Genre of Writing: The Most Important Question

Understanding genre in writing is the key to success. Get it wrong and it will cost us, as writers, a small fortune in book sales and advertising dollars. Get it right, and readers will tell their friends about us. Why? Because genre is all about reader expectations, and if a Story doesn’t meet them, it’s finished. Even the most beautiful turn of phrase can’t save it.

Harsh, I know.

I learned that lesson the hard way. I got genre wrong and I lost a small fortune. I really don’t want you to go through that. As an editor, and fellow writer, I want you and your Story to shine.

Genre of Writing

It was only when I began paying close attention to what Shawn Coyne had to say about genre, that things started to turn around for me. Trust me, genre matters more than you think. It affects every aspect of your Story. It will shape your characters. It will save you in the middle build. It will release your true creative potential. It will inform your marketing strategy. And most of all, it will enable you to tell a Story that readers enjoy. When that happens, they’ll tell their friends about you.

You see, Steven Pressfield is right. In this business, Nobody Wants To Read Your Shit (or mine) unless you convince them they should. Nailing your genre is how you do that. Of course, genre is a huge topic and Shawn has talked about it for both fiction and non-fiction. In this article, I’ll be primarily focusing on genre as it relates to fiction.

There was a time when I dove into writing projects with little more than a passing thought to genre. These days, I’m keenly aware of which genre I’m writing in. As a result, readers are recommending my work to their friends, and they’re emailing me to ask when my next novel will be published.

And it’s all thanks to Shawn, his concept of genre and his Story Grid Five-Leaf Genre Clover.

You Say Tomato, I Say ‘Tomahto’

We were readers before we were writers. Some of us are also literary scholars and hold English degrees and MFAs. While this experience helps to inform our writing, it means that we all have a different perception of genre in writing. We’re used to looking at genre as a reader does, or as a scholar does. Now we have to look at it as a writer does.

Think of it this way. You’re craving a hamburger – a half pound of thick, juicy, flame-broiled, prime beef topped with sharp cheddar and maple smoked bacon. You’ve been working out at the gym all week and watching your diet. It’s Friday night, and you’ve earned your treat. You go to the best restaurant in town and ask for a burger. Twenty minutes later the waiter brings you a tofu burger. This is award-winning tofu, prepared by a top chef. The waiter assures you that it’s delicious and although it may well be, it’s not what you were expecting. It’s not your idea of a burger. It’s not what you were in the mood for and so you feel disappointed. You won’t be recommending the restaurant because they didn’t give you what you wanted.

As readers, we love science fiction and so when we become authors we want to write science fiction. Fair enough, but what kind of science fiction? There’s a huge difference between Star Wars and Alien. We love the classics and want to write literary Stories that explore a character’s inner growth. Okay, but what’s causing the inner growth? Are the characters trying to survive on a desert island (Lord of the Flies, William Golding)? Are they watching a legal trial about racial relations (To Kill A Mockingbird, Harper Lee)?

Life would be so much easier if we all had the same menu of Story types to choose from. Since we don’t, as writers we have to think carefully about our genre choice. We have to look at it from different angles. Some books are fairly straightforward; people know that Agatha Christie is mystery although in bookstores you’ll find it in both the mystery and literature sections. Other books, like Outlander, are a complete conundrum. Even Diana Gabaldon didn’t know what to call it when she started.

Video ThumbnailUnderstanding genre in writing is the key to success. Get it wrong and it will cost us, as writers, a small fortune in book sales and advertising dollars. Get it right, and readers will tell their friends about us. Why? Because genre is all about reader expectations, and if a Story doesn’t meet them

This begs the question, if the genre of Outlander is unclear, why is it such a roaring commercial success? The answer is that at some point, everyone agreed to call it a historical romance. Its publication has since spawned the sub-genre of Scottish historical romance. There’s a market for men in kilts.

The bottom line is this: genre in writing refers to the kind of Story that is being told. It’s about audience expectation. It’s that simple. For a book to be successful the author, marketer and reader must all have the same understanding of what kind of Story is being told.

Choose Only One Genre

If Shawn has said it once, he’s said it a thousand times. A writer must make a definite choice about which genre she’s writing in.

Pick one. Only one.  

This is non-negotiable.

