Comprehensive List of Genres and Subgenres

8/21/2019 Comprehensive List of Genres and Subgenres

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Comprehensive list of genres and subgenres

The Rules Of Historical Fiction Genre Novels..............................................................................................1

Children's.......................................................................................................................................................1Fantasy...........................................................................................................................................................2

Horror.............................................................................................................................................................5

Mystery..........................................................................................................................................................Ro!ance.......................................................................................................................................................11

"cience Fiction.............................................................................................................................................1#

"hort Fiction.................................................................................................................................................2#

Thrillers $also "us%ense&..............................................................................................................................25esterns.......................................................................................................................................................2(

)oun* +dult.................................................................................................................................................,1

Mainstrea! $also -loc/uster&....................................................................................................................,20iterary.........................................................................................................................................................,2

The Rules Of Historical Fiction Genre Novels

Research and attention to detail are of to% i!%ortance in historical fiction. Characters !ust /ehave inaccordance ith the ti!es. lots can /e 3/i*3 $featurin* !any stron* characters and taclin* /i* or

co!%le4 issues&. "o!e historicals are %art of a sa*a $a series of /oos that covers *enerations ithin a

fa!ily or !any characters&.

Ho lon* is a historical novel + stand6alone historical /oo !ay /e 57888 to 1887888 ords. u/lishin*a /oo lon*er than 1887888 ords is difficult $es%ecially for first6ti!ers&7 /ut historical novels are

so!eti!es lon*er.

Children'sis defined /y its on na!e. These /oos are for little ids7 fro! toddlers on u% to a/out eleven years of a*e7 and

usually feature characters in that a*e ran*e $and9or childlie ani!als&. They are usually /i* on %ictures7 and si!%le

in ord and the!e. Fa!iliar $if faraay& scenes7 and *entle $or not& !oral lessons7 are %ara!ount.

The Rules Of Young Adult (YA) Genre Novels )oun* adult $)+& fiction tar*ets /oys and *irls /eteen the a*es

of 1261. The tone7 style7 and content of )+ novels chan*es de%endin* on the s%ecific a*e of the tar*et audience.

The *enre can tacle G6rated issues or it can /e very ed*y.

Generally7 )+ /oos run /eteen #87888 and (57888 ords7 de%endin* on the tar*et a*e *rou%.

3:d*y3 )+ tacles controversial or difficult to%ics. Otherise7 su/*enres of )+ are the sa!e as su/*enres of adult

fiction.

By Children or uvenilia is a s!all /ut *enuine su/*enre. These co!!ercially $rather than self9vanity&

%u/lished tales are ritten7 in full7 /y a child. + fa!ous e4a!%le is ;aisy +shford's 1


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?n !odern ti!es7 several non%rofit or*ani@ations are dedicated to %u/lishin* youn* riters.

!arly Readers are intended to hel% children !aster the /asic sill of readin*. The te4t is usually in lar*e

%rint7 and !ost of the ords are Aust one sylla/le lon*. Most have illustrations7 /ut the ids are su%%osed to

*ain the !eanin* of6and6fro! the %rinted ords. The fa!ous old 3see "%ot run3 /oos can /e %laced in this

cate*ory.

There are countless thousands of e4a!%les7 /ut the ors of Theodor ';octor "euss' Geisel are the /eloved

*old standard. The 3-erenstain -ears3 /oos are another lon*6ti!e favorite.

$Most ids ill tacle this su/*enre at anyhere fro! 2 to 5 years of a*e.&

"iddle or unior Readers (#hapter boo$s)

These /oos feature lon*er ords7 and are usually lon*er overall. "uch /oos are nor!ally assi*ned

accordin* to a child's a*e or *rade level7 thou*h there is tre!endous variation in the sill level $not to

!ention7 confidence and socia/ility& of individual ids. This su/*enre is ai!ed at children of around > 6 11

years of a*e. The 3+!elia -edelia3 /oos are a Buiry e4a!%le.Cha%ter /oos are7 of course7 divided into cha%ters. This is another ste% in develo%in* a child's readin*

sills.

$Many of this su/*enre's /oos are ritten for %articular *rou%s of children7 /y interest or /ac*round.&

%i#ture Boo$s are vividly illustrated7 and have !ini!al %rinted te4t. These are intended for a %arent7

teacher7 or care*iver to read aloud. ?n recent ti!es these /oos have *ained !ore variety7 ith different

lifestyles and ethnic *rou%s a%%earin* ithin. $Concurrently7 a fe have /eco!e controversial ith

%arents.&

%op&'p %i#ture Boo$s are %hysically !ore co!%le47 ith card/oard and other three6di!ensional

structures affi4ed /eteen the leaves. These are intended to %lease and interest the youn*sters7 as an adult

reads aloud7 or hen they're %layin* directly ith the /oo.

-e*innin* ith %ull6strin* devices7 and no ith !icrochi%s7 !any of these te4ts can literally s%ea aloud7

under the direction of a child. $+s in 3The co says7 'Moooooooo.'3&

Traditional tories are e4actly that7 older tales %resented in a fa!iliar ay7 and %erha%s refashioned in

ee%in* ith current social tastes. ?t's ell non that alt ;isney si!%lified and 'cleaned u%' !any old

fairy tales7 for %resentation as ani!ated cartoons7 %lus their on '%icture /oo' versions. ?t's less non thatthe -rothers Gri!!7 /ac in the early 188s7 not only collected /ut considera/ly softened !any of those

sa!e old tales. $The oldest non story versions are7 in !any cases7 truly horrific.&

?n recent ti!es these /oos have shon !ore variety7 as non6:uro%ean fol tales have enAoyed ides%read

reco*nition. $The story and fil! Mulan is a %o%ular e4a!%le.&

Fantasy

is !any thin*s to !any %eo%le. These tales contain at least one 'fantastic' ele!entD so!ethin* that it's not '*ron u%'

to /elieve is real. The settin* !ay /e our on :arth or so!e i!a*inary real!. Often the characters $hu!ans7 and9or

elves and !ore& can do !a*ical thin*s7 thans to so!e innate 'talent' or arcane secrets. Those of *ood characterusually in throu*h7 if only in the lon* run.

The Rules Of antasy Genre Novels Fantasy is *enerally a/out orld /uildin* $creatin* alternative orlds&.

+void clichEs in your characteri@ation7 and let your !aAor the!es /e stron* yet su/tle. +lays research %u/lisher

*uidelines One %u/lishin* house states caveats such as 3no ti!e !achines7 %lease.3

Fantasy novels can contain /eteen 87888 and 1587888 ords $a%%ro4i!ately&. Fantasy novels can /e a little

lon*er than other novels7 and they are so!eti!es seriali@ed.


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"u/*enres of fantasy include hi*h7 fantasy of !anners7 alternate history7 dar7 historical7 stea!%un7 ur/an7 u4ia7

and !ore.

Alternate *orld fantasy involves different orlds hidden ithin or %arallel to our on. ?n %ast ti!es these

could /e found in a !ysterious country7 as in ohnathan "ift's novel Gulliver's Travels. ith the :arth

e4%lored7 so!e ere envisioned inside a !irror7 as ith 0eis Carroll's novel Through the Looking Glass.

Others 'distill' hole fictional li/raries7 as ith ohn Myers Myers' novel Silverlock . ?n a scientific era7

often these orlds are in a %arallel cos!os7 as de%icted in Ro*er ela@ny's 3+!/er3 series.

Arthurian su/*enre tales are set in the orld of in* +rthur's le*endary Ca!elot. Merlin7 0ancelot7

)*raine and friends are involved in fresh adventures. These novels have /een %o%ular for centuries7 and

one fa!ous !odern e4a!%le is Tho!as ynchon's Gravity's Rainbow.

Bangsian fantasy taes its na!e fro! a 1


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endin*. The %rota*onist is alays a loutish adventurer na!ed Ferdinand Fe*hoot.

-eroi# fantasy centers on a conBuerin* hero7 or /and of heroesD yet it often turns the *enre's heroic tro%e

on its head7 ith for*iva/le villains and dee%ly flaed %rota*onists. "te%hen R. ;onaldson's e%ic

3Chronicles of Tho!as Covenant3 series fits the /ill %erfectly.

-igh or !pi# fantasy is7 for !any readers7 the heart and essence of the *enre. :ntire orlds are created7

ith lon* histories and vivid lifestyles7 and a lar*e cast of characters. Tolien's The Lor( o% the Rings

utterly do!inates this su/*enre. :li@a/eth Moon's five 3asenarrion9Gird3 novels are e4cellent e4a!%les.

$Hand6dran !a%s7 hich sho the landsca%e and co!%etin* real!s7 are essential.&

-istori#al fantasy is the *enre's anser to historical fiction. + s%ecific %eriod fro! :arth's history /eco!es

the settin*7 /ut ith fantastic ele!ents /lended in. Gene olfe's drea!lie novel Sol(ier o% the Mist and

Guy Gavriel ay's novel Tigana are to fine e4a!%les.

