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How do you know if your writing is considered “literary fiction”?

Posted by Doris Booth | Sep 1, 2022 | Writing Insights | 0 |

How do you know if your writing is considered “literary fiction”?
Generally, genre or category fiction is more plot-driven, while literary fiction is more character-driven. In either case, the story needs an arc or shape. However, I think of commercial or category fiction as being driven largely by action than by the character’s introspection. In literary fiction one usually finds more detail about how each character thinks and feels as it relates to the storyline. I’d be interested to know how others define the difference.
Wikipedia defines it this way:
Literary fiction is a label that, in the book trade, refers to market novels that do not fit neatly into an established genre (see genre fiction); or, otherwise, refers to novels that are character-driven rather than plot-driven, examine the human condition, use language in an experimental or poetic fashion, or are simply considered “serious” art.[1]
Literary fiction can be considered an example of “high culture” and contrasted with “popular culture” and “mass culture“.[12]
Genre fiction follows specific genre conventions or models, using tropes, structures, plot points, and archetypes to tell a story. Genre fiction includes romance, mystery, crime, horror, science fiction, and western.  Each genre has a set of reader expectations. For example, a romance novel usually ends “happily ever after.”  The girl gets the guy or the guy gets the girl after overcoming great odds. That may be a simplistic model, but you get the point. 

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About The Columnist

Doris Booth

Doris Booth

Doris Booth is the founder and editor-in-chief of Authorlink®, a literary marketplace and publishing industry resource she launched in 1996. A former journalist, she has spent decades working inside the publishing business as a semi-retired literary agent, with a track record that includes major sales to Big Five publishers and two true-crime projects that went on to become Netflix adaptations. As co-agent with the late Peter Miller, she helped place the Sons of Sam project with Quirk Books/Andrews McMeel. That combination of newsroom discipline and hands-on agenting experience is what shapes Writing Insights: each post reflects what Doris has actually seen work — and fail — across thousands of manuscripts, queries, and author conversations, rather than generic writing advice recycled from elsewhere. It's why writers return to Authorlink month after month for craft guidance grounded in real publishing outcomes, not theory.

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