There are not many genres of fiction that can be said to cause as much confusion as the term, ‘literary fiction.’ The very sound of the term can set off the ‘elitist’ alarm in readers who may be more familiar with the concept of genre fiction. Technically, literary fiction is not specifically a genre in and of itself, but more of a generalized term used for a specific writing style.

A common misconception around literary fiction is that it is only for the educated reader and not for the reading masses. Focusing on the inner lives of character over plot and worldbuilding, literary fiction titles can appear dense and impenetrable to the general reader. The term, literary fiction, has been attached to many works achieving success in highly-respected literary awards, such as the Nobel Prize, further elevating the elitism attached to the genre.

The term, ‘literary fiction,’ first originated in the early 20-century. Emanating from within the publishing industry, it was initially utilized as a marketing label to distinguish more critically acclaimed character-driven novels exploring the human condition. This distinction was seen as an attempt to separate the novels that were deemed more ‘literary’ from plot-driven, commercially successful genre fiction like thrillers and sci-fi. Prior to the distinction of literary fiction, these more literary novels would have simply attracted the title of ‘literature.’

Fans of contemporary literary fiction insist that it can and should be a form of literature that is open to the masses. Editor Michael Woodson has stated that literary fiction crosses many genres and should appeal to all readers, because at the heart of literary fiction is the representation of the human experience.

Within this article, we are going to investigate the form of writing known as literary fiction, and attempt to place it within the literary landscape. We will consider the masters of the form, why it might be a style worth reading, and how it differs from more popular forms of genre fiction.

What is Literary Fiction?

Literary fiction is less a genre of literature than a category, according to Michael Woodson. As such, the term literary fiction itself can be difficult to define, with some critics asserting that “You know it when you see it.” It is more of a writing style or mode than a category, and the style is difficult to categorize or pin down.

Less Focus on Closure

At the end of a literary fiction title, we are less likely to receive ‘closure.’ This plot writing difference is one of the many ways in which literary fiction differs from genre fiction such as crime or romance. At the end of a typical romance novel, we would expect — if not necessarily a happy ending — at least a resolution of some sort. At the end of a literary fiction title, in contrast, such a resolution may not be present or obvious.

Examples of titles with little or no (or perhaps confusing) resolutions include novels such as Ayşegül Savaş’ “White on White.” Savaş’ story is told through a young female student narrator who is renting an artists’ studio for the duration of one year. Neither the narrator nor the European city is specifically named. When the artist herself returns to the upstairs room, the narrator becomes her confidante, and begins relating the stories the female artist tells her. The character of the narrator is never developed, and we only have her view of the artist. The end of the story sees the narrator visit the artist’s room to see what it is she has been capturing on her canvas, which leads to an eerie sense of impending doom. We, as readers however, are not a party to the realisation of the narrator at the end, and are merely left to insinuate our own interpretation of events.

Similar lack of resolution or ambiguous endings including contemporary literary fiction titles such as Emma Cline’s “The Guest,” which has famously left readers in a state of confusion as to the meaning of the ending of the novel. Hannah Regel’s “The Last Sane Woman,” which features the lives of three interconnecting women from different decades, leaves us without a resolution for any of them. Finally, the internationally acclaimed Sally Rooney’s novels all leave a lot of room for interpretation. In particular, “Conversations with Friends” leaves the dynamics of the relationships of the main characters unresolved at the close of the story.

Whilst these endings may be uncomfortable or leave the reader confused, the very essence of a literary fiction novel is in the character-driven narrative and lyrical prose, and fans of this type of book will likely be familiar with the lack of plot or resolution.

Literary Fiction Can Have Genre Fiction Elements

Unlike general fiction, literary fiction does not adhere to specific expectations or tropes seen in genre fiction. Nonetheless, it can and does cross over genres in some examples of the form.

Examples of this blending might be seen in recent novels such as “The Safekeep.” Yael Van Der Wouden’s popular 2024 debut novel is listed as historical fiction, as well as lesbian, psychological and Jewish fiction. The author explores the relationship of two women who are thrown together, and their increasing desire for one another. Though it is a deep, introspective study of human nature, identity and desire, it is also an interrogation of history and truth. The book contains a ‘twist’ that could be considered a normal expectation of genre fiction. Still, the lyrical prose, structure and insistence on placing the protagonists’ thoughts and fears at the centre of the story places it firmly within the literary fiction form.