-istori#al -igh antasy is a su/set of the 'historical fantasy' *enre7 in hich the stories are vast and

detailed enou*h to rese!/le 'hi*h fantasy.' "te%hen 0ahead's trilo*ies are %ree!inent. His endra*on

Cycle novels co!/ine an e4%anded +rthurian le*end ith the doo!ed +tlantis.

uvenile fantasy is a vast cate*ory7 descri/in* stories ritten for a youn*er audience. Tolien's The )obbit

is a stellar e4a!%le7 as are 0. Fran -au!'s 3O@3 /oos. oy Chant's Re( Moon an( Black Mountain is

another.

.o/ antasy is a descri%tive cate*ory. ?ts tales are ritten7 if not in conscious o%%osition to7 then ith a

serious lac of7 the see%in* vistas and serious herois! of the 'hi*h fantasy' su/*enre. Fe if any authors

ill clai! the title for the!selves7 thou*h video *a!es such as Sha(owrun have /een %laced in this

cate*ory. $"o!e o/servers lin this su/*enre to 'sord J sorcery' tales.&

"edia tie&in (Buffy novels0 et#1)

These stories involve characters and settin*s that ori*inate in !ovies7 T= shos7 video *a!es7 etc. ?t's a

hu*e su/*enre7 and its 3-uffy3 novels and other series *et %lenty of shelf s%ace. "uch stories nor!ally

follo the canon of its creator9onershi%7 and cannot de%ict %er!anent chan*es to its %rinci%al characters.

"edieval fantasy is a hu*e su/*enre7 and its stories are set in those ti!es7 in /eteen the ancient or

+rthurian orlds and the !odern industrial era. They ill feature ni*hts and naves7 often to*ether ith

sorcerers and dra*ons. $Many fanstasy su/*enres7 set on :arth or elsehere7 have a '%seudo!edieval'

settin*. That is o4 carts7 tavern enches7 and sordsD /ut no auto!o/iles7 stoc /roers7 or firear!s.&

"ythi# (mythopoeia0 mythpun$)

This su/*enre is a /road cate*ory. ?n *eneral7 these stories are set on our fa!iliar :arth7 and incor%orate

e4istin* !yths. Ro/ert Holdstoc's Mythago *oo( and Neil Gai!an's $nansi Boys do a onderful Ao/ of

/rin*in* ancient !yths into our !odern orld.

Tolein used the ter! '!ytho%oeia' to decri/e his on or7 in that it's evocative of hu!anity's dee%est

!yths.

Myth%un is a s!all su/*enre7 its na!e a derivative of cy/er%un. =era Na@arian's novel rea!s o% the"o!+ass Rose is the %ri!ary e4a!%le.

2uest fantasies involve Aust that. ?t's a descri%tive cate*ory7 in hich the %rota*onist is involved in so!e

%erilous all6consu!in* Buest. ?n eter -ea*le's novelette Two )earts7 nine6year6old "oo@ sets off alone to

free her villa*e fro! a !urderous *ry%hon. Terry Goodind's novel *iar('s -irst Rule is another e4a!%le.

Romanti# su/*enre tales are interstitial7 /lendin* 'fantasy' and 'ro!ance' the!es. There are %lenty of

e4a!%les7 thou*h often !areted as ro!ance $hich %ays /etter&. "atch The Lightning /y Catherine +saro


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is a fine e4a!%le. $+s a %hysicist7 +saro /lends ele!ents of ri*orous science into !any of her stories.&

#ien#e antasy is an interstitial su/*enre7 ith the tra%%in*s of hi*h technolo*y7 /ut also %ervasive

ele!ents of traditional fantasy. Marian i!!er -radley's 3;arover3 series is one e4a!%le.

eries (shared /orld)

This is a %o%ular descri%tive cate*ory. "uch tales /eco!e %art of a lon* series of novels $and often7 short

stories& hose %u/lication can s%an decades7 and /e %iced u% /y ne authors after the ori*inator's %assin*.

For e4a!%le7 Terry -roos' 3"hannara3 series Aoined u% ith his later 3ni*ht of the ord3 novels7 for a

vast future history. ;avid :ddin*s' volu!inous 3-el*ariad3 series is another.

The 'shared' su/*enre does Aust that7 /y invitin* !any authors to add stories to an e4istin* 'orld7' ith ne

su/%lots and characters Aoinin* the ori*inator's fa!iliar ones. Terry ratchet's 3;iscorld3 franchise is

%erha%s the !ost %o%ular e4a!%le.

$This %artici%ation is done via a for!al %rocess7 otherise it's re*arded as freelance 66 a!ateur and only

se!i6le*al 66 'fanfic' storytellin*.&

uperhero fantasy needs no introduction. hether in fil!s or co!ic /oos or novels7 characters such as

"u%er!an and Thor are fa!iliar indeed. "o!e authors ill create their on ne su%erheroes7 incor%oratin*

fa!iliar tro%es.

/ord 3 or#ery tales e!/ody the action6%aced as%ect of fantasy7 ith %oerful /ar/arians clearin* a

/loody sath across their %seudo!edieval orlds. Ro/ert Hoard's 3Conan3 novels are %erha%s the

foundin* to!es. Frit@ 0ei/er's clever 3Fafhrd and the Gray Mouser3 tales are %o%ular $and !uch i!itated&

e4a!%les.

'rban antasy (nerd outfo4es supernatural)

These novels are set in a !odern7 ur/an environ!ent. ereolves live in a/andoned su/ay stations7 or

%i4ies hide in the s!all s%aces of a ca!%us dor!atory. ody 0ynn Nye's novels often incor%orate such

characters.

?n so!e tales7 a co!%uter nerd is u% a*ainst ancient evil. Ro/ert ein/er*'s novel $ Logical Magician is an

e4a!%le hich features ada%ta/le /ein*s such as '!all ny!%hs.' Charles "tross's novel The $trocity

$rchives also incor%orates s%y thriller ele!ents.

Wuxia stories ori*inated in China. They are often set durin* ?!%erial ti!es7 and feature a hero advanced in

the !artial arts7 ho /attles hu!an $and so!eti!es su%ernatural& foes. + fa!ous e4a!%le is an* ;ulu's

novel "rouching Tiger, )i((en ragon7 fil!ed /y +n* 0ee. $That !ovie as a hu*e hit in the est7 /ut

dre yans in China7 as Aust one of !any such tales.&

Horroris the !ood this *enre sees to invoe. Fro! su/tle an4iety to /lood6s%lattered scenes7 in these stories7 so!ethin* is

Aust not right . Candor7 tea!or7 and chastity often aide the %rota*onists as they face sicly *oo7 unanted

%enetration7 and inci%ient insanity. ?n the end7 the evil ele!ent $hether hu!an or !onstrous or %aranor!al& either

ins7 or is not decisively vanBuished.

The Rules Of -orror Genre Novels Fears and %ho/ias %lay into the reader's e!otions in this *enre. There is often

a su%ernatural and %aranor!al ele!ent7 /ut as alays7 steer clear of clichEs.

Horror novels vary in len*th and are *enerally /eteen 87888 and 1887888 ords.

"u/*enres of horror include *host7 erotic7 %sycholo*ical7 /ody horror7 eird !enace7 occult detective7 and !ore.


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Aliens infuse this su/*enre ith relentless trou/le!ain*. ?nterstitial ith 'science fiction7' the source of

terror is another %lanet7 hose inha/itants are encountered there7 or travel to our :arth7 if not /oth. The

3+lien3 franchise $featurin* "i*ourney eaver& leads this char*e. "cott "i*ler's novel .n%ecte( is a recent

e4a!%le7 a!on* !any. ?n M. Ni*ht "hya!alan's !ovie Signs7 !ysterious rural visitors are revealed to /e

$so!ehat i!%ro/a/le& aliens.

Creepy 5ids horror is defined /y its na!e. Horror !avens have said that children are !ysterious stran*ers

co!in* into the orld66and this su/*enre taes that uns%oen orry and runs ith it. "te%hen in*'s short

story and fil! "hil(ren o% the "orn are strai*htforard e4a!%les. Many others7 such as Richard ;onner's

fil! The /!en7 involve a child ho is directly related to "atan.

Cross Genre is an interstitial su/*enre7 hich descri/es horror tales that have al!ost6overridin* ele!ents

of another !aAor *enre. For e4a!%le7 oe 0ansdale rites 'horror' in 'estern' settin*s7 hile his novel The

rive0.n ensnares rural rednecs. Fran eretti's novel The /ath contains stron* 'horror' ele!ents7

%ortrayed as 'the a*es of sin' in an envan*elical Christian conte4t.

Cutting !dge refers to horror that consciously *oes a*ainst the *rain7 and is %ro/a/ly ithout !any of the

*enre's fa!iliar tro%es and9or styles. These tales usually feature a !odern settin*. Often this su/*enre is

associated ith *ra%hic novels7 or ne venues such as online cha%ter %ostin*s. +uthor ;ou*las Cle** has

%ioneered the latter ith his novel Purity.

,ar$ antasy is an interstitial su/*enre7 and its stories *enerally feature hu!an evil and strife7 rather than

su%ernatural !onsters. arl :dard a*ner's 3ane3 /oos are an oft6cited e4a!%le.

