The Rise of Romance

/

The Rise of Romance

Romantic fiction has always been a staple of the literary world, even since the early days of fiction being published. Romance sells like hotcakes, and that’s why we are seeing an endless amount of romance stories being published every day. In fact, a good majority of famous books fall into this genre, such as classics like Pride and Prejudice and Twilight. It is a broad category and the options for how you can write your romance are limitless, so there will always be something for everyone. Even now, people’s recommendations are flooded with romance, of these different stories that delve into the topic in their own ways. Despite so many of these stories being drastically different from one another, there is something that most have in common; their target audience and top buyers being women. Women have long since been the demographic for romance books, and they make up the majority of the sales. In a study posted by WordsRated in 2022, it is stated that women make up 82% of romance sales. Reading is an amazing hobby for everyone, so I am glad that women have this.

I frequently see people asking questions about this, about why this is the case. Why are women so fixated on the romance genre? An easy answer would be to say that these stories are specifically written to appeal to them, and that would be true. Whether it be a cute hockey romance or a horror story in disguise, these books make sure they put their women readers first. This is the most broad answer to the question, but that doesn’t explain why women feel so drawn to romance. So, why do women love romance so much? If you were to ask me for my opinion, I would say this one thing. Escapism. In a world where women feel inferior, they would prefer to indulge in media that puts them and their needs first. In romance stories, women can live out their dreams of the perfect man and a perfect life; a life where they aren’t constantly worried for their safety. Instead of putting themselves out there and being disappointed, a lot of women would just prefer to engage in their fantasies through the books they read. This is why a lot of romance stories have the main character be a woman, as it makes it easier for the female audience to project themselves into the story and onto this protagonist. It’d be harder for a woman to feel invested in a story that revolves around a man and would make it harder for them to escape into the words written on the page, especially since men are the target audience for so many other genres, such as action and sci-fi. In books targeted toward men, women are more likely to be sexualized and made into a caricature, which puts a lot of female readers off. That’s why books made for them are so important.

I notice a lot of people online nowadays complaining about women and their reading habits, about how they think these people and their hobbies are weird. Of course, there is always a limit to what’s right and wrong, and there is a possibility that some women may be unhealthily invested in books, especially ones that could encourage unhealthy lifestyles. An example of this could be the rise of dark romance and controversial topics. The topics discussed in dark romance books are very depraved, yet these books are some of the best sellers. While these topics are awful, dark romance is a way for these women to explore them safely. As long as they aren’t trying to push these ideals onto real people or thinking that this is how love works, there isn’t an issue with them enjoying these stories. While I am not a fan myself, I can’t tell other women what they can and can’t read.

There are many, many industries that make their profit off of catering towards men, and I don’t see nearly as many people complaining about that. It’s only when it’s a women dominated space that people feel strange about it. This is not a case of women engaging in something harmful, this is a case of people feeling uneasy when they’re not the target audience for something. Women love romance books because they prioritise their happiness. The books help these women feel wanted, make them feel special in ways that they can’t get from reality sometimes. This is not to say that romance books catered toward men are any less special or important, but this is an explanation for why the genre is mainly focused on their female audience. If women buy these stories, then they’ll make more of them. That’s how business works, and there is nothing wrong with a girl having her hobbies, no matter what some people may say about it.

Emily Crawford is one of the writers involved with Prose and Cons. She is a student at Algonquin College’s Professional Writing program, and has been involved with the writing industry since her youth. Even in kindergarten she has been writing; with that hobby becoming something more as she got older. Nowadays she is still in love with writing, and is even planning on starting up an online shop to start custom writing commissions. The topic of fiction and how it impacts reality is something that interests her, and she’s even done some research on it before entering this group. She hopes to share her knowledge in a meaningful way through this blog.

Man and Machine: Science Fiction and Robotics

/

Science Fiction (Sci-Fi) is one of, if not the most palpable evidence of humanity’s desire to embrace the future and dream into tomorrow. We create and absorb hundreds of varying speculations about what the future will look like. But hope for the future isn’t a one-way street, science fiction has influenced us and our technological growth just as much as we’ve influenced and expanded the genre and its scope.

