One of those writing clichés tells
aspiring authors to “write the book you want to read.” That may be true, but
make sure your book fits into an accepted genre or no one else will read it.
When I was writing my noir thriller Skin of Tattoos, I never gave a thought
as to what genre it fell into. After all, a good story is a good story, right? Not
quite. As I later painfully discovered, genre is critical. It is how publishers
market your book. If your book doesn’t fit neatly into a category, they don’t
how to sell it and guess what, they won’t buy it.
Luckily, genre didn’t seem to matter
in getting a literary agent. After much querying I landed a good agent, after
first signing with a bad one. But then the agent had to figure out how to pitch
the book. Was it noir, which involves telling an inside crime story from the
point of view of the criminal? Well, yes. My novel is set in the gang
underworld of Los Angeles and is told in first-person by a gang member
protagonist.
Or was it a thriller, which involves
escalating tension between two characters as they battle over high stakes? That
also loosely applied to my book as Mags, the narrator, is in a power and
revenge struggle with his rival homeboy Rico for leadership of the gang.
Then there was my style. Amid the gang slang, Spanish phrases and
occasional profanity, I wrote a lot of lyrical prose that was atypical for a thriller.
Plus Mags’s character has an arc. In the end, the agent described it as a “literary
thriller.” Although I hadn’t thought of myself as a thriller writer before, I
thought that was an accurate enough description and out the book went.
The rejections rolled in. There was
high praise for the writing, story elements, originality, and so on, but the
most pervasive comment was “who would be the audience for this book?” In other
words, “literary thriller” wasn’t cutting it, especially coming from an unknown
author. My agent consoled me, saying these were rejections based on “business
decisions,” which was much better than having the book rejected for story
reasons. Still, I saw that my book was too different, too original. I lamented
that to my agent, who responded “publishers do want original stuff, but at the
same time they want the same stuff. The same, but different.” Not very helpful.
Eventually, she ran out of places to
submit and I got my manuscript back, but I wasn’t going to give up on it. I
knew it was a good book. Top publishing editors had said so. I just needed to
find someone to take a chance on it. I revised it yet again, cutting out about
13,000 words, including stuff that both agents had me add and that I now saw
went nowhere. In fact, the additions didn’t make much sense and simply made the
manuscript too long.
I sent the tightened version out to
small publishers that accepted unagented submissions. The same thing happened.
It was praised, but it didn’t fit their lists. I started to despair then a
publisher, Martin Brown Publishing, offered me a contract on it.
Skin
of Tattoos finally was released in August and has been well
received. Several readers told me the book is “unlike anything I’ve read
before.” I take that as a compliment, unfortunately the mainstream publishing
industry doesn’t.
I had another genre problem with my second novel, a YA called Girl on the Brink. I was calling it a
“contemporary romance,” but it’s not a romance because it’s about teen dating
violence. Romance novels must have a happy-ever-after ending, which mine does not.
But then the genre gods blessed me. I discovered my book did have a built in category:
“contemporary social issues.” Since it contains a lot of suspense and
escalating tension between the protagonist and the guy she fell for, I also
describe it as a “romantic thriller,” which sounds like a less heavy read.
As for my third book, I’m making it a
thriller after another discovery: I have to have an author brand because I’m
expected to keep writing the same genre to build readership. So although I
never set out to write thrillers, that’s now become my brand by default. Moral
of the story: Know your genre.
Christina Hoag is a
former journalist for the Miami Herald and Associated Press who’s been
threatened by a murderer, had her laptop searched by Colombian guerrillas and
phone tapped in Venezuela, hidden under a car to evade Guatemalan soldiers,
posed as a nun to get inside a Caracas jail, interviewed gang members, bank
robbers, thieves and thugs in prisons, shantytowns and slums, not to forget
billionaires and presidents, some of whom fall into the previous categories.
Kirkus Reviews praised Christina as a “talented writer” with a “well crafted
debut” in Skin of Tattoos (Martin
Brown Publishing, 2016), a gangland thriller. Her YA thriller Girl on the Brink (Fire and Ice, 2016)
was named to Suspense Magazine’s Best of 2016 YA list. She also
writes nonfiction, co-authoring Peace in
the Hood: Working with Gang Members to End the Violence (Turner Publishing,
2014), a groundbreaking book on violence intervention used in several
universities. Christina makes her home in Los Angeles and lives on the web at www.christinahoag.com.
