Recently, on social media, Gigantic magazine editor Lincoln Michel questioned the label of “realism.” I write “realism,” and I’m branching into other genres, so I introduced myself and asked a few more questions. Our conversation, conducted over e-mail, spanned several days, topics, and now two blog entries for Ploughshares.
Lincoln Michel’s fiction appears in Tin House, Electric Literature, Unstuck, NOON, and elsewhere. He is a co-editor of Gigantic magazine and Gigantic Worlds, a forthcoming anthology of science flash fiction. Sometimes he draws authors as monsters. He tweets at @thelincoln.
Part 1 can be found here. In Part 2, we discuss “realism” in writing workshops, shifts in the literary market, and how we both approach writing “non-realism.”
Rebecca Meacham: Earlier in our conversation, we discussed writers who work in more than one genre. There seems to be a move in the last decade toward genre-infused work in the mainstream—and that’s welcome news.
Back in 2003 when I was shopping my first book, I was encouraged to make the stories alike to “unify” the collection. Do you think versatility—in genre, form, voice, theme—is welcomed nowadays? Established writers make genre leaps: Isabel Allende just published a murder mystery, for example. Even debut writers, like Jamie Quatro, are garnering praise for their range.
Lincoln Michel: I do think it’s more accepted—hell, almost expected—for literary writers to dip into genre these days. Colson Whitehead wrote a zombie book, Sherman Alexie wrote a YA book, Cormac McCarthy wrote a post-apocalyptic book, and so on. (I myself am finishing up an anthology of science flash fiction, coedited with Nadxieli Nieto, that got a tremendous response from literary writers and readers when we had a Kickstarter.)
At the same time, those books I mentioned tend to use a fairly established genre or subgenre where audiences are familiar with the topes and conventions. Obviously those authors, being great, subvert and complicate those conventions in interesting ways.