Today we’re going to be investigating one of the advanced technologies we sometimes take for granted these days: robotics. The development of human-like robots has been a source of speculation since Sci-Fi authors first envisioned them as far back as 1834. Most people’s feelings on the prospect of human-like machines are either very optimistic or very pessimistic, but how exactly has science fiction influenced the way we see the perspective alien life of robots?

Asimov’s Laws

Isaac Asimov’s “I, Robot” includes Runaround, the first story to implement the Three laws.
image courtesy of pulp fiction coffee house.

If you’ve spent any time at all in the robotics sphere of Science Fiction, then you’ve certainly heard of the “three laws of robotics,” penned originally by Isaac Asimov as a universal guideline for all robotic entities across his many works of fiction. While the influence of Asimov’s Laws on the rest of science fiction is well-documented enough to fill an entire Wikipedia page, the routinely echoed sentiment that robots must never, directly or indirectly, bring harm to human beings (and do whatever their masters tell them beyond those first two things) has been thoroughly cemented in real-world philosophy about Artificial Intelligence (AI).

While nobody in the global conversation is naive enough to believe that rules invented as a narrative device would be 100% applicable to real life computer engineering, several respected groups have used the three laws as a jumping-off point, altering and adapting them to better fit with the world we actually live in, where events and consequences continue well after the last page.

The Laws vs. Real Robotics

In March of 2007, South Korea announced a Robotics Ethics Charter to be implemented later that year which set to define the codes of best practices for machines performing human tasks. The charter was likened by a representative of the Ministry of Information and Communications to the three laws in terms of purpose and design.

Later, in the summer of 2009, professor of Computer Science and Engineering at Texas A&M Robin Murphy and the Director of Ohio State’s Cognitive Systems Engineering Laboratory David Woods put forward their own idea of the three laws in an issue of “IEEE Intelligent Systems” that they believed better encompassed the real-world applications of Asimov’s ethics. Woods believed that Asimov never intended for his laws to be applied to real life but still found them to be a good basis for laws that apply to the organizations who deploy robots (such as the Centre for Robot-Assisted Search and Rescue that Murphy worked for) and preserved its strong emphasis on safety.

The perspective shift from fiction to reality is perhaps best emblemised by the United Kingdom’s use of Asimov’s Laws in their set of national “soft laws” surrounding AI usage ethics published early in 2011. The UK’s policy totalled five laws, but the first three were versions of Asimov’s updated to accommodate what the government considered incompatible with their use in everyday life rather than works of fiction. The UK’s prime directive was to shift the scope of the laws off robots themselves and onto the humans operating them, as they believe robots are simply tools put to use by humans, so the laws actually apply to us, who program the robots.

People, Fiction and Robots

Named for Asimov’s famous novel, “i, robot” is a story of mending trust between humans and androids.
Image courtesy of IMP awards.

But Asimov isn’t the only person who believes in the link between science fiction and real technology. A study conducted by German Psychologists Markus Appel and Martina Mara set out to define whether Science Fiction made humanoid robots seem more appealing to humans by circumventing the “uncanny valley” effect (which suggests that things appearing almost—but not quite—human provoke eeriness and discomfort in people.) The study concluded that the group exposed to their Sci-Fi story instead of a non-fiction instruction manual were significantly more receptive to the robot they were showed. By reading the story, the participants established a stronger sense of humanity in the robot, which in turn reduced their feelings of eeriness.

Altogether, the relationship between humans and robots remains contentious these days, but the relationship we both have with Science Fiction may just be the key to us finally learning to understand each other.

Gaelen Guymer writes expository fantasy books for troubled teens and troubled adults alike. He is currently enrolled in a professional writing program at Algonquin College’s school of media and the arts, located in Ontario, with a specialty in narrative fiction and its influence on the psyche. Before he began writing seriously, Guymer volunteered his time with local Ontario counselling services for 2SLBGTQIA+ youth before turning his experience into literary work.