,ar$ i#tion is a hu*e descri%tive cate*ory7 al!ost as /road as 's%eculative fiction.' Many *enre

%u/lications use it in their title and9or self6descri%tion. $"o!eti!es7 for %ractical reasons7 it's used to !aret

a horror story ithout e!%loyin* the ter! itself.&

!roti# horror contains a stron* se4ual ele!ent. ?n this su/*enre the se4 can /e e4%lict7 but it's often far

fro! %leasura/le. +lfonsi and "co*na!i*lio's antholo*y ark Se(uctions is an e4a!%le. $+s authors of this

su/*enre ill re*ularly infor! you7 such tales are not for casual readin*.&

!4treme (splatterpun$0 vi#eral) This su/*enre is as ra as fiction or fil! can /e. The e4%licit violence and /loody *ore are hea%ed on7

often fro! start to finish.

"%latter%un is a ter! coined in i!itation of cy/er%un7 and favored /y certain youn*er authors. Often

these stories incor%orate technolo*y.

=iceral is in /eteen these to su/*enres7 and its stories ai! for an 3in your face3 *ross6out.

$e/!aster's %rero*ative loo u% your on e4a!%les7 if you !ust.&

abulist horror is a descri%tive cate*ory. ?ts stories often e!%hasi@e a 'different' tone or settin*7 such as an

old6fashioned style. Often they have a distinctive locale7 such as the Cari//ean. "ara "ta!ey's novel

.slan(s is one such. $"everal %u/lications use the ter! Fa/ulist in their na!e and9or self6descri%tion.&

Gothi# (!nglish gothi#0 southern gothi#) 'Gothic' as ori*inally synony!ous ith 'horror7' and in recent decades has co!e to indicate a certain tone

and settin*7 in this and other !aAor *enres. This su/*enre is often ritten in a 'literary' style. Many of these

tales involve an evil fro! the %ast7 as ith haunted !ansionsD and9or encroachin* %ersonal insanity. Most

of :d*ar +llen oe's or fits this cate*ory.

:n*lish and southern *othic tales are set in those locales7 and traditionally have distinct styles. urt "in*er

has several antholo*ies ith this e!%hasis.$'Gothic' is not to /e confused ith the trendy '*oth' lifestyle7 althou*h that /lacness6lovin* su/culture

!ay eventually *enerate a su/*enre of its on.&


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-auntings su/*enre tales feature e4actly this. Often the %ersistant *host is a s%ecific individual7 so!eho

connected to the /uildin* or %rota*onist. The $su%%osedly true& novel and fil! The $!ityville )orror are

fa!ous e4a!%les. The T= sho The Ghost an( Mrs1 Muir ver*ed on ro!ance7 and the 3Cas%ar3 franchise

on co!edy.

-olo#aust tales involve !ass deaths7 hether durin* the horrific 28th century event of that na!eD or

involvin* a si!ilar tra*edy7 %ast or future. Those deaths !i*ht /e due to hu!an slau*hter7 or fro! a %la*ue

or !onsters. ?n a fe /i@arre versions7 everyone has already died7 and today's hu!anity is the

re%lace!ent66/ut doesn't no it. "te%hen in*'s novel and !ovie The Stan( de%ict a near6future

a%ocaly%tic %la*ue.

-umorous horror is fairly co!!on7 and its !aca/re ele!ents are often understated66or e4a**erated into

%arody. The co!ic stri% and T= sho The $((a!s -a!ily are fa!iliar e4a!%les. The antholo*y Bloo( Lite

fro! evin . +nderson is a recent contri/ution to this su/*enre.

.ove#raftian (Cthulhu mythos0 et#1)

These su/*enres are rooted in the %ioneerin* fiction of H.. 0ovecraft. The ori*inals and neer ors have

a distinct style7 ith florid %rose and an overhel!in* %essi!is!. $They're interstitial ith 'science fiction7'

as his .n the Mountains o% Ma(ness as first seriali@ed in that *enre's !a*a@ine $stoun(ing .&

Cthulhu is %erha%s 0ovecraft's !ost fa!ous creation7 an eldrich de!i*od fro! the dee% %ast.

Tiny su/*enres focus on 0ovecraft's other varied creations. + recent e4a!%le is :li@a/eth -ear's short story

3"ho**oths in -loo!.3

"edia tie&in ( Dark Shadows novels0 et#1)

These novels feature characters !ade fa!ous /y Hollyood7 such as Freddy rue*er. They !ust follo

the canon of the ori*inators7 and !ae no %er!anent chan*es in the !ain characters.

Many novels follo u% on the %o%ular T= sho ark Sha(ows7 includin* a series /y 0ara arer7 ho

%layed +n*eliBue in the ori*inal e%isodes.

"ind Control horror e4%loits this %articular fear. The !ethod !ay /e sorcerous or technolo*ical7 /ut the

victi!s are co!%elled to act a*ainst their ill and /etter natures66often hile fully aare of hat's

ha%%enin*. -alse Me!ory7 /y ;ean oont@7 is a %o%ular e4a!%le. Curt "iod!a's novel onovan's Brain

is an early e4a!%le of invasive !edical technolo*y *one ary.

Noir horror is a discri%tive su/*enre. ?t invoes a *ritty ur/an settin*7 !uch lie its counter%arts in other

!aAor *enres. eary7 cynical characters %o%ulate these tales. The Mi(night Roa( 7 /y To! iccirilli7 is a

*reat e4a!%le.

%aranormal is a su/*enre ith !ortal heroes. "uch tales e!%hasi@e a difficult /attle a*ainst evil

su%ernatural encroach!ent7 hether /y a saintly e4orcist or hi*h6tech *host/usters. There are !any

%o%ular e4a!%les7 such as To/e Hoo%er's fil! Poltergeist . $Knlie !ost 'horror' stories7 there's 58658

chance the *ood *uys ill %revail.&

%sy#hologi#al (surreal)

This su/*enre is usually ritten fro! a ti*ht vie%oint. ?s the %rota*onist really seein* terri/le thin*s7 %erha%s /attlin* a*ainst de!onic %ossession 66 or is he $less often7 she& *oin* insane On the fli% side7 this

su/*enre can feature an insane %rota*onist7 such as a tor!ented serial iller. + !odern e4a!%le is the novel

)eart Sha+e( Bo27 /y oe Hill.

"urreal horror incor%orates /i@arre i!a*ery7 often dran fro! vivid and threatenin* drea!s.

2uiet or oft horror is7 relatively s%eain*7 a !ild su/*enre. "tron* e!otion7 rather than e4ternal violence7is e!%hasi@ed. The novels of a!es Her/ert are a *ood e4a!%le.

Rampant Animals is a su/*enre hose na!e says it all. erha%s the do!inant e4a!%les are "te%hen


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in*'s novel and fil! "u3o7 hich feature an unsto%%a/le ra/id do*. +**ressive s%iders and chthonic

!onsters and !any other nasty critters fill such %a*es. $O%%osite this7 illia! F. Cla4ton's 1


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Amateur +nvestigator tales feature a %rota*onist ho is not a la enforce!ent officer or licensed %rivate

investi*ator. Harry e!el!an's 3Ra//i3 series is a *reat e4a!%le. Marcia Muller's novel The Tree o% eath

stars a fe!ale !useu! curator in Me4ico7 and the hero of :dna -uchannan's Mia!i, .t's Mur(er is a !ale

nes%a%er re%orter. + really odd e4a!%le is "hirley Rousseau Mur%hy's novel "at on the &(ge7 hose

investi*ator is an actual cat.

Bumbling ,ete#tive tales are so!eti!es hu!orous and often endearin*. The 3eaches ;ann3 series7 /y

:li@a/eth ;aniels "Buire7 features an a/sent6!inded fe!ale investi*atorD hile ;avid M. ierce's 3=ictor

;aniel3 series stars a Buiry 0os +n*eles cre.

-lae :dards' 1, fil! The Pink Panther introduced the hilarious cultural icon ?ns%ector Clouseau.

Caper (heist)

This su/*enre %laces a croo $or /and of croos& in the role of anti6hero. He $or they& %lan a !aAor cri!e7

ith intricate detail7 thou*h it never *oes ri*ht. $Often the ord 3Ca%er3 a%%ears in the title itself.& ;onald

estlae as the rei*nin* !aster of this story ty%e7 ith his 3;ort!under3 novels and others. ?n :l!ore0eonard's odd/all novel The Switch7 a ealthy idna% victi! ulti!ately taes the side of her a/ductors.

-oth versions of the !ovie /ceans &leven fit this cate*ory.

Heist novels focus on s%ectacular thefts7 often of heavily6*uarded %recious o/Aects. :ric +!/ler's 12

novel The Light o% ay7 fil!ed /y ules ;assin as To+ka+i7 hel%ed launch the !odern 3evade all those

hi*h6tech alar!s3 for!at.