Sometimes you can do this accurately at the beginning of a project. Other times, you might need to crank out a first draft before you figure it out. Both ways can work. The point is that you must make a choice. Unless we are crystal clear about what kind of book we want to write, we will get confused and lose our way in the middle build. If we’re confused, the reader is confused.

“If you make the audience groan, I can tell you, it’s hard to get [them] back. The first thing I want to know — in fact, the only thing I want to know — is, was it comprehensible? Did [the audience] follow the Story? If you put confusion into the mix, even the tiniest bit of confusion, the audience is going to be apprehensive. An audience needs to feel, when they sit down in that chair, that the storyteller has them by the hand and is leading them through the Story.”

– Aaron Sorkin, Masterclass

Enter, The Story Grid Five-Leaf Genre Clover

Genre 5 Leaf Clover

[download a copy of this clover graphic here]

Shawn spent 25 years grinding on this. He has already sweat blood so we don’t have to. He listened to writers explain the Stories they wanted to tell. Then he figured out a way to categorize it and explain it to the art and marketing departments so they could target the book to the appropriate readership.

I see the Story Grid Five-Leaf Genre Clover as both a roadmap and a universal translator. If you take the time to figure out how it works, you’ll come to appreciate its brilliance. And no, I’m not saying that because Shawn has to approve this article. I’m saying it because it got me out of a serious jam. More on that later.

The clover has five leaves; time, reality, style, structure and content (external and internal). Choosing a genre in writing means making a choice about each of these leaves. Here’s what they all mean:

Video ThumbnailUnderstanding genre in writing is the key to success. Get it wrong and it will cost us, as writers, a small fortune in book sales and advertising dollars. Get it right, and readers will tell their friends about us. Why? Because genre is all about reader expectations, and if a Story doesn’t meet them

I think you’ll agree that the time, style and structure leaves are fairly straightforward. (Note that the clover considers literary to be a style.) It’s the reality and content leaves that can give us a headache. The beauty of this system is that any kind of Story we can conceive, can be mapped out using the clover. Even LitRPG, which is an evolving genre, has a home here. It’s not listed on the diagram above, but it falls on the reality leaf under Fantasy > LitRPG.

Let’s say we want to write a story about an astronaut who gets stranded on Mars (The Martian, Andy Weir). Since we started as readers, we call this science fiction. And it is. However as writers, we have to go deeper. If we don’t, we’ll get lost in the middle build and we won’t deliver a Story that meets reader expectations. (I know I said that before, but it bears repeating.) We have to ask ourselves what our Story is really about? Yes, it’s set on Mars. Science informs the Story, but it isn’t the Story. What we’re really writing about is survival in a harsh environment. If you look at the clover, you’ll see that The Martian falls on the reality leaf under Fantasy > Science Fiction, and on the content leaf as Action > Adventure > Environmental.

Let’s go even deeper.

The content leaf is divided into two sections; yellow and blue. The yellow contains what Shawn calls external content genres, and the blue are the internal content genres. You know all the conversations authors have about whether they write plot-driven or character-driven novels? What they’re talking about is this content leaf. Plot-driven books fall into the external content genres (the yellow). Character-driven books fall into the internal content genres (the blue).

Stories do not have to contain both internal and external content genres, but they can. Horror, crime and action often don’t have internal genres and that’s the way we like it. Freddy Krueger (A Nightmare on Elm Street) doesn’t change, nor does Jack Reacher (Lee Child’s protagonist) or Ethan Hunt (Mission Impossible).

When Stories contain both internal and external genres, one of them must take priority. Otherwise your reader will get confused. He picked up your book expecting a spy thriller and got a spy who spends more time agonizing over his abusive childhood than solving the crime. You might have written an excellent book, but if it isn’t what the reader expected, it will disappoint.

Shawn talks about the global genre — by that he means the content genre in writing that takes priority in the Story. For example, in A Christmas Carol (Charles Dickens) the global genre is internal (Morality > Redemption) and the secondary genre is external (Horror > Supernatural). Pride and Prejudice (Jane Austen) also contains both genres however its global genre is external (Love Story > Courtship) and its secondary genre is internal (Worldview > Maturation).

