural and Medical Romance and Supernatural Fiction.

This month we are exploring 'short fiction'.

Short fiction can come in any genre - and a range of sizes, from six words up to 50,000 words. And while it may seem easier to write less, short fiction requires it's own set of skills to do it well. 

Types of short fiction: 

1. Mirco-Fiction - up to 100 words. 

Though hard to write well, these are becoming increasingly popular with mobile phones and texting and twitter (140 characters). Clearly, every word must count. 

Ernest Hemingway's famous example of a six word story is as follows 'For sale: Baby shoes, never worn.'

2. Flash Fiction - between 100-1000 words. 

These stories can be used as 'palate cleansers' between longer stories in magazines. 

The Faith Writers Challenge requires no more than 750 words on a weekly theme (and the best are collected and published by Breath of Fresh Air Press in the Mixed Blessing books). A number of members have appeared in the pages, including Nola Passmore, Simon Kennedy, Jo Wanmer, and myself. 

Writing flash fiction helps tighten one's prose. The focus is often one or two scenes or on the climax of the story.

3. Short Story  - between 1,000 - 7,500 words

This is often what we think of as a short story. Many competitions, periodical, 'zines and anthologies require this length - often around 2000 to 3000 words.  Speculative fiction (sci-fi and fantasy) have bigger words counts of between 7000-10,000 words. For instance, two spec anthologies that I had successful submission to - Tales from the Underground and Quantum Soul preferred stories around 10,000 words.

There is more room to manoeuvre, but focus and tight writing are still essential. It's important to streamline --- limit the story to a short period time, small cast of characters, with few if any subplots, and start the story close to the finish. 

4. Novellette - 7,500 - 20,000 words

A novellette falls in between a short story and a novella. Heart of the Mountain started life as a short story (my original attempt at the 7000 word limit for submissions for Glimpses of Light anthology) but blew out to over 11,000 words, so I wrote Ruhanna's Flight instead (7000 word exactly). Later, I expanded HOM to 15,500 words.

Yet, I think there is confusion with the term 'novellette'. For some, it means a novella. Many others have never heard of the term. So, I've called Heart of the Mountain 'short novella'.

5. Novella - 20,000 - 50,000 words

A novella (and to some extent a novellette) allows more complexity, with perhaps more characters and twists and  develops over a longer period of time. 

Some famous classical works are novellas - for instance Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde (1886), H. G. Well's The Time Machine (1895), Charles Dicken's A Christmas Carol (1843),  Geroge Orwell's Animal Farm (1945) and many others.

Presentation

Periodicals, zines, collections and anthologies are usually the home of short fiction.  

However, short fiction can be published on it's own. For instance, I and others (like Aussie authors Adam Collings, Sue Jeffreys or Meredith Resce) have published short stories or novellas as stand alone e-books. Novellas, particularly, can be published on their own --- both as e-books and also as print books. 

When I decided to publish Heart of the Mountain, I planned on an additional three novellas with the intention of combing all four into a single print volume. I thought that each novella would be too small to publish on their own (especially in the case of HOM). However, I have now published both Heart of the Mountain and Blood Crystal as stand alone print books and am very happy with the result, especially as the books are aimed at the Young Adult market. I chose a smaller cover size (8x5 inches rather than 9x6). 

Short fiction can also be collected in boxed sets - as for instance An Aussie Summer Christmas Boxed set - which allows fans to sample fiction from a range of authors - in this case Andrea Grigg, Narelle Atkins, Rose Dee, Meredith Resce, Marion Ueckermann and Lacey Williams. 

Another innovative approach is publishing short fiction as a series (similar to TV series) in which 'episodes' within a 'season' are published with individual story arcs plus an over-arching series arc. Adam David Collings is taking this approach with his Jewel of the Star series, having so far published the 'pilot' Earth's Remnant which sets up the series, and a prequel episode.

Short fiction has advantages for both readers and writers. 