Music; A nod to Literary Fiction

/

How Taylor Swift Incorporates references of literature through her music 

Illustrations by bethany mannion, published by quirk books

The works of some of the greatest writers of all time have infiltrated our day-to-day lives in such minuscule ways that we often don’t notice. Take music, for example. Most people listen to it daily, but have we ever thought about where songwriters get their sources of inspiration from? For the avid reader who knows their literary fiction whether it’s the classics or modern writing, it may be easy to figure out. However, for those who have not noticed the connections between song lyrics and literary fiction, let’s take a deeper dive together.  

Focusing on a well-known artist, Taylor Swift a singer/songwriter who has a knack for creating such beautifully gut-wrenching lyrics. Leaving listeners in multiple states of emotions and minds analysing every word she writes. Numerous of Swift’s songs have meanings tied back to a lot of the classics in literature, or even allusions to certain pieces of work. Most notably, Swift’s sister albums Folklore and Evermore both released five months apart in 2020. During this time Swift wrote some of her songs through the perspective of a character she created or was inspired by. With 34 songs between these two albums, we will be focusing on one song from each album and discuss where she got her inspiration and how literary fiction affects her work and therefore us. 

Photo by beth garrabrant, owned by taylor swift

(Folklore) “Invisible String”:  

“Isn’t it just so pretty to think”

Ernest Hemingway author of The Sun Also Rises, protagonist Jake asks Brett Ahsley, “Yes, isn’t it pretty to think so?” (Hemingway, 191). This is the final line of the book as both characters look back on their time together and how their poor relationship could’ve ended differently. As for Swift’s song this line alludes to what destined love is supposed to feel like after facing previous hardships and bringing them together. 

“Invisible string tying you to me”

Following the earlier line, “Invisible string tying you to me” is a direct reference to Jane Eyre, by Charlotte Bronte. When Mr. Rochester describes his connection with Jane he says, “I sometimes have a queer feeling with regard to you—especially when you are near me, as now: it is as if I had a string somewhere under my left ribs, tightly and inextricably knotted to a similar string situated in the corresponding quarter of your little frame.” (Bronte, 315). Both Swift and Bronte use this to declare their love and the connection they feel for their partners, and how they were fated to meet.  

Photo by beth garrabrant, owned by taylor swift

(Evermore) “Happiness” 

“I hope she’ll be a beautiful fool”

In The Great Gatsby by F. Scott Fitzgerald, this line is used when Daisy expresses her hopes for her daughter “And I hope she’ll be a fool – that's the best thing a girl can be in this world, a beautiful little fool,” (Fitzgerald, 17). As for Swift, the song “Happiness” is an optimistic approach on the end of the relationship. This quote is speculated to be used as the narrator's wish for the next partner that comes after her. Possibly implying that her own intelligence ruined the relationship (Feder and Tatreau, 175).

“Green light of forgiveness”

Again, with another reference to The Great Gatsby, in which Gatsby often stares at a green light across the water, representing his personal failures but also his determination to reunite with Daisy. Swift uses this as reference to her ex-lovers need to be forgiven by her to move on. Following that she states, “you haven’t met the new me yet/ and I think she’ll give you that,” inferring that she has changed, and has the ability to forgive her last love for them both to move on.  

These song lyrics are just snippets of Swift’s way to incorporate literature into her work. She leaves us with hints of the past, telling us a story of her own through the words of the writers who came before her and inspire her. Swift herself is a storyteller creating her own characters and giving them a narrative. Analysing her work teaches us the importance of literature and how it impacts our lives in ways we never considered before; through music.  

photo by brayden seguin

Emily Viola-Rae is an Ottawa writer, who graduated high school in 2023 at St. Mary’s Secondary School, Cobourg, ON. She is currently enrolled at Algonquin College for Professional Writing. Aspiring to become a well-known author you can often find her writing away on her computer or lost in her own world of books and music! As she learns to find her own voice in writing, join her on an adventure through literary fiction and the connections they have in our lives that we might not have ever noticed before. 