Putting it All Together

Understanding genre in writing, and how the five leaves work together, is the key to success. Let’s say you want to write a novel about a guy who has to kill a vampire before his wife also becomes a vampire (Dracula, Bram Stoker). Your choices from the genre clover would look like this:

Time: Long (because it’s a novel, in fact at 162,000 words one could argue that it’s too long)

Reality: Fantasy > Magical (because this is a fantastical world with dark magic, like mind control, that Dracula has mastered)

Style: Epistolary (because Dracula is written as a series of letters, journal entries, telegrams and newspaper articles)

Structure: Archplot (because it has one storyline that follows the hero’s journey)

Content External (which in this case is the Global Genre): Horror > Supernatural (because vampires don’t really exist no matter what Anne Rice would have you believe)

Content Internal: Status > Sentimental (because against absolutely incredible odds, Jonathan Harker transforms from a poor legal clerk to rich business owner and savior of the world)

The Clover Doesn’t Work For My Story

Yes, it does. Go deeper. What Story are you really trying to tell? Think hard. Spend time on this. If you can’t articulate it to yourself, you’ll never be able to explain it to a reader. That means that your reader will never know if your Story is the one he wants to buy.

J.K. Rowling Didn’t Use The Genre Clover

You’re probably right. The same is likely true of Stephen King. They both started their writing careers in elementary school though, and spent twenty years writing non-starters before they hit their home runs. That option is available to you. Personally, I don’t see the appeal. I suspect Neil Gaiman doesn’t use it either. Instead, as a child he read every book in his school library and then every book in his public library. He also spent twenty years writing books that went nowhere.

I don’t mean to be flippant. There is no one way to write a novel. There’s no one way to do anything. Authors like Rowling, King and Gaiman have studied books so much, and for so long, that they have an intuitive sense of how to tell a Story that works. I talk to plenty of writers who want to argue with the Story Grid method, and that is their prerogative. Before you cast it aside though, I urge you to test it out. Apply it to your favorite books and movies. Pick a wide range of Stories and take the clover for a test drive. It’s then that you will realize that your time is better spent innovating your chosen genre, rather than arguing with it.

Genre Has Obligatory Scenes and Conventions

Ignore this advice at your peril. This is the meat and potatoes part of genre. A reader chooses a book because she wants a particular kind of story. If she chooses a murder mystery, she expects to read a scene where the dead body is discovered. She also expects to find out who the murderer is. The North American version of The Killing didn’t adhere to its obligatory scenes and conventions and fans went berserk.

Robert McKee cites the film Mike’s Murder as another example of a Story that missed the mark with respect to genre. It was marketed as a murder mystery but “the film, however, is in another genre, and for over an hour the audience sat wondering, “Who the hell dies in this movie?” (Story, page 90)

Mea Culpa

“You’ve got to learn from the audience. The difficulty is, it’s going to cost you something. You’ve got to pay the price of putting up with their verdict. There is no higher court. You can’t say, ‘Wait a second audience, do you know how hard I worked?’ They don’t care, nor should they. They’re asking, ‘Did you do what I expected’?”

– David Mamet, Masterclass

Before I’d ever heard of Shawn Coyne or Story Grid, I also messed up on genre in writing. One day, I was lamenting to a writer friend that I couldn’t find a romance novel I wanted to read. In her wisdom my friend, let’s call her Anne, told me that if I couldn’t find it I should write it. I knew nothing about the genre in writing so Anne — herself a USA Today Bestselling romance author — offered to show me around, introduce me to some folks, and explain how it all worked. She read drafts and suggested changes, most of which I ignored. I was not going to have my creativity stifled by such trivialities as the couple having a routine, or always meeting in the same café. I wanted my characters to have an arc, I am after all, a serious writer. (Talk about naiveté masquerading as sophistication. Oy.)

Anyhoo, I finished my book and sent it out into the world. The feedback I got was unanimous.

It was not what readers were expecting.

I’d given them tofu when they’d wanted beef. Lots of beef. Preferably raw.

I thought I’d give it some time, let it find its audience. Then I thought that if I just lowered the price a bit, or fiddled with the keyword search on Amazon then maybe … but, no. Sales remained flat. It was then that I reached my crisis moment. Should I abandon the book and start on the next one? Should I pump more time and money into its promotion? Should I swallow my pride and go back to basics? (This is a best bad choice crisis question, in case you’re wondering.)

I went back to basics.

