What literary fiction is
“Literary fiction” has no precise, agreed definition. It is generally used for fiction that puts emphasis on character, theme and the quality of the language, and that is often judged on artistic ambition rather than on following the conventions of a genre such as romance or mystery. The term is subjective, and critics, publishers and readers draw its edges differently. Our guide to book genres shows where it sits among other categories. A story can also be literary and still use elements from genre fiction, so treat the label as a loose orientation rather than a rulebook.
Common traits
- Character-driven. The central interest is often a person’s inner life, motives and contradictions, rather than a puzzle or a chase.
- Thematic depth. The story explores questions such as identity, grief, power or belonging without needing to give a tidy answer.
- Attention to prose. Word choice, rhythm and imagery are treated as part of the meaning.
- Ambiguity. Endings may be open, and characters may be morally mixed.
- Flexible structure. Timelines can be non-linear, and the pacing can be slower or more episodic.
Start with a question, not a plot
Many writers of literary fiction begin with a question or an emotional situation. Examples: What does a family owe someone who has hurt it? How do you grieve a person you never understood? Then they ground that question in a specific character, a specific place and a situation that puts pressure on it. “A widowed schoolteacher must decide whether to sell the house where her husband kept his secrets” is more useful than “a story about grief”, because it gives you a person, a choice and objects to write about. See how to write the premise of a story for a method.
Structures to consider
Literary novels are often described as lacking a standard structure, but some patterns recur. Two common ones are:
- Coming-of-age. A young protagonist moves from innocence toward a more complicated understanding of themselves and the world. The shape comes from a series of formative experiences and a change in how the character sees things.
- Picaresque. An episodic journey, often following a roguish or outsider figure through a series of encounters. The unity comes from the character and the voice rather than from a tightly linked plot.
Other options include a single day or event explored in depth, a story told through several perspectives, or a narrative organised around a recurring image. Whatever you choose, an underlying coherence matters. Readers can accept an unusual form if each section connects to a central concern.
Keep the story moving without heavy plot
A common worry is that a quiet, character-focused story will feel like “nothing happens.” A few habits help:
- Give the character a want. It can be small, such as being forgiven or leaving a town, but it needs to create friction. The problem of a story explains how wants and obstacles create conflict.
- Add pressure. A deadline, a visitor, a secret or a decision forces the internal conflict into view.
- Let scenes change something. Each scene should alter a relationship, a belief or what the reader understands.
- Use subtext. Characters often avoid saying what they mean, and the tension lives in the gap.
- Vary the texture. Mix scene, summary, reflection and description so the pace does not flatten.
Shorter forms are a useful training ground. Many writers practise these skills in short stories before attempting a novel; see our pillar on imaginative short stories examples for pieces to study.
Prose style and voice
Voice is often the main attraction in literary fiction. Choose a point of view and stay consistent, favour concrete detail over abstraction, and avoid ornament that does not carry meaning. Read your work aloud, and cut phrases that sound impressive but say little. Precision often matters more than elaborate language.
Revision
When revising, ask what each scene reveals about the central question. Check whether the ending resolves the emotional line even if it leaves events open. Look for repeated images and decide whether they are deliberate echoes or habits. Feedback from readers who enjoy the style can be more useful than from those who prefer fast plots. See rewriting a book for a revision process and how to critique a story for getting useful feedback.
FAQ
What is the 90/10 rule for writers?
There is no single official “90/10 rule” in writing. The phrase is used in different ways by different people, for example about time spent on revision versus drafting or about how much of a book’s success comes from marketing. Because the meaning varies, treat any specific claim with caution and check the source.
How many books do I need to sell to make $100,000?
There is no reliable single answer. Author income depends on the format, price, royalty rate, whether the book is traditionally or self-published, whether there is an agent, and how sales are split between formats and territories. Literary fiction in particular often earns modest and uneven income, and many authors have other sources of income. If you need numbers, look at your own contract or publishing platform terms and the royalty statements of books similar to yours.
How much does an author make on a $20 book?
It depends on the contract. Royalty percentages vary by format and publisher, and they are commonly calculated on list price or on net receipts depending on the agreement. Self-published authors typically keep a larger share per sale but cover their own costs. Read the terms in your contract or platform before estimating earnings.
What book does Stephen King regret writing?
Stephen King has said he regrets Rage, which he published under his Richard Bachman pen name. He allowed it to go out of print after it was linked to school shooting incidents. This is a well-known example of an author withdrawing a book for ethical reasons.
Related reading
If you want to practise compressing emotion into very few words, try the exercises in ideas for flash fiction stories. If you are curious how another comic tradition handles voice, see writing a tall tale.