Recently, I had a speed date-style Zoom meeting with a generalist/genre book agent. It was an interesting and informative experience. I’d even say that on the whole it was a good experience. But it was also awkward and distant, and a little bit depressing. I’m clearly not the author this agent wants to represent, that’s the first thing to say. And I’m OK with that. As with any speed dating sort of situation, you’re looking for something to click.
When it became clear that this wasn’t going to be a thing, I asked a couple of biz questons and they were open and honest with their answers. Helpful. Cheerfully so.
I asked about how it is out there for trans authors these days. I was told that trans adult fantasy authors can pretty much do what they want, it doesn’t seem to matter. But kidlit is getting hit pretty hard, lots of bannings, lots of pushback.
I guess we’ve found the actual canaries in the coalmine. If you’re a trans-inclusive YA or middle grade author, you’re having a rough go right now. I don’t think that points to a winner in the contest, but it does make it clear that it IS a contest. There’s a war being fought out there. And if the trans kid’s authors lose, I’m next.
What the agent kept repeating when asking me to talk about my project is “What are the stakes? What’s the thing I can’t walk away from?” This caused me some cognitive dissonance because the whole idea of my novel is the protagonist walking away, over and over. And it’s not that my main character is an anti-hero. Sometimes Rose walks away from things by choice, sometimes she walks away because she’s forced to. Sometimes she’s kidnapped. Sometimes a disaster happens, either on a large or a small scale. Sometimes it’s her fault. Sometimes she’s a victim. Sometimes it’s a sacrifice she makes. And that’s a story too. It’s a story I feel personally, because it’s how my life has been.
My perception of the general run of fantasy novels these days — and I’d have to say that most everything I’ve read in the genre for the last ten or so years fits into this formula — is that you start with an action sequence, it sets up a conflict and some tension, the bulk of the book is the main character on the run and under the gun based on the conflict/tension, but also there’s some guy or girl who is very very annoying until they’re not, then there’s an aha moment when the protagonist figures out what’s really going on and consequently how to win, and then there’s a huge high-stakes battle, like a multiple orgasm of crash! bang! pow! as big as whatever the author can imagine, then a few pages of happy every after.
Whose life is like that? Having read a hundred iterations of that, who needs it again? I think this is a problem, and it’s not something I want to “create” the next iteration of, although I will say the story I’m working on actually does follow that formula to some extent, though it doesn’t have that ratchet-up, ratchet-up, and ratchet-up-again thing going on.
At some point during the interview, I began to imagine the novel I would write to meet the standards of this era of fantasy fiction. The title would be “Rama Lama Whippity Ding #1” and the first sentence would be “How do you like your steaks?” I bet I could get a few thousand words out of riffing on that.
Clearly, I wasn’t made for these times.
Please consider liking and commenting on this post. Subscribe if you can – it costs you nothing and helps this site thrive – and share this post with those you know who might appreciate it.
Broadcast From the Brain Radio 
You must be logged in to post a comment.