Less Dedication to Plot, More on Character and Social Commentary

It is the very slippery nature of what literary fiction actually is and this adoption of other genres within some of its titles that make it unlikely that you will find a specific literary fiction section in the bookstore. The category known as literary fiction can sometimes be a meandering exploration of a character’s motivations through a specific snapshot of their life, though many titles within the category are slimmer novels than, say, the average historical fiction title.

The lack of plot, or the misunderstanding of what the plot actually is, is something critics and genre fiction fans may dislike about a literary fiction novel. Literary fiction dispenses with plot altogether in some cases. A popular contemporary literary fiction book often cited as plotless and with no clear ending is “My Year of Rest and Relaxation” by Ottessa Moshfegh in which the title character takes a lot of prescription drugs in an aim to sleep for a whole year.

In others, the plot remains opaque, only to be considered in retrospect at the close of the book.

Often seen as a more serious form of literature, written by serious authors, an element of snobbery can surround the form.

Prioritizing artistry and character psychology, as well as thematic depth over traditionally fast-paced plots, literary fiction does not adhere to predictable formulas. The form instead focuses on exploring the human condition. Such descriptors place literary fiction titles in contrast to genre and commercial fiction, which usually contains specific tropes readers will expect or recognize. A literary fiction title may also contain social or political commentary, posing existential questions around the human condition.

It is also worth saying that literary fiction is often seen as a higher form of literature than genre fiction, and is sometimes referred to colloquially as ‘Vibes over Plot.’ This opinion is fed, in part, by the proliferation of literary fiction titles receiving highly-esteemed writing prizes and awards. It is also generally considered a higher form of art by literary critics.

Although most often referencing contemporary novels of high esteem, the term literary fiction can also be attached to some classic novels, though they may not have been written or considered as such on publication. Virginia Woolf’s hyper-focus on stream-of-consciousness storytelling from the point of view of her central narrators, such as seen in her modernist novel “Mrs Dalloway,” or the poetic, repetitive cadence of her novel “The Waves,” display the key elements of literary fiction. The internal thoughts and dialogue of her characters reveal the social and political turmoil of the early twentieth-century. Much is revealed through Woolf’s novels, as with much of literary fiction, through the internal thoughts of the central narrator. The use of this technique allows for a deeper understanding of the machinations and motivations of being human.

Woolf also utilizes the form of long, run-on sentences, often leaving the reader breathless. This style can be a feature of a literary fiction novel, though there are also many examples where short sentences and even chapters of a single line occur.

Books such as Jenny Offill’s “Dept. of Speculation” feature very short chapters. The novel is set out in forty-six brief vignettes, ranging from one sentence long to a short paragraph. As expected from a work of literary fiction, the book is written in poetic prose and astute character-driven observations of a marriage and new motherhood.

Other novels, such as Dana Spiotta’s “Wayward,” contain shorter chapters than would be expected in a genre fiction novel, with one being just a few sentences long.

More Experimentation With Prose and Perspective

Many literary fiction titles play around with sentence structure, syntax and form. The use of fragmentary text, such as seen in contemporary novels like Jenny Offill’s “Dept. of Speculation” reveal the inner thoughts and unravelling psyche of the central narrator. Thoughts, actions and revelations delve back and forth into seemingly unrelated themes throughout literary fiction texts. Turkish author Ayşegül Savaş’ novel “White on White” sees the oft-used motif of the ‘unreliable narrator.’ Though we are hearing the thoughts of a central narrator throughout Savaş’ novel, she is telling the story of another woman of her acquaintance. The structure of “White on White“ therefore leads the reader to question which of these two women’s ‘versions’ of reality we are to believe in.

More Literature Awards

Literary fiction has been a successful area of literature in prizes such as the Nobel Prize for Literature. An annual award, the Nobel is awarded to a writer from any country who has produced the most outstanding work of literature in an idealistic direction. The decision to award the Nobel to an author is not usually based on one individual piece of work but on an author’s entire body of work. French author Annie Ernaux won the 2022 Nobel Prize for Literature for her semi-aubiographical, autofictional oeuvre which the Swedish Academy suggested “uncovers the roots, estrangements and collective restraints of personal memory.” We can see by the judges comments on Ernaux’s work a reflection of the value placed on the form of literary fiction that is utilized to express both personal and universal truths.

The slippery, sometimes elusive form of literary fiction can be a worthwhile style of writing to read, even for the general fiction reader. As well as challenging our ideas of what writing is and can be, reading literary fiction can help us to be better writers, challenging our use of accepted forms and styles of writing. Many authors of the form dispense with grammar, experimenting with syntax and structure of the novel form. Some literary fiction titles are written in forms of prose-poetry, such as “Bluets” by Maggie Nelson.