I had missed three very important conventions of a Love Story (external content genre). The first is that the couple must have rituals. For example, in Pride and Prejudice, Darcy and Elizabeth tease one another. The second and third relate specifically to romance novels as readers understand them. That is, there is no internal genre to speak of and there’s no sub-plot. This is not a criticism, it’s just the way it is. Take the film How to Lose a Guy in 10 Days, for example. It’s hugely popular, highly entertaining and has a rock solid Story structure. But the main characters, Andie and Ben, don’t really change. Fans don’t want them too, just like we don’t want Jack Reacher to suddenly have a mid-life crisis. The only thing we care about is whether Andie and Ben get together. Their career goals are of zero interest.

I added in the rituals, but I didn’t want to flatten my character arcs or remove my sub-plots. Those are the things that I’d been looking for in a Story and were the reasons I started the project in the first place.

Finally, I went to the clover and made decisions leaf by leaf. In doing so, I realized that although I had indeed written a Courtship Love Story, because of its strong internal genre and sub-plots, readers would recognize it as women’s fiction. Remember above when I said that readers would consider The Martian to be a science fiction novel, but that as writers we have to go deeper and understand that it’s really an action Story? This is the same idea. Once I made the switch, I developed a better marketing strategy and sales began to register.

I Don’t Write Formulaic Novels

I’m very glad to hear that. The Story Grid view of genre in writing is not, in any way, a formula. It is however, a solid explanation of Story form. A professional understands the difference because she’s learned it through study, trial and error.

Obligatory Scenes and Conventions Kill Creativity

I beg to differ. What obligatory scenes and conventions do is ensure you’re telling a Story that works and that meets reader expectations. They must be in your Story, and the best part is that they present opportunities to be creative. Anyone can write a cliché. Clichés work, that’s why they’re used so often. Our challenge as professional writers is to present obligatory scenes and conventions in fresh new ways. We must level up and innovate the Hero At The Mercy Of The Villain scene, or the Lovers Meet scene. These are the places where we get to strut our stuff.

Genre in Writing: It is the Most Important Question

In fact, it’s the key to success. Thanks to the Story Grid method, genre in writing is easy to define and understand, but it’s still difficult to innovate, and innovation is a must.

Everything I write now falls into one clearly defined genre — that includes this article. Do you know which one? (I’ll give you a hint: it’s one of the four non-fiction genres Shawn talks about here and here.) Put your answer in the comments below and then download my Editor’s Six Core Question Analysis.


If you want to see how 5 Commandments of Storytelling work at the scene level, or if you simply like to read stories for and about women, visit to join my book club and download part one of the Masquerade series, free. Heads-up: it’s a love story with a dash of spice.

About the Author

Valerie Francis is a Certified Story Grid Editor and best-selling author of both women’s and children’s fiction. She’s been a Story Grid junkie since 2015 and became a certified editor so that she can help fellow authors, in all genres, become better storytellers. To learn more, visit
Comments (44)
Author Valerie Francis


Maggie Smith says:

Okay, I worked through the cloverleaf but how do I know what ARE the obligatory scenes in my particular genre (external content society; internal content worldview; long, dra,a, realism, Archplot (women’s fiction) – Shawn went over 2 obligatory scenes and 4 conventions for the thriller, but where does one go for other “obligatory scenes/conventions for other types of novels?

Valerie Francis says:

Hi Maggie! This is a pretty common question and believe it or not, I’m working on a post right now that will help you figure out the OS/C for your chosen genre. It’ll be published here on the Story Grid blog, December 22. Stay tuned! 🙂

Michelle says:

Thank you Valerie! I purchased the Story Grid book and, while I’m intimidated by the comprehensive approach, I do believe the model provides a strong foundation for any novel. My challenge is that I am writing what I think, based on the Story Grid, is a historical fiction genre with multiple characters (not just one protagonist), very much like the Roots by Alex Haley in terms of going through several generations of characters. I would love to know what you believe are the obligatory scenes/conventions for historical fiction. I’ve also made life complicated for myself as it is not an archplot (hah!) but I do believe there is a way! xx

Valerie Francis says:

Hello Michelle! Roots is a phenomenal Story and I believe we certainly need more like it. You’re right, it’s not an arch plot – you’ve jumped in the deep end for sure. 😀 You can do it though. Re the OS/C, I’m working on a blog post right now that will enable you to figure them out. It’ll be posted December 22/17.