How to Push a Book Beyond its Limits

/

Some people tend to think that books are a restrictive medium. That’s certainly fair, you can’t rely on flashy VFX or sweeping soundtracks in the literary industry, like how films and video games do it. However, this builds the misconception that books, and the stories they tell are all the same. That when you open a book, you’ll always be greeted by walls of black text on a white background, and it’ll all be presented in a mundane order. This could not be further from the case.

An example I’m preferential to is the VERMIS series by Plastiboo. The two books in the series take the appearance of old video game manuals, ones you’d buy back in the eighties or nineties. For some, these books are just that, interesting concept novels that put aesthetic over telling any coherent story. For those who read a bit deeper, though, there are instances where the book drops the distant speech mannerisms and talks to the reader with uncomfortable familiarity.

Within a scene in the middle of the book, where the protagonist takes a rest in an abandoned cabin, there’s a line that reads “While inspecting the fireplace you might notice a strong smell coming from the chimney. Avoid looking up.” This line, accompanied by a low quality, pixelated chimney with what looks to be a face at the top of it, does a really good job of instilling terror within the reader, something that might be difficult given the book’s strange and unorthodox format.

If you need more convincing (and don’t care much for spoilers), the book opens and closes in a very specific way. The first line we read is:
“A corpse kneels beside a well.
Mesmerized by the reflection of its living flesh, it wonders what could have been done and what could have been.

And for as long as the moon shines, the feeble illusion will prevail.”

Courtesy of Plastiboo, Hollow Press

On its own, this is already a fantastic opener, setting the tone for the rest of the book as this dreary, half-forgotten place between places. Then, these lines gain deeper importance at the end of the book:

“A feeble illusion shatters in silence.

The void swaddles you gently, welcoming you back;

a life has been lived and the Dream is no longer.

The old bones now slumber, waiting for the moon to shine once again.”

These seemingly throwaway lines about things that should be too cryptic to understand without an accompanying video game make themselves understood if you’re willing to hear the book out to the end.

Photo taken by Emman Montalvan, owned by Mark Z. DanielewskI

Another book that subverts modern literary conventions so hard its been deemed “unadaptable” is Mark Z. Danielewski’s House of Leaves. I have yet to read the book myself, but the previews and reviews online paint a vivid picture of this novel’s identity. It’s also been called one of the hardest books to read, using white space, or lack thereof at times to make the reader feel claustrophobic or distant.

This is something that people don’t consider with books. A movie can instill feelings by using sound effects to increase tension or keeping a camera close to an actor’s face to make the viewer feel claustrophobic. Conversely, books like House of Leaves show that this can be achieved with just words on paper.

So, why isn’t this approach used more often? Well, the two examples I gave before are obscure, with House Of Leaves getting a cult following before it was officially published. VERMIS as well only has periodic releases on a niche indie site called Hollow Press, with no print runs slated for any big-name publisher. It’s clear that experimenting with the medium in such a big way is still a new frontier, one that most publishers aren’t willing to take risks on.

In the future, maybe this won’t be the case. Maybe, books that dare to try something new won’t just have to skirt on the fringes of popularity, but have their own place within the industry. Everything that hasn’t been written still remains to be seen.

Understanding Reading for the First Time

/

Welcome,

Aslan Erwin is a Professional Writing student at Algonquin College, as well as an author and poet outside of school. She prides herself on creativity and character creation. She was born on Christmas day, making her a Capricorn. She’s written one unpublished book, and is currently working on the second in the series. Her interests other than writing include drawing, playing all kinds of video games, and music, she plays guitar, bass, and piano, as well as singing, specializing in musical theater. She’s got many fun literary works to discuss throughout her blog posts, so please stay tuned!

Warriors into the wild cover by Erin Hunter

When I was a child, I remember one thing about my mom above all else, she loved to read. I can recall dozens of books piled up in every room, especially hers. She shared her love of reading with me whenever she got the chance, showing me book after book., it wasn’t until I was in the sixth grade that I truly understood what it meant to love reading.