For readers:

• In a time-pressed word, short fiction can be enjoyed without a huge time investment - often over half an hour or a couple of hours. One can start and finish a story without having to worry about when one might get a chance to read again.
• It also gives the reader a chance to sample a range of unknown authors. This is especially true for anthologies or boxed sets, which include a range of authors, one or more of which may be already known to the reader. 
• At its best, short fiction can be thought-provoking, evocative, original, experimental.
• On the other hand, short fiction may leave a reader wanting more character development and/or world building or plot complexity. 

For writers:

• It's a great way to break into the market, as there are many opportunities for competitions or anthologies or to self-publish.
• While not easy to write, short fiction requires less investment of time and money (for editing etc) than a full length novel.
• Short fiction can help a writer to hone her (or his) skills - to write powerfully with less words, to set the scene or show character without the fluff, to better understand plot and story structure.
• Short fiction can be an opportunity to experiment with subject, genre, approach without a huge investment in time (so it's not so critical if it doesn't work out).
• Short fiction tied into the novel world can be a way of either introducing the novel, continuing momentum between novels (and keeping fans happy), filling out the story world,  and/or as a freebie in promotions. 
• It can be fun to write.

Perhaps short fiction are like an artist's sketch compared to a fully developed painting. Both can be beautiful, both have different functions, both tell a story.

Over the last four years, I've enjoyed playing with short stories at different lengths and have had several published in a range of anthologies. Generally, a story has it's own innate length. The trick is limiting the complexity or the number of needed scenes for the word count and then paring back the excess wordage. Sometimes this means sacrificing scenes or elements you like (or deciding to try again with another story).

Have you written (or read) short fiction? What do you like (or dislike) about this form? Who do you think does it well?

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Jeanette started spinning tales in the world of Nardva at the age of eight or nine. She enjoys writing secondary world fiction, poetry, blogging and editing. Her Nardvan stories span continents, time and cultures. They involve a mixture of courtly intrigue, adventure, romance and/or shapeshifters and magic users.

Recent publications include her novellas Heart of the Mountain and Blood Crystal and short stories The Herbalist's Daughter and Lakwi's Lament and her novel Akrad's Children. Other short stories and poems are published in a number of anthologies, including Glimpses of Light and Futurevision with three anthologies coming out this month - Redemption anthology, Tales From the Underground, and Quantum Soul.

Jeanette continues to write her Akrad’s Legacy Series—a Young Adult secondary world fantasy fiction with adventure, courtly intrigue and romantic elements.

Find her at her Facebook Page or at Goodreads or on Amazon or on her websitesJennysThread.com or Jeanette O'Hagan Writes . if you want to stay up-to-date with latest publications and developments, sign up to Jeanette O'Hagan Writes e-mail newsletter.

Exploring Genre - Rural and Medical Romance

by Nicki Edwards

This year, the cross posts between Christian Writers Downunder and Australasian Christian Writers are focusing on genre. So far, we’ve had posts on meeting genre expectations, in Space Opera and Superheroes, Portal Fantasy and Secondary World Fantasy, Poetry, Free Verse and Verse Novels and Regency and Historical Romance . 

Today, I'm looking at the place of Rural and Medical Romance.

I like what Iola Goulton said in a previous post that book genres are like food. If we go out to our favourite restaurant and order the usual and something different is served, we are disappointed, especially if we’ve been eagerly anticipating that familiar taste.

Book genres are a bit like ice cream. I have two or three flavours I keep going back to – English Toffee, Honeycomb Crunch or Cookies and Cream.

It’s kind of funny my tastes are so narrow as I’m one of those odd people who thrive on change, but when it comes to food and books, I’m always drawn to the familiar.

For me that means romance and women’s fiction. 

So what is romance, why is it my favourite flavour and why do I write medical-rural romance?

Romance can be classified into many sub-genres - contemporary, erotic, historical, rural, paranormal, regency, young adult, medical, Christian, romantic suspense . . . you get my drift. The list is probably never-ending.

