I was going through some very dusty files and found a submission letter I had sent to an agency in 2007. I entered the agency name into Google to see if the company was still around. Yes, it is. The agent I had addressed was still there and some others had joined the company.
While I was reading the biographies and needs of the newer agents I came across the term Upmarket Fiction. Yes, I looked it up. Would I trip over a term like Upmarket and not see what was under the tarp?
Let’s talk about it. Wednesday, in the chatroom. 8PM ET.
You may even see it paired with a familiar genre. Upmarket science fiction. Or upmarket contemporary romance.
What is upmarket fiction?
Upmarket fiction is used to describe a book that has a literary feel with commercial appeal. It means that the writing is outstanding, but accessible. The characters focused, but the plot sharp.
One word that kept coming up was the word “upmarket.” The term isn’t brand new, but it seems to be gaining in popularity.
Simply put, it’s fiction that blends the line between commercial and literary. To further examine this, let’s break down those two terms.
It’s literary fiction, so it’s pretty damn good writing, but it has commercial potential. It has the ability to infiltrate lots of book clubs and start discussions and take off as a product. It’s a win-win for everyone. I’ve heard a lot of agents say that they are looking for “literary fiction with a commercial appeal,”
or something like that. Well, one word that does the job of those six is “upmarket,” and that’s why you hear it so much. If you’re writing narrative nonfiction or upmarket fiction, chances are, there are a ton of agents out there willing to consider your work.
Upmarket fiction straddles the line between literary and commercial fiction. The writing is elevated but accessible, the characters appear unique while remaining universal, and the plots are proverbial but unpredictable. Since readers have become wise to the tropes of their preferred genre, agents and publishers are now searching for
books that can exist in either marketplace.
Upmarket fiction combines the best elements of literary and commercial fiction.
Upmarket fiction is a classification or a publishing term, not a genre distinction. Think of the phrase as an adjective since publishers use the term as a selling point—e.g. upmarket science fiction, upmarket mystery, upmarket women’s fiction, et cetera. This term identifies novels that dabble in both the literary and commercial realms
by addressing universal concerns through elevated prose and poignant themes. Many of the novels chosen for our modern book clubs fall into the upmarket fiction category, which is one of the many reasons this label has become popular among agents.
It seems most of the Google trails lead me to general agreement about what Upmarket Fiction means. I’m leaving you with a lot of reading to do. There are dozens of articles about the category and who knows, maybe you want to write some…
There are Points of View till hell won’t have them. And we are going to talk about a few of them. We have been discussing character building, settings, symbols and
images. We discussed dialogue, subjects and subtexts. On Sunday we hit on Action.
We can probably all agree that when it comes to Point of View, head hopping within the confines of a single scene is a major mistake. I think as writers, we have
all tried it in our notebooks and discovery drafts a little head hopping has a valid place. We might head hop to get a feel for who a scene belongs to. Then we choose the best and leave the rest in a file somewhere on our computers or in our notebooks. These explorations are never a waste of time. These efforts are practice and practice is the best teacher.
Point of view, or POV, has to do with the narrator’s relationship to what’s being said:
Is the narrator a participant in the events being told, an observer of those events, or someone reconstructing the events from a distance?
Does the narrator announce its presence openly or try to remain invisible?
Is the narrator seemingly dispassionate and detached, or does the narrator have a clear opinion of, or stake in, the story?
Is the narrator qualified to tell the story in terms of access to information and the ability to provide that information to us? And do we trust what’s being said?
Take about twenty minutes to read the guest post on Janet’s page. Join us in the Chatroom on Wednesday at 8PM EST
Terry's hand trembled. One final keystroke and there would be no taking it back. No alt z. No backspace. No delete.
50 Ways to Leave Your Lover played over her phone. Terry hated that ringtone.
A subtle clunk from the keyboard marked the beginning of the end. The start of a new world order. Terry waited.
Everything felt the same.
"51 ways," Terry whispered.
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Sunday's topic is Action.
We've talked about scene set ups and dialogue.
Action can be huge or it could be one more pebble in the hiker's shoe. For every action there is a reaction, even if the reader doesn't see it. Reaction may
pile up.
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Action in your novel is what characters do. What they do to each other, to objects, to the landscape, to animals, and to themselves.
When you write action, you are not only moving the plot along, you are also providing clues to character motivation.
You use action to reveal character. (Robert J Ray)