Child in %eril (/oman in peril)

This descri%tive cate*ory incor%orates ele!ents central to countless '!ystery' tales7 thou*h it !ay no lon*er

/e %olitically correct to invoe the! as such. The real6life 0ind/er*h -a/y idna%%in* %rovided the *rist

for nu!erous fictionali@ed versions7 /e*innin* ith +*atha Christie's 1


10/32

$0ate in life7 durin* the fil!in* of a 3erry Mason3 reunion !ovie7 -urr really as so confined.&

-ard&boiled (noir)

These stories occu%y the heart of the *enre7 and feature a *ritty7 cynical7 !ale %rivate investi*ator7 in a

violent ur/an settin* that suits hi! ell. This su/*enre as launched in 1


11/32

e4a!%les. Real6life %olice!an ose%h a!/au*h used his e4%erience to rite The #ew "enturions and

several other novels. ac e//'s 1


12/32

Grant's The Scarlet &!+ress. + different e4a!%le is Ro/in Mcinley's The )ero an( the "rown. $Often the

heroine *ets her !ale lover out of trou/le7 %erha%s rescuin* hi! fro! the clutches of an ene!y.&

Ameri#ana tales are defined /y their Midestern K" settin*. This s!all su/*enre features life in s!all

far! tons7 a/out 188 years a*o. "te%hanie Mitt!an's The Marriage Be( is one e4a!%le.

Ameri#an *est (pre#olumbian)

These ro!ances are set in the sa!e !ilieu as the 'estern' *enre. This interstitial su/*enre de%icts the

stron* o!en ho !oved est7 and hel%ed ta!e the frontier. ohanna 0indsey's Savage Thun(er is one of

nu!erous e4a!%les.

"o!e novels reach /ac to %recolu!/ian ti!es7 ith Native +!erican characters only. anelle Tho!as's

3:cstacy3 series de%icts this ell.

Baby .ove ro!ances e!/race a !odern social trend7 ith heroines ho are also sin*le !others. The !ale

love interest acce%ts /oth !other and child. One oft6cited e4a!%le is "usan :li@a/eth hilli%s' #obo(y's Baby But Mine.

Bodi#e Ripper ro!ance is no out of favor7 at least /y that desi*nation. ?t refers to the article of o!en's

u%%er clothin* of that na!e7 and ho the infla!ed !ale hero *ets it out of the ay7 the sooner to !ae love

to the %erha%s6reluctant heroine. One recent $and controversial& e4a!%le is aughter o% -ortune /y ?sa/el

+llende.

Civil *ar novels are set in the "outh7 on the Confederate side. The lovers !i*ht /e se%arated /y the

Mason6;i4on 0ine7 or stru**le due to %ostar de%rivations. Heather Graha!'s /ne *ore Blue and its

seBuels are a fine e4a!%le. $erha%s Mar*aret Mitchell's e%ic Gone *ith the *in( is the dean of this

su/*enre.&

Colonial Ameri#a tales are defined /y that ti!e and %lace7 and Aust as !uch /y their social !ilieu. The

lovers in this su/*enre !i*ht /e under harsh uritanical stricturesD or ins%ired $and %erha%s divided& /y the

/rein* +!erican revolution. Te!+tation's Trail 7 /y ;ana Ranso!7 fits this su/*enre.

Contemporary ro!ance stories are Aust that7 set in the %resent day. Modern cultural and other ti!ely

references a/ound7 alon* ith %o%ular orldvies. /ver the &(ge7 /y "u@anne -roc!ann7 is a finee4a!%e. The 3"e4 in the City3 franchise is a fa!ous Hollyood e4a!%le. $+s the years %ass7 an a/undance

of hi%6'n6trendy references ill often 'date' a or terri/ly.&

!4oti# .o#ales can /e anyhere on :arth7 fro! +ntarctica to the "ahara desert. "o!ethin* /rou*ht the

%rota*onists there7 hether ith reluctance or ea*erly7 and that's here the relationshi% taes %lace. +t the

conclusion7 they often head ho!e to*ether. Mary o utney is ell6non in this su/*enre7 as ith her

Veils o% Silk 7 hich is set in ?ndia.

amily aga ro!ances tae %lace over a lon* ti!e %eriod7 often de%ictin* several *enerations. ?n !any

stories the location re!ains the sa!e throu*hout7 such as a country estate in :n*land. :!ily -ronte's

classic *uthering )eights is an early e4a!%le.

uturisti# (other planets)

This interstitial su/*enre /rin*s in ele!ents of 'science fiction' $or science fantasy&. The settin* is ultra6

!odern7 yet the relationshi% dyna!ics re!ain fa!iliar. The lovers !ay /e se%arated /y *reat distances7 and

unusual challen*es.

"o!e novels7 such as /rchi( 7 /y ayne Castle7 are set on different %lanets entirely. $?n !ost such novels7

the science is not ri*orous.&

Glit6 or Glamour su/*enre tales focus on the lives and loves of the rich and fa!ous. Many udith rant@

and ;anielle "teele novels fit this cate*ory.


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Gothi# ro!ance is a ide cate*ory7 interstitial ith the 'horror' *enre. ?ts stories have a dar 'at!os%heric'

settin*7 often !ysterious haunted castles. The Ravencli%% Bri(e7 /y ;an Tho!%son7 is a recent e4a!%le.

$This su/*enre is not to /e confused ith 'Ro!antic' novels7 %o%ular in :n*land since the 1(88s.&

-istori#al (!li6abethan0 Georgian0 "edieval0 Tudor0 7i$ing0 et#1)

Th's su/*enre's tales feature settin*s in the non %ast. Often fa!ous %ersona*es are e!%loyed in a

fictional role. +nne Cha!/erlin's novels7 set in Otto!an Turey7 are a ell6non e4a!%le. Shattere(

Rainbows7 /y Mary o utney7 is another.

The various su/6su/*enres are defined /y the :uro%ean settin* and culture na!ed7 and ith the *enre's

e4%ected relationshi%s intact.

+ndigenous or %rimitive is a su/*enre that reaches into the %rehistoric %ast7 and features characters in

tri/al societies. ean +uel's s%ralin* tales $startin* ith The "lan o% the "ave Bear & are the /est7 %erha%s

even the foundin*7 e4a!%les.

+nspirational or piritual (Christian0 Ne/ Age0 et#1)

These ro!ances are ritten ith reli*ious standards in !ind. "e4 is not a feature until the heroine !arries.

Most are e4%licitly Christian7 thou*h so!e feature Ne +*e sensi/ilities. Francine Rivers has !any

%o%ular titles.

$?f there are ins%irational ro!ance su/*enres involvin* other !aAor reli*ions7 such as eish or Hindu or

Musli!7 they're not very ell6non. Hoever7 various '-ollyood' fil!s !ay Bualify.&

.esbian ro!ance centers on the relationshi% of to o!en7 as o%%osed to the usual !ale love interest. One

e4a!%le ith a historical settin* is Patience 6 Sarah7 /y ?sa/el Miller.

"edi#al ro!ances feature %rota*onists in the !edical %rofession7 and the s%ecial concerns that affect their

relationshi%s. This su/*enre /eca!e %o%ular in the 1


14/32

%o%ular e4a!%le. $This sitches roles fro! the %re!ise of the 'action ro!ance' su/*enre.&

Romenti#s is a ro!ance su/*enre for ho!ose4ual !en7 and features !ale rather than a fe!ale love

interests. These novels e!%hasi@e the s%ecific concerns of *ay lovers. + recent e4a!%le is Sur% '# Tur% /y

o!fret and hittier. $Often the covers feature the usual /are6chested hun 66 e4ce%t there are to of

the!.&

Ruritanian9 ro!ances are a s!all su/*enre. These older tales are set in fictional :uro%ean countries.

Ksually they feature the affairs of the nation itself7 alon* ith the character's s%ecific love interests. The

na!e derives fro! +nthony Ho%e's The Prisoner o% 7en(a and its seBuels.

ensual or pi#y are the ro!ance *enre's ter!s for 'erotica.' This su/*enre often features I6rated stories7

ritten /y o!en ith a full %lot and settin*7 and characters ho /uild u% to intense %hysical %assion.

atty "alier's The Love Twin and Rachel Gi/son's Truly, Ma(ly Yours are to of nu!erous e4a!%les.

$Knlie !ost 'ro!ance' su/*enres7 in these tales7 so!eti!es the lovers do not stay to*ether at the end.&-y so!e definitions7 's%icy' ro!ances focus !ore on !arried cou%les.