All romance novels have a central love storyline and an emotionally satisfying ending. Beyond that, they can be set in any time or place and have varying levels of sensuality from sweet to spicy.

Women’s fiction are women-centred books that focus on women’s life experiences. These books are generally marketed to woman.

My latest book, One More Song which comes out in November 2017 is being marketed as both romance and women’s fiction.

When I started writing in January 2014 I was encouraged to “write what you know” and “write what you love”.

What I know and love is medicine and nursing, and it is from this I draw my writing experiences. I also love the gorgeous rural backdrop that sits behind small town Australia. I love the people in regional and rural communities and therefore it seemed a natural fit for me to write heart-warming medical dramas set in small towns.

My books explore the realities and complexities faced by people in regional and small towns with plots involving dramatic accidents, illnesses and critical medical situations. Think McLeod’s Daughters meets A Country Practice with a touch of All Saints thrown into the mix!

People ask why the rural romance genre is popular and why my books have sold so well. I think readers have an appetite for stories set on the land and they love strong, ordinary, everyday Aussie heroes and heroines. Whether it’s the city girl finding a new life in the country, or rural characters living their lives working the land, there’s something relatable for all readers whether they live in the country or the city.

Lucky for us writers of this genre, readers can’t seem to get enough of our stories. Perhaps because there’s something romantic and almost mystical about the Australian outback. Or perhaps because many city dwellers have an escapism mentality when it comes to the idea of a tree change or ‘escape to the country’. Ironically, ask any farmer and they’ll tell you there’s nothing romantic about living in the middle of nowhere!

Obviously authenticity is crucial in rural romance as with all genres. A country person can tell a mile away if a writer is faking it. It’s the same with the medical side of my books. Anyone with a bit of medical background and Dr. Google can be my harshest critic. I have to get my facts right.

What I love about writing small town medical romance is that the story is all about the community and the people, not just my hero and heroine. The setting is as important as the story because when people in small communities are thrown together into a medical emergency or crisis situation it makes for great dramatic fiction, especially when my heroine is the medico saving the day. I love demonstrating nurses and doctors working together doing amazing things because that’s what I see every day when I’m at work.

As a medical-rural romance writer I get to tackle all kinds of interesting rural and medical issues, whether it’s the problem of depression and suicide in the bush, or the complexities of care people in small towns face such as the lack of facilities and equipment or trained medical staff. I love showing how small towns rally together and just make things happen.

Despite tough publishing markets in recent years, the romance genre continues to do well but for all its market success, it still encounters a lot of snobbery from readers. There’s a dismissive attitude towards it. Additionally, as a Christian, one thing I’ve encountered is the presumption that if I write romance it’s probably smutty. This couldn’t be further from the truth. There’s a huge range of sensuality in the romance genre and my books are at the sweet or “clean” end of the scale with closed door, fade-to-black sex scenes.

The exciting thing for me as a romance author is our readers are extremely engaged and they’re voracious readers. It’s not unusual for a romance reader to admit to reading a book a day! I’m blessed with how the romance reading community have embraced me and my books and I’m also fortunate to be part of a group of romance authors who have a website specifically set up for readers who love rural romance. You can check it out here: www.australianruralromance.com)

Nicki Edwards is a city girl with a country heart. Growing up on a small family acreage, she spent her formative years riding horses and pretending the neighbour’s farm was her own.

Nicki writes medical rural romance and when she isn’t reading, writing or dreaming about rural life and medical emergencies, she can be found working as a Critical Care Nurse in the Emergency Department or Intensive Care Unit, where many of her stories and characters are imagined.

Nicki and her husband Tim, a Pastor, live in Geelong, Victoria. With four teenage/young adult children, life is busy, fun and at times exhausting, but Nicki wouldn’t change it for anything. Visit her at www.nickiedwards.com.au to find all her other books.

Nicki’s latest book One More Song published by Pan Macmillan Australia will hit the bookshelves on November 28th, 2017 but is available to pre-order now wherever e-books are sold.