#Visual novel reader get edict full

John Fowles was a golden boy of mid-1900s literary fiction, and his 1965 The Magus came in at 240,000 words. (Though James Michener insisted on and rightly belongs to Popular Fiction even when surpassing the wordcounts of Wouk's war epics.) But by a contemporary definition, he's not Popular Fiction and is therefore Literary Fiction. Some would call W&R a war epic rather than literary (not that the two must be exclusive), and Wouk himself probably preferred that description. But wait- Herman Wouk's 1971 War and Remembrance is 443,000. Somerset Maugham's 1915 Of Human Bondage (now elevated to literature, of course) is 260,000 words. Literary Fiction can be short when it wants to be. But it's probably less confusing (if not necessarily more enlightening) to go through the same reference points I used for Popular Fiction in the same order, to wit Length, Readership, Language, Showing, Resolutions, Characters, Plots, and Conventions-and-Templates.

#Visual novel reader get edict full

And literary fiction is often full of digressions and extended discourse on one topic or another. And plot is seldom paramount, serving instead as a backdrop on which to paint more interesting things.

And surely a preference for artful tellinglies at the heart of LF culture.

For instance, LF is often defined outside LF circles as character-driven instead of plot-driven. It's really tempting to go through the differences in the order of their significance in Literary Fiction. The previous post outlined a number of the elements that shape Popular Fiction.

So we're in the process of looking at Literary Fiction through the contemporary book-trade definition of not conforming to the restrictions, expectations, conventions, etc, of Popular Fiction.