/eet or Gentle ro!ance tales feature slo6/uildin* relationshi%s7 and no /odice ri%%in*7 or even fou*ht6

don ur*es to do that 66 e4ce%t %erha%s on the o!an's %art. The character's e!otions and soul6searchin*

are e4%lored in *reat de%th. 0isa Mondello's )er )eart %or the $sking is a ell6non e4a!%le. $These

novels are usually short7 and !areted ith a Buic turnover.&

Time Travel su/*enre tales are interstitial7 ith that 'fantasy' $or 'science fiction'& ty%e ele!ent addin* /oth

o%%ortunity and challen*e. The lovers are se%arated /y a nor!ally insur!ounta/le /arrier7 hether a fe

years or !any centuries. One e4a!%le is $ night in Shining $r!or 7 /y ude ;everau4. The 3Outlander3

series7 /y ;iana Ga/aldon7 is realistic enou*h that she could've sold the! as 'science fiction7' /ut a ro!ance

%u/lisher offered far !ore. ?n a fe stories7 a visitor arrives fro! the %ast. $"erious fans have cate*ori@ed

this su/*enre /y hich %ast6ti!e %eriods are involved.&

Science Fiction

is as /i* as7 nay lar*er than7 all of ti!e and s%ace. The scene !i*ht /e a distant *ala4y7 or the far future7 or afa!iliar donton. $Rarely7 a s!all ton.& There is alays so!ething ne and differentD /e it a handy invention7

an alien visitor7 or anythin* you can i!a*ine 66 so lon* as it's scientifically %lausi/le. $Or7 at least7 it does not

e*re*iously violate non science and %hysical las.&

Age Regression tales involve7 not necessarily a lon* life7 /ut a literal reversal of the %hysical a*in* of the

/ody. +n old !an /eco!es lie a teena*er a*ain. This !i*ht ha%%en via so!e virus or seru!7 or /y !eansof an ela/orate !ulti6ste% %rocess. Nu!erous "F tales include a 're*en' %rocess7 availa/le to at least so!e

of its characters. + recent e4a!%le is Ro/ert "ayer's novel Rollback . $Hollyood versions so!eti!es

shrin a %erson clear into infancy7 or even a %uddle of *oo.&

Alien +nvasion stories are self6e4%lanatory. The tar*et is usually7 /ut not alays7 our :arth. The classic ofthis su/*enre is H.G. ell's %ioneerin* 1


15/32

Apo#alypti# (asteroid hit0 gon6o apo#alypse0 nu#lear /ar0 pandemi#0 et#1)

These stories de%ict a non6reli*ious 'end of the orld' scenario. Ksually7 a /and of survivors endure

tre!endous hardshi%s.

+n asteroid is the !ain villain of Niven and ournelle's novel Luci%er's )a!!er 7 and !any others7

includin* Mi!i 0eder's !ovie ee+ .!+act .

Gon@o +%ocaly%se tales are rare7 and feature a stran*e co!ic ele!ent. Neal -arrett7 r.'s novelette 3Ginny

"eethi%s' Flyin* Circus3 is set in the +!erican "outhest7 as is Charles Cole!an Finlay's story 3The

Te4as -ae "ale.3

Nuclear ar ends thin*s eter Geor*e's novel Re( $lert 7 fil!ed /y "tanley u/ric as r1 Strangelove.

+ sudden %ande!ic i%es out nearly all hu!ans in Geor*e R. "teart's classic "F novel &arth $bi(es.

Artifi#ial +ntelligen#e tales assu!e that one7 or %erha%s !any7 artificial !inds /eco!e fully sentient. They

!i*ht /e !ainfra!e co!%uters7 or !o/ile ro/ots7 or !ore recently7 the ?nternet as a hole. One fa!ous

e4a!%le is ;.F. ones's novel "olossus7 fil!ed /y ose%h "ar*ent as "olossus, The -orbin Pro3ect .

Astrobiology centers u%on alien life. Not necessarily intelli*ent or technolo*ical /ein*s7 /ut the very

%resence of life that has evolved /eyond our :arth. Many such tales involve findin* !ysterious life for!s

on Mars or :uro%a7 or floatin* in the at!os%here of u%iter. +n oft6Buoted e4a!%le is +rthur C. Clare's

short story 3+ Meetin* ith Medusa.3

Astroso#iobiology is an interstitial su/*enre that's /oth narro and /road. ?t focuses on the for! and

function of alien $non6hu!an& civili@ations. There are countless e4a!%les. C Cherryh's 3Chanur3 novels

e4%lore the %sycholo*y of a s%acefarin* feline race. $Giordano -runo as /urned at the stae for7 in %art7

airin* such s%eculations.&

Biopun$ is a s%inoff of the 'cy/er%un' su/*enre7 involvin* hacers $and o%%ressive *overn!ent a*encies&

ho !ani%ulate hu!an ;N+ 66 their on and9or so!eone else's. One e4a!%le is aul ;i Fili%%o's novel

Ribo%unk . +nother is +ndre Niccol's fil! Gattaca.

Bioroboti#s involves the %ractical intersection of hu!an %hysiolo*y and !echanical %rostheses or

enhance!ents. Ro/ert "ayer's novel *ake de%icts a /lind *irl offered si*ht /y !eans of an e4ternal

3eye%od3 device that %rocesses her retinal nerve si*nals.

Christian "F is Aust that7 stories hich features an e4%licitly Christian %rota*onist. +nthony -oucher's

short story 3The uest for "t. +Buin73 and the novels of athy Tyers7 are *ood e4a!%les. $"uch tales are

co!!on enou*h to have their on su/*enre7 yet they're unusual in the "F *enre7 es%ecially co!%ared to

the :n*lish6s%eain* Christian %o%ulation. The reasons are o%en to de/ate.&

Cleri#al su/*enre tales involve an or*ani@ed %riesthood7 such as a reli*ious order7 of any hu!an or alien

reli*ion. "et on :arth7 alter Miller's novel $ "anticle %or Leibowit chronicles one sincere and lon*6lived

order. Fran Her/ert's -ene Gesserit $in his 3;une3 franchise& do!inates hu!an history7 yet ithout

%rofound e4%ressions of individual faith.

Communalness is a s%eciali@ed ter! and su/*enre7 involvin* a hu!an future ith relationshi%s and

co!!unities '/oosted' into enhanced consciousness /y cy/ernetic or other !eans. The na!esae ton inFran Her/ert's novel The Santaroga Barrier has achieved a ind of dru*6induced unity. The disci%les of

=.M. "!ith in Ro/ert Heinlein's Stranger in a Strange Lan( achieve this $alon* ith i!%ressive %oers&

throu*h learnin* to s%ea Martian.

Cosy Catastrophe is a ty%e of %osta%ocaly%tic tale7 usually set on :arth7 in hich an isolated *rou% of

survivors sets a/out re/uildin* a ne civili@ation accordin* to their on %articular ideas. $+s ith the 'cosy!ystery' su/*enre7 unAust death has occurred7 /ut the characters don't *et too rattled a/out it.& The foundin*

e4a!%le is %ro/a/ly Mary "helley's less6ell6non novel The Last Man. +nother is ohn yndha!'s

novel The ay o% the Tri%%i(s7 later fil!ed /y "teve "eely.


16/32

Cyberneti# Revolt s%eas for itself7 and is one of "F's oldest and !ost co!!on the!es. Mechanical

servants fail7 or assert their ri*hts7 or *o /erser7 usually ith tra*ic conseBuences. :.M. Forster's novella

3The Machine "to%s73 ritten in 1


17/32

$hile this is a serious enou*h to%ic7 the science in !any of these tales is a/ys!al.&

!roti#a refers7 in this conte4t7 to a science fiction tale ith a stron* se4ual ele!ent. :4%licit se4 !i*ht /e

at the center of the %lot7 or it %lays a vivid role in the character's lives. Nor!an "%inrad's novel The Voi(

"a+tain's Tale co!/ines these and other "F ele!ents.

!4oti# !#osystems ;unusual life forms


18/32

Generation hip stories are set a/oard that ty%e of s%acecraft. Often those shi%s are so lar*e7 and the

voya*e so lon*7 that $!ost or all of& its inha/itants consider other orlds to /e the stuff of le*end. The

su/*enre as %ioneered /y . ;. -ernal7 ith his 1


19/32

.ight or -umorous tales are e4actly that. This lau*h6out6loud su/*enre includes ohn "lade's novel

Mechas!7 ;ou*las +da!s' 3Hitchhier's Guide3 novels7 Rudy Rucer's novel Master o% S+ace an( Ti!e7

and !any others.

.ost *orlds (mysterious islands) is one of the oldest "F varieties. "ir +rthur Conan ;oyle's novel The

Lost *orl( 7 /ased u%on "outh +!erica's then6!ysterious 'te%ui' %lateaus7 lent its very na!e to this

su/*enre. 0ater novels 'discover' isolated valleys in central +sia or elsehere.

Television's %o%ular series Lost 7 fro! .. +/ra!s7 continues the tradition ith its /i@arre isolated island.

"ath is a tiny su/*enre7 si!ilar to '*edanen' and 'hy%ers%ace' science fiction. These stories center around

actual !ath!atical conce%ts. ;ou*las Hofstadter's scholarly to!e Go(el, &scher, Bach uses short fictional

stories as illustrations. Catherine +saro's novella 3The "%aceti!e ool3 features life6and6death !ath

%u@@les. =andana "in*h's short story 3?nfinities3 is /ased u%on !ath's !ost %rofound conce%ts.

"edia tie&in (game&based0 tar Tre$ novels0 et#1) is a self6e4%lanatory su/*enre.hether ori*inally a /oo7 a video *a!e7 or a screen%lay7 the novel versions /uild u%on these tale's on6

screen %o%ularity. These stories !ust confor! to strict rules7 lie not alloin* the !ain characters to

chan*e very !uch7 so that they'll continue to !atch the series' canon. $Often these /oos have a hu*e

!aretin* /ud*et7 and they tend to do!inate chain /oostore shelves.&

"i#robiologi#al "F stories feature tiny life6for!s7 hether :arthly or alien7 as a do!inatin* force. They

!i*ht cause a disease7 or act as a transfor!in* a*ent7 deli/erately or not. Gre* -ear's novel Bloo( Music is

a *ood e4a!%le. anine :llen )oun*'s novel The Bri(ge is another.

