Genre-Blending: My Top Four Recommendations

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In my last blog post, we discussed the intersection between literary and commercial fiction. We learned how their collaboration has evolved over time and how that has altered the industry. This time, I come bearing gifts: some of my favourite genre-blending book recommendations. From best-selling YA dystopia to niche philosophic fantasy and more, each book in the list below mixes literary and commercial fiction in its own unique way.

The Hunger Games (Series) by Suzanne Collins | YA Dystopia | Ages 12+

Starting off strong, this Young Adult dystopian series debuted its titular novel for the first time back in 2008. It quickly gained attention across literary spheres for being the first instance of modern dystopian literature written for young adults.

While many people know and love this series for its action-packed narrative, relatable characters and innovative worldbuilding, the thing that makes The Hunger Games such a long lasting success is its brutal reflection of modern society. The themes explored throughout the series are vast and profound, ranging from segregation and oppression to war to grief and self-discovery. The Hunger Games is perfect for readers who are looking for more commercial-leaning intro to the world of genre-blending literary fiction.

The Gospel Truth by Caroline Pignat | Historical Fiction | Ages 12+

Published in 2015, The Gospel Truth is a stylistically unconventional exploration of racism and slavery in 1858 Virginia. It combines the eye-opening facts and true events of historical fiction with a distinct narrative style: free verse poetry. This unique presentation and experimental form provides a memorable and unconventional vehicle through which Pignat explores the timeless themes of power, resistance and freedom. It also puts The Gospel Truth solidly on my list of genre-blender recommendations.

Carrie Soto is Back by Taylor Jenkins Reid | Sports Fiction | Young Adult to Adult Readers

Who knew tennis could be this deep? Taylor Jenkins Reid, apparently. She is one of my favourite authors for her smooth writing style and impactful delivery. Thus, Carrie Soto is Back falls much more heavily toward the literary fiction end of the genre-blending scale than my previous recommendations, but it doesn’t fail to pull in some of the best commercial fiction traits. The novel is simultaneously driven by the characters — as is typical of literary fiction — and a sport-centred narrative whose intensity will make you feel as though you are living the pro-athlete life right alongside the protagonist.

Throughout the novel, Jenkins Reid explores a wide array of themes, including identity, ambition, loss, and the differing expectations set upon men and women, both in general and in professional sport specifically. With profound thematic exploration and characters so real they could walk off the page, this standout contemporary novel is perfect for readers who are looking for a fresh take on sports fiction.

Night Shine by Tessa Gratton | Romantic Fantasy | Young Adult

Who doesn’t love a good queer romance? Night Shine is a brilliantly written dark fantasy published in September of 2020. According to multiple Goodreads reviews, Gratton herself describes it as being similar to the classic novel-turned-film Howl’s Moving Castle, and I can certainly see how its themes and magic, paired with Gratton’s enchanting storytelling, paint a heavy resemblance between the two. With a tone that resembles the most classic of fairytales, Gratton’s novel tells about a girl named Nothing and her quest to save the prince. It features spirits, demons and sorceresses in the midst of a vividly complex world that draws its inspiration from Eastern mythology. Night Shine’s strengths come in the form of its beautiful, haunting prose, rich worldbuilding, and queer representation. Its themes lean heavily into the philosophic, encouraging readers to examine things like gaining, claiming, and losing power; loyalty and sacrifice; what is in an identity; and the importance of self-discovery — but, in the words of Goodreads user Acqua, “Night Shine is, more than anything, a story about the importance of having a choice.”

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.

Stronger Together: The Crossover Between Literary and Commercial Fiction

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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.