I was ten years old, sitting at my desk at school, and it was about to be reading time. Our teacher brought out a huge colourful basket of all different kinds of books and placed it in the centre of the room. We all stood up and began picking through our options. I remember looking at cover after cover and kind of sighing in my head, thinking everything I picked up looked silly compared to what I had read at home. I was shuffling through one of the smaller bins our teacher had brought out when a certain cover caught my eye. Warriors it said, in bright blue letters, against a backdrop of green leafy trees, and below the title; three cats.

I took the book back to my desk and I recall feeling quite content with my choice. In a sea of picture books, and other nonsense I found the only real novel. Our teacher started the thirty-minute timer, and we all buried our noses in the books we chose.

I have been an animal lover since birth and I had a cat of my own, though at the time she was only a kitten, Persephone. She was an outdoor cat for many of her younger years, mainly because she enjoyed it, but we also lived in a safe area where it was quite common among our neighbors. I often imagined her befriending other outdoor; even stray cats, and they’d hunt and go on adventures together. So, naturally, I was delighted when that was the exact plot of the book. A small tomcat, Rusty, finds himself bored with the mundane life of being a housecat. Confined to the indoors, eating cat food and kibble left him wanting more out of life, and so despite all the warnings from the neighbor cats, he sets off on a journey away from the human world. He finds an entire society of cats settled in the forest, and they have it all, freedom, strength, resources, families, you name it. However, they weren’t the only clan in the woods. This book struck a chord with me that no other book had before.

My mom usually read herself to sleep, and now I finally had a book to join her. So, every night we’d grab our books, tea, cozy blankets and snuggle up for a nighttime adventure. Some nights would be filled with laughter and surprise, others were filled with tears, and scares. When I finally finished the first Warriors book I was in my grandmother’s car, and my mom was in the front seat. I read the last line and looked out the window as we made the turn to my house, I asked my mom, “Do you know what it feels like to have your life changed by a book?” Of course, she said yes, but not before she had a good laugh about my question. I was completely serious though. 

‘Fireheart stared back without blinking. He was a warrior now. He had made an enemy of the Clan’s deputy, but Tigerclaw had made an enemy of him. Fireheart was not the same naive young cat who had joined the Clan all those moons ago. He was bigger, stronger, faster, and wiser. If he was destined to oppose Tigerclaw, then so be it. Fireheart was ready for the challenge.’

This is the ending paragraph of the first book in the series. This was the first time I felt that weight in my chest after finishing a novel. The first time a book made me think about it. I loved the writing, I loved that characters, the setting everything. It was when I realised the impact of literature for the first time, I fear I would have never become a writer had I not read that book all those years ago.

Reconcile The Truth: Indigenous History in Fiction

/

Indigenous histories have been overshadowed by the powerful force of the 41.6 million white people in Canada, which means more than ever we must adopt the practice of Truth and Reconciliation. A process that requires confronting hidden stories directly, to honour those who suffered and to inspire a meaningful change. Today, we will revisit Indigenous history through a collection of novels that have been released within the last 10 years that touch on colonialism, racism and the Missing and Murder Indigenous Women and Girls (MMIWG) Movement, showing that you have access to start your reconciliation today.

Moon of the Crusted Snow

Credits to the ECW Press

‘Moon of the Crusted Snow’ by Waubgeshig Rice is a story about an Anishinaabe Reserve in Northern Canada surviving through a snowstorm as their communication with the outside world is taken away, and their food supply dwindles. That is until refugee, Justin Scott seeks aid, or rather a takeover. This book is one mass allegory for colonialism and its depicted through the character, Justin Scott, who plays as the European Settler. When the reader meets Scott, we learn he is heavily armed and has murdered other refugees, which sparks hesitation and curiosity within the community. An easy comparison to the wrongful murders of Indigenous lives throughout history, however, Scott makes himself at home to survive the winter by creating a squad to gather resources. Dividing the reserve, the main character, Evan Whitesky, discovers that members of Scott’s squad are becoming cold, weak, and thin by the second.