Literary fiction can also help us to understand the human condition on a deeper level. In inhabiting the thoughts and concerns of literary fiction characters, we may develop our empathy for others, as well as interrogate our own lives and ideas.

Criticism of Literary Fiction

The style of literary fiction tends to divide readers. Generally speaking, devotees are drawn to the introspection of character-driven narratives and the aesthetics of the artistry and innovative writing techniques contained within a literary fiction novel. The engagement with social commentary within a piece of literary fiction is also a factor of interest to fans of the form. However literary fiction has a reputation of snobbery around it, with readers of genre fiction sometimes seeing literary fiction as inaccessible to the general reader of genre fiction. Perhaps this assumption has been exacerbated by such writing attached to awards such as the Nobel.

Authors including John Updike have criticized the term itself, saying that:

“The category of ‘literary fiction’ has sprung up recently to torment people like me who just set out to write books, and if anybody wanted to read them, terrific, the more the merrier…I’m a genre writer of a sort. I write literary fiction, which is like spy fiction or chick lit.”

Updike went on to suggest that the term, as applied to his own work, limited him as a writer, pointing out that all his books should be deemed literary simply because “they are written in words.”

Something worth noting is the issue of literary fiction journals, which tend to publish writing by emerging or established writers. Journals including The Paris Review, Granta, The Stinging Fly, Ploughshares and The London Magazine are recognized for publishing both established writers and promising debut authors in the genre of literary fiction. Whilst genre-specific journals are often more open to a variety of writing styles, there appears a certain amount of subjectivity in the acceptance of writers into revered literary journals. There can also be a cost barrier, with some literary fiction journals charging for submissions or reading fees, with acceptance remaining low. Some journals charging fees include Narrative Magazine and The Iowa Review.

Literary Fiction Versus Genre Fiction

Plot vs. Character

The plot vs. character argument is by far the strongest indicator of a literary fiction title sitting in opposition to a book of genre fiction. Genre fiction titles, such as thrillers, crime, romance, sci-fi, or historical fiction, are usually highly plot-driven, focused on external action and clear resolutions. The plot of genre fiction is generally the overarching concern, with the characters sometimes becoming a stereotype of the genre.

Literary fiction, in contrast, is character-driven, focused more on the internal motivations of the characters, including their flawed perspectives on the world and their personal situation. Literary fiction tends to draw on interest in the human condition, as well as an engagement with social or cultural concerns, and often discards plot altogether.

World Building

An element worth mentioning in the discussion of literary fiction is the absence of world building. Within literary fiction titles, it is common to see little development of setting, with stories appearing in the real-world. There are exceptions to this, for instance in literary fiction with elements of Magical Realism, such as Gabriel Garcia Marquez’s “One Hundred Years of Solitude” or the novels of Isabel Allende. We may also encounter occasional elements such as the afterlife in Joseph Rauch’s “Teach Me How to Die” or speculative elements such as in “The Last of the Mentally Ill.” But these are not the deeply developed fantasy worlds seen in titles such as the Harry Potter series or Lord of the Rings. Novels with a high-level of world building will usually be set over several titles in an ongoing series. Though highly detailed, complex worlds and characters emerge, the core plot of such novels are often fairly simple.

Prose Style and Language

Prose is an important stylistic factor in recognizing a literary fiction novel. The language used is highly stylized and poetic or lyrical. The prose is often layered with symbolism and metaphor, and the language of a literary fiction title is seen as an important factor of the work. The style and language is an art form in itself rather than just a vehicle to tell a story about the characters.

In genre fiction, the language and style are generally of a form more recognizable to the general reader. The language will not generally be of a challenging nature, and will likely not play around with original style or complex use of metaphor.

Themes, Tropes and Endings

Literary fiction tends to explore themes affecting the human experience. Grief, the struggle for identity, emotional health and ideas around morality may be explored. These do not generally end with a neat conclusion, and endings can be left quite ambiguously. Literary fiction novels are sometimes viewed as a part of high culture, as opposed to popular culture.

In a work of genre fiction, we tend to expect a more easily recognizable theme or trope. This style is easier to define in terms of marketing for publishers and the placement in bookstores. They appeal to a mass audience, as books within a specific genre can be easily identified. Genre fiction is a more readily understood and accepted part of popular culture.

It is important to acknowledge that literary fiction can and does cross over into genre fiction, including genres such as magical realism, crime, historical fiction and science fiction. Examples include work by authors such as Canadian writer Margaret Atwood, whose dystopian speculative fiction, including both short stories and novels, would comfortably occupy the literary fiction market.