"ilitary is a hu*e su/*enre7 ith its on s%eciali@ed %u/lications. "oldiers and arfare are central to these

stories. "o!e are near6future7 and de%ict hu!ans fi*htin* each other. Others s%an star syste!s and even

hole *ala4ies7 ith vast on*oin* conflicts ith aliens. ;avid ;rae and :li@a/eth Moon are !asters of

this field7 hile oe Hald!an's novel The -orever *ar ill soon /e fil!ed. ;avid Feintuch's 3Ho%e3

novels essentially translate the 1


20/32

Ne/ *ave "F as a !ove!ent and a literary style7 /e*innin* in :n*land and s%readin* to the K"+ and

/eyond. Michael Moorcoc launched the trend in 1#7 and Harlan :llison's to 3;an*erous =isions3

antholo*ies are no vieed as its hi*h %oint. This su/*enre rose and fell ith estern society's e!/race of

18s radicalis!7 and desire to 'shoc the /our*eoisie.' $:choes of the !ove!ent have affected "F7 and

literature in *eneral7 ever since.&

Nanopun$ is a narro su/*enre7 and one of cy/er%un's !any offshoots. ?t e4%lores to effects of advanced

nanotechnolo*y on hu!anity. 0inda Na*ata's novel Tech )eaven is the %rinci%al e4a!%le7 hile Michael

Crichton's novel Prey introduced the conce%t to the !ainstrea!.

O##upational (a##ountants0 drivers0 plumbers0 sales reps0 et#1)

This su/*enre enco!%asses a ide reach7 and yet re!ains unusual. ?t features /lue collar %rota*onists7 on

:arth or in reco*ni@a/le circu!stances7 rather than hifalutin scientists or astronauts. The hero of ohn

;eChancie's novel Starrigger is a truc driver. iers +nthony's novel )ar( Sell realistically de%icts severaloraday occu%ations. Most other e4a!%les are short stories.

%arallel 'niverse "F is si!ilar to the Multiverse su/*enre. ?n this case7 the other universe$s& can /e very

stran*e7 ith differin* %hysical las7 or $nu!/er of& s%atial di!ensions. ?saac +si!ov's novel The Go(sThe!selves is a classic e4a!%le7 ith its utterly different intelli*ent aliens. Gre* :*an's novel ias+ora

features !ind6/endin* descri%tions of a four6di!ensional universe.

%astoral or mall To/n "F taes %lace in that sort of settin*. $Most "F is ur/an7 at least hen tain* %lace

on :arth.& Clifford "i!a's classic novel *ay Station is set entirely in rural isconson7 hile the heroine of

ay enyon's novel Lea+ Point is a s!all6ton lass.

%lanes of !4isten#e (altered #ons#iousness)

This su/*enre rese!/les the Multiverse cate*ory. ?n this case7 the other %lanes are often '%sychic' or

's%iritual' in nature7 and are reacha/le /y alterin* one's state of aareness. The novel .n(ia's Story7 /y

athlyn ". "tar/uc7 de%icts its youn* heroine ?ndia e4%eriencin* !ulti%le states of consciousness via

!editation7 dru*s7 etc. +nother e4a!%le is Hoard Hendri4's novel Stan(ing *ave. $?n !ost such tales7 this

*oes /eyond %assive e4%erience7 into '*rantin*' the characters s%ecial %oers.&

%lanetary Roman#e is an interstitial su/*enre that shades into the vast Ro!ance *enre. ?n this case7 the

love story is e!/edded in futuristic $or fantastical& technolo*y7 and the strivin* lovers can /e se%arated /y

!ore than :arthly distances. :d*ar Rice -urrou*hs' 3-arsoo!3 series features luscious Martian %rincesses7

hile +ndre M. Greeley's novel -inal Planet does a *ood Ao/ of fusin* these often dis%arate literary

styles.

%ost&apo#alypti# stories are set ell after so!e vast u%heaval. Rather than shoin* the i!!ediate

after!ath7 these tales de%ict a ne society that has arisen fro! the ashes7 usually here on :arth. Often the

survivors re!ain leery of technolo*y7 as in :d*ar an*/orn's classic novel avy. $?ts Holy Murcan Church

!aintains a /an on *un%oder7 alon* ith 3anythin* else that !i*ht reasona/ly /e construed to contain

ato!s.3&

%ost#yberpun$ descri/es a narro and indistinct su/*enre. These stories /rea ith the tro%es $such as

cynical youn* hacers in *arish ni*ht clu/s& that do!inated the cy/er%un trend. Ksually set on :arth7

these stories !ae a conscious effort to /e !ore %ositive. One e4a!%le is Gre* -ear's novel >ueen o%

$ngels.

%osthumanism is a su/*enre tied to a %hiloso%hical ty%e !ove!ent. $Goin* /eyond the %ercieved li!its of traditional Hu!anis!7 as e4%ressed in fiction.& ?n %ractice it's very close to Transhu!anis!7 and is

controversial even to define. Charles "tross's novel $cceleran(o is one e4a!%le.


21/32

%rogenitive "F is a s!all su/*enre7 hich features hu!ans and9or aliens ho create science fiction of their

on. One e4a!%le is =ernor =in*e's novel Gri!!'s *orl( 7 in hich sea*oin* hu!ans on another %lanet

o%erate a res%ected science fiction !a*a@ine. 3The Garden + Harhath "cience Fiction Ro!ance73 /y

:leanor +rnason7 is a short "F story told /y aliens. ?n the Star Trek4 S? T= e%isode 3Far -eyond the

"tars73 "iso is shon as a 1


22/32

#ientifi# Roman#e9 is an old descri%tion7 %ri!arily -ritish7 that %redates the ide use of the ter! "cience

Fiction. ?t has seen occasional revivals7 !ain* it a su/*enre.

hapeshifting tales are a sta%le of s%eculative fiction. +s an "F su/*enre7 this a/ility is e4%lained in

scientific ter!s. ?t varies fro! *radual cellular alteration to a near6instantaneous a/ility to chan*e si@e and

for!. ohn Ca!%/ell's 1!nlarging -umans (endless0 episodi#0 giantess)

This su/*enre is self6descri%tive7 and has a lon* tradition7 !er*in* /ac into !ytholo*y.

?n the short story 3He ho "hran73 /y Henry Hesse7 the %rota*onist ee%s ri*ht on shrinin*7 visitin* a

succession of 'ato!6as6*ala4y' orlds.

0eis Carroll's novel $lice in *on(erlan( de%icts +lice *roin* and shrinin* in a !ysterious fashion.

Giantess stories are e%ito!i@ed /y the fil! $ttack o% the A: -oot *o!an7 fro! Nathan uran. $They often

feature a se4ual ele!ent7 thou*h in that fil! the o!an's clothes *re alon* ith her.&

o#ial "F is a ide su/*enre7 hich co!/ines anthro%olo*y ith futuristic the!es. ?ts focus is on the

social as%ects of a distant society7 rather than fancy technolo*y. ?saac +si!ov's short story 3Ni*htfall3 is a

classic e4a!%le.

oft "F is cast as the literary o%%osite of 'hard' "F. More %recisely7 it focuses on the future develo%!ent of

the 'soft' sciences $the hu!anities&7 rather than *ad*etry. Krsula 0eGuin's 3Hainish3 novels are *ood

e4a!%les. ?saac +si!ov's 3Foundation3 novels feature a %redictive social science called sychohistory.

pa#e Opera (noir)

This is a hu*e descri%tive cate*ory. The su/*enre features sash/uclin* action7 set in a vast %anora!a.

There are countless e4a!%les7 and al!ost all of the !ost %o%ular "F novels and fil!s7 such as Star *ars7

are usually included. Often they have ele!ents rese!/lin* 'fantasy7' hich are assu!ed to /e technolo*ical7

/ut there's no e4%lanation %rovided.

Noir tales are an ho!a*e to darer6toned tales of the %ast7 such as Ray!ond Chandler's distinctive style.

Ron Goulart's "F novels do this ell.

ports "F is a tiny su/*enre7 re%resented !ostly $if not e4clusively& in short stories. ?n a fe stories7 analien visitor shos a love for /ase/all. Most of the others de%ict the i!%act of !odern science7 and *enetic

en*ineerin* in %articular7 on %rofessional s%orts. $nalog !a*a@ine has run several of these in recent years.