With more digging, the climax of the book reveals the horrible treatment Scott has put these innocent Anishinaabe people through, which directly correlates to real life events of European Settlers subjugating communities through advanced weaponry, introducing diseases that sparked mass death, and exploiting Indigenous labour through hunting as noted in Scott’s attempts to have his squad intimidate the women to do their dirty work where they could freeze to death. Understanding and studying how colonialism is prevalent for reconciliation is essential for building relations and respect with Indigenous communities. Respect is shown by preventing monopolizing power over the Indigenous peoples and instilling Indigenous culture and tradition into education to enforce the fight of bringing traditional languages and celebrations back, this helps Canadians understand what Canada is and what it should be.

The Berry Pickers

It doesn’t end there, ‘The Berry Pickers’ by Amanda Peters discusses the MMIWG Movement and the racism associated to it, evidently, ‘The Berry Pickers,’ set in 1962, is about a Mi’kmaq family in Nova Scotia who travel to Maine to work on a blueberry farm. Consequently, Ruthie, the family's four-year-old daughter, is abducted by another family. While a search party occurs, no justice stems from it, especially with the police who show disinterest towards helping migrant workers. This leads the family to reluctantly go home in grief as they attempt to continue living without their daughter and sister. The Indigenous identities of this family are the focal point of the harsh realities of systemic racism brought upon young Indigenous females, especially when in the real world, this is a critical issue. Early 2010 to April 2024, there has been 185 identified cases of MMIWG with 124 still reported as missing cases, 25% of those cases were in Alberta, but 9% were in smaller urban areas, like Nova Scotia.

Credits to Harper Perennial

Now, critics pointed out how it was unrealistic that the police did not aid in the search, however, Peters stated that this was common for police to not take missing cases seriously when the victim wasn’t Caucasian. It is critical to inform yourself of this because after continuous years of Indigenous communities publishing seminal reports from the MMIWG National Inquiry, there has yet to be substantive change in how the justice system operates. That is because of the ongoing racism seen in police departments that has normalized the continuous suppression of Indigenous communities throughout Canada.

As you reach the end of this, take with you that Truth and Reconciliation will forever require understanding of Indigenous experiences, past and present. By choosing to read Indigenous literature, you participate in the ongoing process of seeking community, respect, and education so Canada can be a place for everyone.

Cheyenne Marks is a local Ottawa Mohawk writer with a knack for scrapping and redoing every idea that sparks her mind, except for opinion pieces. Currently a student in the Professional Writing program at Algonquin College, Cheyenne has a goal to be an Indigenous author and essayist, and a voice for Indigenous communities when they feel the least heard. She enjoys sweet treats and has a belief that taking photos of the books she reads with her daily coffee in it makes her seem cool. So, join her as she expresses her thoughts over the literary community and shares her sweet treats.

Stronger Together: The Crossover Between Literary and Commercial Fiction

/

Beloved by Toni Morrison, 1st Ed. published by Alfred A. Knopf, 1987.

There's a common view of literary fiction that says it must be serious and philosophical—and, for a while, that was true. Literary fiction meant books like Toni Morrison's Beloved or To Kill a Mockingbird by Harper Lee—books whose plots revolved around social issues and whose action took place within the characters' minds. If you wanted a grand adventure or a mystery to solve, you had to turn to commercial fiction (also called “genre” or “mainstream fiction”), where the story's ultimate intrigue lay in finding a clear-cut solution to a problem. Creative literature was written to fit within neat categories; crossover was rare.

Over the last couple of decades, however, the scopes of these respective kinds of literature have crept closer together. This merge can be described as both a result of and an influencing factor in societal evolution, demonstrating how literature evolves alongside humanity. In what ways, then, does this creeping scope affect modern fiction, and what does it reveal about us?

To understand the intersection between literary and commercial fiction, we must first understand the two terms on their own. The phrase "literary fiction" first popped up in the 1970s as a way to categorize non-commercial novels. Unlike commercial fiction, whose main purpose is to entertain, literary fiction prioritizes style, character complexity and development. Its works tend to be more niche, connecting with audiences by provoking emotion and encouraging them to critically assess their morals and values. As a result, the genre gained a reputation for being "serious" or "experimental." 