Book Cover Art

Something which is a common trope of a literary fiction novel is the book cover art. Covers feature abstract images, with vague connections to the novel. The covers often have images of a piece or art or statuesque or painted images. They are focused on colour or objects. The cover art of “White on White” varies between editions, but two different copies feature stark white backgrounds with a female statue at the center. Whilst “Troubling Love” by Elena Ferrante features a vivid blue background with a headless woman. One edition of “Dept. of Speculation” features a blue cover with holes cut out, whilst another has jigsaw puzzle pieces.

In contrast, genre fiction titles often express the tropes expected within the novel. Examples such as crime fiction might include guns and other instruments of murder, bodies, shadows and detectives. Popular contemporary crime fiction titles such as those by Lisa Jewell show shadowy figures behind closed doors. Whilst other titles such as romance might show couples on the cover, or idealised landscapes, and so on.

The title style is also different: fantasy titles may utilize curled lettering or imaginative cursive, whilst crime is often large and dominating. Romance may use curled and exaggerated letters. Literary fiction titles in contrast are usually in more subdued lettering, as well as the books themselves coming under vague titles. Genre fiction titles, in contrast, more often indicate the genre of the book, or have puns and play-on-words for comedic effect.

Popular Literary Fiction Authors

Ali Smith

Contemporary Scottish novelist Ali Smith writes stylistically innovative novels and short stories which reflect social and political culture. Smith’s narratives also contain themes relating to the LGBTQ+ community. In her seasonal quartet of novels, Smith explored concerns such as a post-Brexit Britain, through the four seasons, as well as using modes such as split-time narratives.

Lauren Groff

American writer Lauren Groff has been highly commended for her immersive literary fiction novels exploring female agency, such as “Matrix,” and “Fates and Furies.” Groff’s work has one foot firmly rooted within the historical fiction camp.

Ian Mcewan

British novelist and screenwriter Ian McEwan is best known for his novel, “Atonement,” which follows the story of a young girl who alters the lives of her sister and childhood friend after she tells a lie. While “Atonement” shares close links with historical fiction, some of his other titles — such as “What We Can Know” — are crossovers with the dystopian genre.

Tayari Jones

Tayari Jones is an American writer recognized for novels set within the American south, most notably, Jones’ novel “An American Marriage” which rose to prominence when it was highly praised by former U.S. President Barack Obama. “An American Marriage” tells the story of the wrongful conviction of a young Black American man. The novel went on to win the Women’s Prize for Fiction.

Kazuo Ishiguro

Japanese-born British writer Kazuo Ishiguro is a Nobel Prize winning author whose novels explore time, memory and human connection. “Never Let Me Go” (read our full review) is a particularly renowned novel, which crosses the dystopian genre and explores the dark story behind a seemingly idyllic boarding school. Ishiguro’s “Remains of the Day,” considered a modern classic, follows the story of a loyal English butler as he looks back on his life of missed opportunities.

Literary Fiction Categorization by Process of Elimination

A point to note that may be helpful when considering the genre of a fiction book can be the process of elimination. Literary fiction is less likely to exemplify the following tropes and formulas.

Within specific genres — such as crime, romance, or self-help — we will generally spot some repeated tropes. In crime, for example, tropes might include: a detective (amateur or official), the “red-herring” that aims to lead the reader down the wrong path, one or more dead bodies in mysterious circumstances and a cast of potential suspects. In a romance title, we usually have a character (often female) who is struggling to find a reliable partner. They may be in a moment of flux or difficulty, and need to make changes in their life. There will usually be a point of confusion or difficulty around two thirds of the way through the story and, almost always, a satisfactory or traditionally happy ending. Fantasy, another popular genre, is likely to be set in an other-world setting, with characters such as fairies and wizards, or who display other-wordly gifts. Magical Realism is a theme that is an interesting cross-over genre, as this type of fiction is usually set within the real-world realm, but has strange elements of unreality.

Tropes within nonfiction titles may include such themes as assisting readers with a specific issue or problem that is holding them back (self-help), or a book exploring a real-life experience of the author through storytelling devices (creative nonfiction). In other words, if you can rule out the most common tropes of genre fiction and nonfiction, you are most likely reading literary fiction.

As a side note, some publishers and reviewers also refer to ‘general fiction,’ an analogous term which is difficult to quantify. The term is sometimes adopted to indicate that a book is likely to be set in the real-world. More character-driven than the usual genre fiction titles, it does not therefore fit neatly into a specific genre. It perhaps provides a compromise between genre and literary fiction.