$ac Halde!an7 /rother of the /etter6non oe7 has ritten nu!erous short stories in this su/*enre.&

pun$y -eroine tales feature one as their %rota*onist7 to the %oint they're usually referrred to 3/y3 her7

!ore than /y their %lot or %re!ise. ;avid al!er's novel &!ergence7 featurin* youn* Candy "!ith6Foster7

is a *reat e4a!%le7 as is its lon*6aaited seBuel Tracking . +nother is +le4ei anshin's novel Rite o%

Passage7 ith the adventures of youn* Mia HaveroD %lus Ree%song /y Carol "everance7 ith its

transfor!ed +n*ie ;ins!an.

pyi is a descri%tive cate*ory that /rin*s es%iona*e into the future7 ith clever hi*h6tech duels. Often the

technolo*ical *ad*ets are 3ay over the to%73 in a s%oofish fashion. The ;aniel Mann fil! /ur Man -lint is a fine e4a!%le. $-y so!e definitions the 'fi' !eans *eneral fiction7 and this cate*ory is defined !ore

/roadly.&

teampun$ (gaslight0 /eird /est)

This is a ra%idly6*roin* su/*enre. "uch tales are usually set in the =ictorian era7 and %resu!e that its

characters have develo%ed a for! of hi*h6tech at that ti!e. They are careful to avoid /acdatin* anycurrent attitudes or theories. The novel $nti0.ce7 /y "te%hen -a4ter7 is a Buiry e4a!%le.

Gasli*ht $also Gasla!%& stories ar defined a little !ore narroly. Ron Miller's antholo*y $stronauts By

Gaslight has five stories hich actually date fro! that ti!e.


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eird est tales are set in the frontier K"+7 and !any feature real6life %ioneers and inventors. Michael

iller's short6lived T= sho Legen( starred ohn de 0ancie as Niola Tesla.

$The "tea!%un su/*enre has s%aned an entire artistic and cultural !ove!ent7 ith 'real' custu!es and

!ore.&

tylisti# (,i#$ian0 gon6o)

These stories co!%rise a /road and ne/ulous su/*enre7 defined /y so!e distinctive or odd/all style.

;ician tales are i!/ued ith the surreal as%ect of .. ;ic's novels.

Gon@o "F stories consciously e!/race the literary style of Hunter ". Tho!%son.

/ord and %lanet "F /rin*s a !edieval as%ect to interstellar s%ace. oul +nderson's 3:n*lish :!%ire3

novels literally trans%ort :n*lish ni*hts into rulershi% of alien orlds.

yntheti# Biology stories feature artificial life for!s. ?t's a s!all su/*enre7 and its %rota*onists are often

/iolo*ists ho crac the secret of creatin* life. 0inda Na*ata's novel Li!it o% Vision de%icts a created6then6evolvin* ne lifefor! called 0O=s.

Terraforming "F centers around vast %roAects7 ith the characters /usy alterin* hole %lanets $such as

Mars& to !ae the! !ore earthlie and ha/ita/le. i! "tanley Ro/inson's e%ic 3Mars3 series is a *ood

e4a!%le. $The ter! itself as coined /y "F author ac illia!son7 /ac in the 1


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*orld&building ;unusual solar systems


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He!in*ay is said to have ritten 3For sale7 /a/y shoes7 never used.3 These stories are not necessarily

the!ed 'in advance7' and tend to /e %oi*nant rather than have a tist endin*.

T/itterfi# is one of the neest non su/*enres. ?t is a creative s%inoff of the %o%ular Titter

co!!unications service7 and is %ro!oted /y several riter's or*ani@ations. :ach story !ust fit ithin one

Titter %ost $or 'teet'& of feer than 1#8 characters. $To facilitate the creation of actual stories7 ith so

little to or ith7 usually a the!e is s%ecified.&

Thrillers (also Suspense

for!erly called A#tion $or Adventure& stories7 is a *enre defined /y e4traordinary situations that su!!on an

e!otional thrill. The ti!e !i*ht /e the %ast or near future7 and the settin* e4otic or fa!iliar. ?n every case the

characters are se%t /eyond a hu!dru! life7 /y their career or so!e unforeseen circu!stance. erils ill sur*e7and /los are traded7 /ut the hero ins in the end. $Often the author has s%ecial 'inside' noled*e 66 or if not7 as

ith arcane cons%iracies7 it sure see!s lie it.&

This *enre has /een non /y several na!es over the decades. '+ction' is so!ehat dated7 hile 'adventure'

re!ains as a /roader descri%tion.

erha%s a 'thriller' concentrates !ore on fast e4ternal action7 and a 'sus%ense' tale on the /uildu% of tension /eforehand. $+ny such distinctions are su/tle7 and not idely advertised.&

Ksually these tales are set in the %resent day7 or ithin 28 years or so. Hollyood loves thrillers7 and all of these

su/*enres have ins%ired nu!erous !ovies.

The Rules Of Thriller Genre Novels :!%hasis in thrillers is on stron* characters7 action7 and fast %acin*. Thrillers

often sho clear anta*onists and %rota*onists. Thrillers can /e *ra%hic and *ritty or so!ehat ta!er. Focus is

alays on sus%ense.

Ho lon* is a thriller novel Thriller novels *enerally run /eteen


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via secrecy *ives the hero $often a re%orter& so!ethin* to %ursue. For e4a!%le7 "cortia and Ro/inson's

novel The Glass .n%erno7 fil!ed $in %art& as The Towering .n%erno7 has shoddy construction result in

nu!erous s%ectacular deaths. Mie Nichol's 1


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horde of i!itators.

Romanti# is a fairly ne thriller su/*enre7 %ri!arily fro! ro!ance %u/lisher HarleBuin's "ilhouette

division. $Their offerin*s are technically non as a 'continuity series.'& ?nstead of a 'ro!ance' style %lot6

line7 these novels9series follo 'thriller' %atterns7 ith lon* story arcs and nu!erous crossover characters7

e!%hasi@in* stron* and co!%assionate heroines. One e4a!%le is the 3+thena Force3 series7 ith nu!erous

authors.

urvivalist thrillers center u%on such ru**ed s%eci!ens of hu!anity. + disaster has struc a s%ecific *rou%

of %eo%le7 if not the entire %lanet7 and survival de%ends u%on tou*hness and sill. erry +hern's e%ic

3"urvivalist3 series leads this %ac7 and devotes lon* descri%tions to every nife7 *un7 and other ea%on in

use. ;avid -rin's novel The Post!an7 fil!ed /y evin Costner7 reverses this /y !ain* survivalists the

villians. On a !ore %ersonal scale7 Michael +r!stron*'s short story 3+ 0ittle al Ho!e3 de%icts its

stranded %rota*onist hiin* 588 !iles across the +lasan ilderness.

Te#hnothrillers are a cate*ory lar*e enou*h to al!ost !erit full *enre status. To! Clancy is the undis%uted

father of this su/*enre7 !ostly via his 3ac Ryan3 franchise. These tales are interstitial ith 'science

fiction7' in that cuttin*6ed*e technolo*y alays %lays a ey role in the %re!ise and on*oin* conflicts. ;ale

-ron7 Harold Coyle7 and nu!erous others have folloed suit. ?n ;ean ?n*'s novel Loose "annon7 the

nerdy %rota*onist saves hi!self via hand6tinered little devices. $:4%erience and advisors often lend

authenticity7 yet so!e of these novels 66 and their fil! versions !ore so 66 sli% /adly on the science.&

Treasure -unter stories are usually interstitial ith other 'thriller' su/*enres. hatever their !otive7 these

%rota*onists see lost treasures of o/vious innate value7 such as hidden *old $?nca7 %irate7 Confederate7 etc.&

Many of Clive Cussler's novels fit the /ill. The 3National Treasure3 !ovies7 fro! on Turteltau/7 tae this

%re!ise to ludicrous e4tre!es.

!esterns

is the only !aAor *enre defined /y a s%ecific ti!e and %lace. +l!ost all are set est of the Missouri

River7 hile so!e e4tend into +lasa or Me4ico. Ksually these tae %lace /eteen a/out 188 and 1


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ritten in 1 's%a*hetti estern' fil! The Goo(, the Ba( an( the 5gly %laces Clint :astood and 0ee =an

Cleef in the hite and /lac hats. $Often this su/*enre is !ore *rittyD in a an e!otional7 violent7 and even

dusty sense7 than its +!erican cousins.&

Gunfighter tales are an iconic estern su/*enre. ?n reality7 to ar!ed !en facin* each other on a dirt

!ain street ha%%ened only rarely7 yet it's central to these %lots. Often a 'hite hat' %rota*onist reluctantly

a*rees to *o u% a*ainst a cruel '/lac hat' villain $hether an outri*ht cri!inal or a corru%t =?&7 on /ehalf

of o%%ressed settlers. ac "chaefer's 1


29/32

if3 cultural clash. $as General Custer a hero or a villain&

Many older +!erican fil!s de%ict the ?ndians as ruthless sava*es to /e se%t aside. ?n +rthur enn's 1 they

a%%eared in to novels Bernar( Lile7 /y ere Cle!ensD and The Rangers an( Regulators7 /y +..+rrin*ton. Chuc Norris's T= sho *alker, Te2as Ranger is a !odern e4a!%le.

"e4i#an /ars (Te4an independen#e)

"tories in this su/*enre include the decisive *eo%olitical events of 1#5 6 #. Marion G. Otto's novel )ugh )arrington is a *ood e4a!%le.

Many Te4an tales feature the sie*e of the +la!o. "te%hen Harri*an's novel The Gates o% the $la!o is a

clear e4a!%le.