Valerie Francis says:

Hi Kristi, I’m working on another post re how to find the OS/C for your chosen genre. It’ll be posted Dec 22/17. 🙂

Jack Lewis says:

While we wait for Valerie’s article, might check out the Story Grid forum ( There’s a subforum near the top for discussion about OS&C for the different genres.

vika says:

Valerie, for this article to be helpful, it needs to list all the genres and all the obligatory scenes related to them. The same goes to the “flower”. Just list those scenes, pls! The answer that Shawn gave a few times to someone’s asking him about the very same thing that the author must go and find out doesn’t stand anymore.

Valerie Francis says:

I’m working on an article now that will show you how to find the OS/C. It’ll be published Dec 22/17. 🙂

Paul says:

What if you start a story in one genre and halfway through the book you realize it has morphed into a different genre? Do you go back and change the story to fit the original genre, or do you go with the new one? (Or do you write “Burn This across every page and throw it in the trash?)

Valerie Francis says:

Hi Paul! This is actually more common than you might think. What you need to do is step back and figure out which of the two genres you want to write in and then make sure the entire Story fits into that genre. Think twice before throwing a manuscript in the trash. Stephen King did that with Carrie (his breakout novel). Luckily, his wife had the foresight to pull it out and encourage him to keep working on it. 🙂 Hope this helps!

Wayne says:

Thanks for great article. What would be the obligatory scenes and conventions of the war genre, specially WW2 air bomb mission in Europe?

Valerie Francis says:

Hello Wayne! I’m actually working on an article right now that will help you find the OS/C for your chosen genre. It’ll be published Dec 22/17. Stay tuned! 🙂

Wayne says:

Thanks. The war genre article will be published here on this blog on Dec 22? I can’t wait to read it.
The project I’m writing definitely is helped when I explicitly stick to the genre. Especially the WW2 Combat Film. (BTW, two great books on that specific genre are the famous one by Jeanine Basinger and almost as good but badly titled Visions of War, Hollywodd Combat Films of World II by Kathryn Kane.)
So I guess a good way to discover the genre elements might be just asking: what does the audience expect?

Valerie Francis says:

It’s not a war genre article specifically, but I will be showing you how to find the obligatory scenes and conventions of a genre. Yes, it’ll be here on the Story Grid blog Dec 22. Thanks for the book recommendations! I’ve made a note of them. 🙂 Yes, ask yourself what the audiences expects to get when they pick up a war novel (or watch a war movie).

Wayne says:

To answer your question as to non-fiction genre of your fine article. Academic or narrative non-fiction? Not really. Most likely How-to. Or perhaps Big Idea because it draws from other categories. The how-to and some narrative about your journey.

Valerie Francis says:

Excellent thought process Wayne. By now you’ve downloaded my Six Core Question Analysis and so know the answer. Well done!

Peter Adamson says:

I bought Shawn’s book, The Story grid, and I felt absolutely short-changed. You’re quite right, Vika, Shawn’s answer to the burning questions about obligatory scenes and story conventions does not stand any more and cannot stand, simply for this reason: in order to deconstruct movies and books in an given genre, you have to know what you are looking for, otherwise it’s simply the blind leading the blind. I work in historical fiction and my present WIP relates to women’s fiction in this genre.

Furthermore, Shawn doesn’t explain the ‘Charges’, i.e. the External Charge and Internal Charge for the Foolscap Method, yet when somebody asked this on The Story Grid blog site, Shawn’s reply was that they were ‘HUGE’ and needed to be understood, yet never explained.

What really irritates me is that the answers to these questions SHOULD be in his book, which I paid £25 for. As it stands, the book is incomplete and therefore still a WIP. What on earth was Shawn thinking to leave such critical information out? Is he going to revise the book, and if so, will I get the next copy for free? People who bought the book have been short-changed.

I only hope somebody in Story Grid World addresses these omissions.