My Sister’s Keeper by Jodi Picoult. Published by Atria Books, 2003.

Commercial fiction usually holds the opposite reputation. It is marketed towards readers who want excitement, adventure and an escape from mundanity. Commercial works are driven by plot, with key events that change the tide of the story. It is also common for works within a given genre to share similar tropes and themes. These books are often pulled along by popular culture and current trends, leading to frequent thematic fluctuation over the years. Most notably, the last quarter of the 20th century saw the emergence of fantasy and horror as recognized genres. Today, there are countless different genres and subgenres to choose between—anywhere from Reedsy's 107 subgenres to Amazon's 16,000.

In the past, commercial fiction has been regarded as inferior literature by readers of literary fiction—but this is not strictly true. Jodi Picoult, author of 29 widely acclaimed novels, including My Sister’s Keeper, is a frequent advocate that the difference between literary and commercial fiction is in how the public chooses to judge them. “For reasons I don't really understand in this country,” she writes on her website, “literary fiction is considered intelligent, and commercial fiction considered successful.”

The instinct to hold the two categories apart proliferates the literary world, but Picoult is one of a growing list of authors who has continually proven that this approach is unnecessary. In an article for The Nation, author and associate professor Dan Sinykin provides a list featuring a handful of writers whose work marries literary and commercial fiction, including Mohsin Hamid (dystopia), Marlon James (fantasy) and Claire Vaye Watkins (post-apocalypticism). The success of this combination, Sinykin says, comes from “leveraging the commercialism of genre while investing it, through their [the authors’] artistry, with gravitas.” In other words, packaging robust literary themes alongside mainstream fiction allows readers to experience meaningful entertainment.

Emily Henry poses with her novel, "Funny Story".

Emily Henry with her novel, Funny Story. Photo by Andy Kropa/Invision/AP.

Emily Henry, author of bestselling novels such as Beach Read and Funny Story, is another writer who is proving to the industry that commercial and literary fiction are stronger together. She is known for her fresh take on contemporary romance, providing readers with all of their favourite genre features—like witty banter and classic tropes—served alongside raw and philosophically complex themes like grief, connection and identity. 

Over the years, the focus of creative literature has shifted. We are beginning to see that there are more ways to connect with an audience than through strict adherence to a genre; the growing demand for stories that strike the delicate balance between escapism and authenticity is proof. Spurred on by writers who borrow inspiration from outside their chosen genre, the links between commercial fiction's entertainment factor and the thought-provoking narratives which define literary fiction are becoming stronger, and the trend will only continue to grow from here. This is not the end of literary evolution, though. Literature is malleable, and our art will always reflect our desires and experiences. Simply put, so long as humanity changes, creative fiction will adapt and evolve with us.

A low-angle shot of the author. She wears a white t-shirt and light blue jeans with a red-and-white patterned ribbon tied around her waist. Her body is angled to the right while she looks down toward the camera with her hands in her back pockets.

photo by benjamin cheer (capital concept media)

Braelyn Cheer has always had a passion for words and the ways they fit together. From the moment she learned how to read, Cheer’s love for the English language and its intricacies drove her to seek growth opportunities in the realm of writing. At the age of 13, Cheer applied for and was accepted to Canterbury High School’s Literary Arts program. There, she was exposed to many different forms of literature, including various genres of fiction, non-fiction, poetry and even songwriting. She graduated with honours in 2021 and is now in her last year of Professional Writing at Algonquin College. Upon graduation, she plans to pursue further education with the goal of becoming an editor.

Welcome to Prose and Cons

/

Hello, and welcome to Prose and Cons! Our blog for discussing the many wonderful (and horrible) ways that literary fiction reaches, impacts and changes our lives. Humans have been telling each other stories since before we could write them; fiction is a part of who we are. If you’ve ever wondered how the stories we tell influence the hearts and minds of individual people and how they can shift the entire world, join us while we explore every nook and cranny of literary fiction’s influence on humanity.