$Me4ican stories often de%ict the secession of Te4as7 and the K" invasion of =eracru@ and Me4ico City 66

/ut ith heroes and villains reversed.&

"odern +ndians is an interstitial su/*enre7 in that its stories are set in the %resent day7 and the %rota*onist

!ust /rid*e a venera/le herita*e ith +!erican culture and technolo*y. Tony Hiller!an's novel "oyote

*aits7 fil!ed for T= /y an :*leson7 is %erha%s the /est non e4a!%le. $Hiller!an's /oos are often

listed ith the '!ystery' *enre7 as they feature the NavaAo tri/al %olice. To his credit7 they're i!!ensely

%o%ular in NavaAo country.&

"ormon tales center u%on the settle!ent of Ktah in the 1#8s and 58s7 under the leadershi% of -ri*ha!

)oun*. There as !uch herois! and tea!or7 and a ne*otiated har!ony ith the local ?ndians. Marilyn-ron's novel The *ine0ark Sea o% Grass is an unstintin* de%iction. -ro! &verlasting to &verlasting 7 /y

"o%hie Free!an7 !irrors real6life e4%eriences. $Many of these novels are %u/lished /y i!%rints associated

ith the 0;" church.&

Reflectin* the controversy that has lon* do**ed that reli*ion7 so!e de%ictions are rather nasty. +rthur

Conan ;oyle's 1


30/32

ac 0ondon e4tended the 'estern' *enre northard7 ith realistic accounts of the 1 *old rush into

+lasa and the )uon Territory. His novel The "all o% the *il( stands out.

2uest esterns involve a %rota*onist on a !ission7 set a*ainst a harsh unta!ed frontier. Ca!eron udd's

novel The >uest o% Bra(y enton is an oft6cited e4a!%le of this su/*enre. :l!er elton's "lou(y in the

*est is another.

Railroad stories center u%on a titanic %roAect the /rid*in* of the east and est coasts /y the Central

acific and Knion acific lines. Ru**ed *eo*ra%hy7 indentured Chinese orers7 and international scandals

add de%th to this !ilieu. ohn Ford's 1< as seen as a reunitin* event for a %ost6Civil ar +!erica.&

Range /ars (sheepmen)

These stories center u%on a %eculiar estern rivalry7 as the /est *ra@in* land as ra%idly clai!ed /y

ranchers7 hile ho!esteadin* far!ers /e*an to fence it in. Oen ister's classic 1


31/32

"oun# $dult

tales are ritten for fols fro! a/out telve to ei*hteen years of a*e. The %rota*onist is alays of that a*e7 as are

!ost of the characters. He or she can live a /i@arre !a*ical life7 or a dreary su/ur/an one. There are fe li!its onthe 'issues' dealt ith7 and readers ill identify ith the character's inner travails as ell. $+dults ill enAoy the

/etter ones.&

This *enre has *ron tre!endously in %o%ularity7 to the %oint here the Harry otter /oos have /een creditedith revivin* literacy in the youn*er *eneration. ;ecades a*o7 such /oos ere carefully $so!e ould say

%uritanically& vetted for tone and su/Aect !atter7 /ut these days al!ost anythin* *oes. "till7 these /oos are

e4%ected to contain so!e %ositive life lesson.

Amateur leuth stories are defined /y their na!e. The youn* %rota*onist$s& investi*ate cri!es7 so!eti!es

/endin* the rules7 even tain* a fe serious riss. The lon*6runnin* 3Nancy ;re3 and 3Hardy -oys3

franchises esta/lished this su/*enre in the %o%ular culture. ;onald "o/ol's 3:ncyclo%edia -ron3 novels

ere Buite %o%ular. $Often there's a /u!/lin* adult foil.& Graha! McNa!ee's novel $cceleration is a

recent e4a!%le.

Christian (e/ish) This su/*enre's /oos contain e4%licit references to the Christian faith7 and in !any the youn* %rota*onist

faces challen*es to his or her dee%est /eliefs. Many of these stories are %u/lished /y Christian i!%rints7 andare intended to /olster faith in a secular orld7 if not to reach out to non/elievers. The Miracle Girls7 a

novel /y ;ayton and =ander/ilt7 has a diverse California cast.

+ s!aller nu!/er of )+ novels feature eish %rota*onists. /ne More River 7 /y 0ynne Reid -ans7 is a

fine e4a!%le.

antasy (#omedi#0 s#ary)

This is %ro/a/ly the !ost %o%ular )+ su/*enre. )oun* %eo%le are not often ena!oured of the !undane

oraday orld7 and their vivid i!a*inations readily tae to the fantastic ele!ents in these stories. ..

Rolin*'s 3Harry otter3 franchise $at once derivitive and ell6crafted& toers over this cate*ory66

challen*ed /y "te%henie Meyer's 3Tili*ht3 series.The 3+ "eries of Knfortunate :vents3 /oos7 /y ;aniel Handler a..a. 0e!ony "nicet7 contain !uch

hu!or7 if dry and su/tle.

Nu!erous horror stories are ritten for youn* %eo%le7 so!eti!es as a '/ehave or else' sort of life lesson.

;arren "han's 3CirBue ;u Frea3 series is a %otent e4a!%le7 and "elina Rosen's antholo*y Stories That

*on't Make Your Parents )url another.

Gay Teen (lesbian)

These tales %ortray youn*er fols dealin* ith their se4ual orientation. ?n this su/*enre they eventuallyfind acce%tance7 for the!selves and fro! at least so!e of their loved ones. ;avid 0evithan has ritten

several such /oos7 includin* the a%tly na!ed Boy Meets Boy. $"tories in this su/*enre don't shy aay

fro! star realities such as H?= infection.&

0es/ian )+ /oos are %erha%s less co!!on7 and focus on the concerns of youn* o!en. "ara Ryan's novel &!+ress o% the *orl( is a fine e4a!%le.

$This su/*enre is7 no sur%rise7 %retty controversial. +s in does it influence or even 'recruit' confused and

i!%ressiona/le youn*sters 66 and9or 66 affir! ids ho are 'different7' and steer the! aay fro! alienation

if not suicide&

-istori#al tales7 for a youn* %erson7 aren't necessarily set centuries a*o. Mar*aret "idney's 3Five 0ittle

e%%ers3 series7 %u/lished /e*innin* in 117 is a star yet heartfelt de%iction of life in an earlier +!erica.

Charles ;icens' /liver Twist $and several others& aren't re*arded as )+ novels7 yet center on youn*

%rota*onists.


32/32

Other is a catch6all descri%tive cate*ory7 as there is such a variety of )+ stories. -eteen s!all %u/lishers

and Buiry authors7 there's no *ood ay to classify the! all. ;av iley's %o%ular 3Ca%tain Knder%ants3

series is one e4a!%le. +!/er i@er's novel /ne Butt "heek at a Ti!e %ushes the 'hor!one6soaed teena*e

life' envelo%e further than ever. $The !aAor )+ %u/lishers7 "cholastic /ein* the *enre's 88 %ound *orilla7

issue a lar*e nu!/er of titles and su/Aects.&

Realisti# .ife )+ stories focus on Aust that7 ith co!!on challen*es /ut nothin* arcane or /i@arre. $Not

that ordinary days in our !odern orld can't tae so!e sur%risin* turnsL& erha%s the !ost fa!ous novel in

this su/*enre is .;. "alin*er's The "atcher in the Rye. 0i@ Rosen/er*'s 94 $ #ovel in Prose Poe!s is

another fine e4a!%le.

#ien#e i#tion )+ tales are interstitial7 and focus that vast *enre on youn*er fols. Ro/ert Heinlein's

do@en 'Auvenile' novels7 such as Rocket Shi+ Galileo7 have introduced to *enerations to the onders of the

universe. ;avid -rin's novel Sky )orion launches a ne series7 and "u@anne Collins's e4cellent The )unger Ga!es another.

Mainstream (also %loc&usternovels are done in /i* %rint runs7 and ith a lar*e advertisin* /ud*et. Often they are very lon*. On the cover7 a

fa!ous author's na!e !ay /e in /i**er %rint than the %articular story title. $"o!eti!es7 %lausi/ility and carefuleditin* ill tae a /ac seat.&

iterary

Then e have 'literary7' as o%%osed to '*enre7' fiction. The distinction is ide and !ulti6faceted7 and yet /lurred7

%erha%s at the sa!e ti!e. ?t's said that one a%%eals ith a 'Buality' ritin* style7 and the other ith a co!!on

'*ra//er' story. $+rtistic !erit versus chea% thrills& ?n the K"+ and :uro%e7 this is darned near a social6class

distinctionL

0iterary fiction e!%hasi@es the %rose itself. The author is reco*ni@ed as a /rilliant ords!ith7 re*ardless of the

tale's su/Aect7 no !atter ho !undane. Often the %rota*onist lives an e!otionally intense $if rather un%leasant& life7

/ased u%on so!eone's actual e4%eriences.

)*perimental

fiction deli/erately *oes a*ainst convention7 concernin* style and %hrasin*7 etc. The ai! !ay /e to 3%ush the

envelo%e73 if not to 3shoc the /our*eoisie.3 The nu!/er of /oos actually sold is su%%osed to /e irrelevant.
http://en.wikipedia.org/wiki/Epater_la_bourgeoisiehttp://en.wikipedia.org/wiki/Epater_la_bourgeoisie

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