I can truly see the importance of The Story grid and it will make a great tool to have in your writing arsenal, but, until it is finished …

Valerie Francis says:

Hi Peter, I’m currently working on a post re how to find the OS/C. It’ll be published on Dec 22/17. Stay tuned! 🙂

Stefan says:

WIP? Shawn’s book is life-changing for a struggling author and $25 is cheap! Acquiring Shawn’s (proven) know-how through other courses and training will cost thousands of dollars (and twenty years). I happily pay another 25$ if Shawn come out with a book listing the conventions of various genres. Happily!

Peter Adamson says:

Stefan, it is a WIP, as proven by the number of people’s comments on this blog, notwithstanding Amazon, about the missing obligatory scenes, including no explanation about writing conventions. Their comments serve testament to this fact. It doesn’t matter how many years you have been a writer or an editor. I think even Shawn would have to admit he has made a huge oversight by not fully extrapolating on what are, in fact, critical omissions.

Daniel says:

There are some things a writer who wants to excel has to struggle to learn for themselves. Knowledge easily come by is worth all the effort you put into it.

Think of it like a Hero’s Journey. If you just give the hero the answer, without the hero having to struggle to win the answer at all, that hero will not be a very good one, and the story will be unsatisfactory.

Figuring out obligatory scenes and conventions is not especially difficult. Read books in the genres you want to emulate, and picture what the most iconic scenes are: the hero at the mercy of the villain, the speech in praise of the villain, etc.

They’re fluid, not static. To say Shawn has put out an incomplete book just because he didn’t take the time to map out every obligatory scene and convention for your benefit is a weird sort of entitlement, though not uncommon these days. Are we really so afraid of actually rolling up our sleeves and doing our own research, winning our own answers? Why do we need everything handed to us, wrapped up with a ribbon and bow?

Peter Adamson says:

Daniel, you can put as much slant on your prose as you wish, but the feedback doesn’t lie. If it were as you say, then why is Francis going out of her way to correct what Shawn, in fact, omitted? I can assure you, there isn’t any ‘weird sort of entitlement’ when you pay for what you’re entitled to. I’ve never been scared of hard work in my life, hence why I’m taking the time to reply to your preaching. I can assure you, I am a writer who wants to excel and I’m not looking for any gift-wrapping as your tone seems to suggest.

Cindy says:

Every genre has its own Ob. scenes and conventions. if you want a more complete list check out warning: it is a HUGE site!

Jack Lewis says:

For an explanation of Charge, see Chapter 56, Tracking the Scene. This is the second paragraph in that chapter:

“Essentially, the VALUE SHIFT, POLARITY SHIFT and TURNING POINT columns will tell you how each scene has moved the Story forward. You’ll identify what value is at stake at the beginning of the scene and the value by the end of the scene. Then you’ll determine whether that value has shifted from positive to negative or negative to positive. Lastly, you’ll determine the precise moment in the scene when that shift occurred, the Turning Point.”

Hope this helps.

David says:

Very eloquently written article. But you lost me at the hamburger. Speaking of obligatory scenes, it seems obligatory for many writers, when mentioning tofu, to imply “ew, yuck.” As a lifelong vegetarian, I am tired of this uninspired cliche. There are some tropes that truly deserve to be retired in many genres, and the “ew, yuck, tofu” trope is absolutely one of them.

Other than that, a well-put case for paying attention to genre.

Valerie Francis says:

Hi David! No, this wasn’t meant to be a slight against tofu at all! My point was that when you’re expecting one thing and get another, you’re disappointed. You can flip my example around if you like. If the waiter had served you a beef burger, you would have been disappointed, right? You would have sent it back to the kitchen. The same holds true for a Story. When you pick up a book, or watch a movie, you have a set of expectations based on the cover art, the back cover blurb perhaps even the author. For example, we associate Nora Roberts with romance novels. So, when she wanted to write outside that genre, she had to use a pseudonym. Make sense?

amy says:

Very well-written and succinct article. My vote is for Shawn to hire you to edit all the transcribed podcasts. I love this website and all that I’m learning, and I truly appreciate the wisdom, so much so that I try to overlook the horribly written transcription articles that populate quite a bit of this website. Honestly, considering this is a website that not only promotes Story Craft but also champions Shawn as an editor, I hope some thought will be given to polishing up those articles. I mean no disrespect though. I can, and am definitely willing to, look past the surface because what’s underneath is worth its weight in pearls.

