Literary Fiction Submissions
Defining literary fiction in such a way as to provide criteria by which one might identify each example is, to say the least, difficult. The title tends to suggest ‘fine writing’, yet there is plenty of fine writing in genres deemed not to be literary fiction. Similarly, it seems ridiculous to cite ‘themes’: all genres can have the same themes of love, death, betrayal, hope, bitterness… It is tempting to suggest that literary fiction is necessarily more layered than other genres, but as an editor I would always work to develop layers in a work whatever the genre. And it is perfectly possible to have a literary work which is comparatively narrow in focus.
When it comes to seeking submissions for an imprint the simplest criterion to use for literary fiction is ‘that which is not clearly belonging to another genre’. It seems a very humble criterion for such a grandiose title, but it works reasonably well. Unfortunately it then leaves us with the problem of explaining what we want to publish beyond ‘stuff that doesn’t fit anywhere else’.
What we want is essentially the same is we want for our other imprints but without the genre contexts. Strong, original writing which is sincere, has depth and a moral dimension. These terms can be explained further: ‘Strong’ doesn’t mean loud, violent, explicit sexually though it may be any of or all of these; a small, quiet novella which explores and dissects human emotions would be very welcome. ‘Original’ does not mean shocking, something never been done before, nor does it mean quirky (and whimsy gives me heartburn), although it may be any or all of these too; something not simply a re-hash of another book. Sincere isn’t some sentimental notion for cynicism may be sincere. What we do not want are those false books intended to attract attention to the author, the needy, posturing books of which there are, unfortunately, too many. Ego may drive you to success, but it should get out of the way of the writing. Finally, depth and a moral dimension: the novel should take the reader somewhere they haven’t been or reveal aspects of familiar places not noticed before. By ‘moral dimension’ we do not mean moralising: nihilism is a moral stance every bit as much as is religious faith and often may be the result of a far deeper moral sensibility and questioning.
As for style, subject matter, length – anything goes (but we may not print copies of a 1,000 page epic; though we might). Family saga to stream of consciousness, the outré or some Oulipo, poetry and political, all are welcome.
Of course, many are called, but few will be chosen. This is primarily because we do not have the resources to edit and promote effectively many novels all at once and we expect to spend serious time and funds on each work. But it will also be because are very selective in terms of quality and appropriateness – which largely comes down to how we feel about a work on a personal basis. We assume that authors would prefer their publisher genuinely to understand and believe in and simply like their book rather than seeing it as an easy way to make some quick money. If we say no it certainly doesn’t mean your book is bad but that it didn’t work for us; we will endeavour to say why.
So please, look at the basic submission guidelines (and please, please don’t spend ages on a ‘pitch’! But a simple, clear synopsis does help) and go right ahead.