Lyn says:

I loved your example of the beef hamburger, and yes, don’t disappoint the customer by promising one thing and delivering another — whether the person is a foodie, a reader or consumer in general. At the very least they’ll be disappointed and at the worst, they’ll be outraged. Your link to the review of The Killing was a great example.

People pick a genre because they enjoy it. Perhaps they tried horror or thrillers and found them appalling. I’ll never forget when my ex-husband took my kids and me to see “Nightmare on Elm Street” and told me it was a comedy. I hated horror movies at the time. After the first scene, if it wasn’t for the huge guy in the aisle seat beside me, balancing his soda and gobbling popcorn, I would’ve left the theatre. It’s bad enough to be dragged into a genre you don’t enjoy, but to be told it’s something else? Grrrr.

I so look forward to your blog on Dec 22 about OS/Cs for other genres. I’ve been hoping for that information.

DiDi says:

Great post, Valerie. Thanks for spelling all this out. I, too, look forward to the 12/22/17 post. I bought Storygrid, like so many posted above. I’ve enjoyed listening to the podcasts (some multiple times). But, my series doesn’t fit into classic structures; and I’ve gotten so bent out of shape trying to make things fit that I’ve actually stopped writing. Perhaps I can figure all this out on 12/23. 🙂

Valerie Francis says:

This happens sometimes unfortunately. It’s because we’re so close to our projects that it’s hard to see the forest for the trees (so to speak). Yes, hopefully the Dec 22 post will help you. If not, feel free to book a free 30 minute consultation with me – we can chat about your story and get you a little closer to figuring out your genre. 🙂 You can book an appointment here:

Kev V says:

Hi Valerie,

Thanks for the article, very helpful as is everything Story Grid related.

I just had a quick question regarding obligatory scenes and conventions that I hoped you might be able to help with.

I’ve read that one genre has to be dominant, but let’s say for your global story you have chosen an external crime genre and an internal redemption genre, and the external is more dominant: would it still be possible to include the obligatory scenes from each genre – so, in the above example, you would include all of the obligatory scenes from the crime genre, such as ‘hero at the mercy of the villain’ scene, red herrings, false ending etc. but then you’d also include obligatory scenes from the internal morality redemption genre, such as a selfish protagonist, spiritual guide as sidekick etc. Would that just create a mess? I appreciate things like this can work on a case by case basis but generally is it advisable in the above scenario to focus and only include obligatory scenes for one of the genres?

Many thanks in advance.

Valerie Francis says:

Hi Ken! Great question. The short answer is no, you don’t have to include all of the OS/C for the secondary genre. Nailing the primary/global genre is a must though! If you’re really clever, you can combine the OS/C for both genres into one scene. Shawn talks about it more on last week’s podcast – fantastic episode.

Mary says:

Hi Valerie,
Where can I find this Dec. 22 article? The main genres, thriller, action, detective story, love story whatever, are easy to figure out the OS/C, but the others are difficult. I would love more info on this.

knlistman says:

It seems like the examples you choose for genres didn’t meet your own criteria for those genres. As much as I’ve heard that I should stick to the rules of a genre to give readers what they expect, that doesn’t work for the most successful books. We really need to drive to write beyond what the readers expect, despite fearful publishers that back away from whatever is different.

Miles White says:

Somehow I missed this article, but its a great refresher read about perhaps the most basic story grid concept and it’s explained very clearly. It clarified and straightened out my confusion about how Global, External and Internal genres need to work. Thanks.

DB Gottesman says:

Ok, here’s a question. It’s memoir, but I’m trying to follow the Grid to make it interesting. If I can’t tell it like fiction and offer this structure to it, what good is there in laying it out for the masses. The question is this– I know there are no exceptions–one genre only, yes? But what if it’s two stories– the writer’s story is a Morality story, but the one being woven into the memoir is Status. How do we reconcile this?

Valerie Francis says:

The Story Grid method works wonderfully with memoir, so you should have no problems there. The question I have for you is, are you writing an arch plot or mini plot story? The Roundtable just did a podcast on Love Actually, which is mini plot. So, if you take a look at that, you’ll see how the various genres work together.

If you’re writing an arch plot story, then yes, you need to pick one global genre. There certainly can be secondary genres, or subplots, but there’s one global story. For example, you could have a global crime story with a love story subplot. Or a global performance story with a status secondary genre.


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