Bizarro fiction is a contemporary literary genre, which aims to be both strange and entertaining, containing hefty doses of absurdism, satire, and the grotesque along with pop-surrealism and genre-fiction staples, thus creating subversive, weird, and entertaining works. The term was adopted in 2005 by the independent publishing companies Eraserhead Press, Raw Dog Screaming Perss and Afterbirth Books.
The first Bizarro Starter Kit described Bizarro as “literature’s equivalent to the cult section at the video store” and a genre that “strives not only to be strange, but fascinating, thought-provoking, and, above all, fun to read.”
In general however, Bizarro has more in common with speculative fiction, such as science-fiction, horror and fantasy than with avant-garde movements (such as Dadaism and surrealism, which readers and critics often associate it with.
It seems to be a small niche genre and one that appeals to a select audience. However, I think it would be a fun exercise to write a story in this genre.
How about you? Have you written this genre? Or read any books in it?
The Grotesque is often linked with satire and tragicomedy, in which the author conveys grief and pain to the audience. The term was first used to denote a literary genre with Montaigne’s Essays. Many of the earliest written texts described grotesque happenings and monstrous creatures within mythology, which was of course a rich source of monsters. Examples, such as the one-eyed Cyclops from Hesiod’s Theogony or Polyphemus in Homer’s Odyssey and Ovid’s Metamorphoses, where we find grotesque transformations and hybrid creatures of myth.
This genre was a departure from the classical models of order, reason, harmony, balance and form, opening up an entry into grotesque worlds. British literature abounds with native grotesquerie, from the strange worlds of Spenser’s allegory in The Faerie Queene, to the tragi-comic modes of 16th-century drama.
Occasionally, literary works of mixed genre are termed grotesque, such as “low” or non-literary genres such as pantomime and farce. Gothic writings often have grotesque components such as character, style and location while other describe the environment as grotesque. Examples being urban (Charles Dickens), or American south literature, termed as “Southern Gothic”. Other grotesque uses have been social and cultural formations, such as the carnival(-esque) in François Rabelais and Mikhail Bakhtin. Or in satirical writings of the 18th century, such as Jonathan Swift’s Gulliver’s Travels.
Thereby fictional characters are considered grotesque if they induce both empathy and disgust by way of physically deformity or mental deficiency, but also if the character has cringe-worthy social traits. In Shakespeare’s The Tempest, the figure of Caliban inspired more nuanced reactions than simple scorn and disgust. Also, in J. R. R. Tolkien’s The Lord of the Rings, the character of Gollum may be considered to have both disgusting and empathetic qualities, which fit him into the grotesque template.
One of the most celebrated grotesques in literature is Victor Hugo’s Hunchback of Notre Dame and of course Dr. Frankenstein’s monster can also be considered a grotesque, although he is presented more sympathetically as the outsider who is the victim of society’s alienation as they describe him as ‘the creature.’
There are also examples of grotesque literature during the nineteenth-century, however the grotesque body was displaced by the notion of congenital deformity or medical anomaly.And more in terms of deformity and disability, especially after the First World War, 1914-18. The growth of prosthetic’s created themes of half-mechanical men and became an important theme in dadaist work.
You may be surprise to know that Lewis Carroll’s Alice’s Adventures in Wonderland is deemed grotesque literature due to the many fantastic grotesque figures she meets. However, Carroll managed to make the figures seem less frightful and fit for children’s literature.
Crime fiction fictionalizes a multiple of crimes from murder to kidnapping to extortion. The narratives relay how the criminal gets caught, and the repercussions of the crime as well as their detection, the criminals, and their motives. It is usually distinguished from mainstream fiction such as historical fiction or science fiction, however, the boundaries are indistinct. Crime fiction has multiple sub-genres which include detective fiction or whodunits. courtroom dramas, hard-boiled fiction and legal thrillers. Most crime fiction deals with the crime’s investigation rather than the court room. Suspense and mystery are key elements nearly ubiquitous to the genre.
Crime Fiction was recognized as a distinct literary genre in the 19th century with specialists writers and a devoted readership. Earlier novels typically did not have the modern systematic attempts at detection: with no detective or indeed police trying to solve the case but rather more mystery in context. Such as a ghost story, a horror story, or a revenge story. The ‘locked room; mystery was a precursor to the detective stories. The most famous of course is Arthur Conan Doyle’s Sherlock Holmes, whose mental deductions and astute observations led him to the culprits. Two other notable authors in this ‘new’ genre were Agatha Christie and Dorothy L Sayers.
Locked room whodunit
Locked room mystery
Parody or spoof
Each one commonly has a lot of suspense, hidden clues, a charismatic detective and an elusive criminal. The genre continues to develop with character analysis, covering specific themes, LGBT crimes and police investigation themes.
That definitely depends on what I’m writing. Some scenes flow so easily onto the paper with very little effort. My imagination sees the pictures, hears the voices, and obeys. Other times it can be emotionally harrowing. It can take me days to get over the death of a beloved character, even though I made the decision to kill her off.
What is your writing Kryptonite?
Handling my own nature is the hard part for me. I tend to be very distractible and moderately obsessive. There is always that one more piece of research, a new book to read, and, Oh Look! I got a facebook mention. My mind will bounce to anything new and shiny and sometimes when it lands on a topic I find it hard to let go and get back to the writing. There is a definite benefit to this type of mind though, once I start writing and the scenes are flying, I will keep going until someone pulls me out.
Did you ever consider writing under a pseudonym?
I actually do write under a synonym. I work in the legal profession and was advised that it might be better not to use my real name for security purposes.
What other authors are you friends with, and how do they help you become a better writer?
I have been so lucky! Two of the first people I met when I started to write were Rebekah Raymond and J.J. Reichenbach, they, along with several others convinced me that my ‘baboon crap’ was worth the effort and helped me get started learning the craft of writing.
Do you want each book to stand alone, or are you trying to build a body of work with connections between each book?
My original plan was three standalone books in the same world. But the story doesn’t seem to be working out that way. It looks like being a three-book series.
What was the best money you ever spent as a writer?
In the beginning I’d say joining the Alexandra Writers Centre Society, a local writers group that runs classes on everything from writing technique, to plotting, to poetry. Once my book was underway, I hired a good editor whose knowledge of her craft and determination to present my work at its best is the reason Y’keta is a polished, professional read.
What was an early experience where you learned that language had power?
When I was little, we had a burgundy set of children’s encyclopaedia’s and I would put on performances in the living room and insist that my family listen to the stories and legends that I read. I grew up on the stories of Robin Hood, King Arthur, and the Fae. What else could I ever be?
I love the authors who can make words dance and sentences MEAN things. This has led me to authors like Guy Gavriel Kay, and Don Dellilo. I would give my left ovary (not so dramatic a thing since at 55 those parts are hardly crucial) to sit down with either of these gentlemen, or even better their writing notes, for an afternoon!
What’s your favorite under-appreciated novel?
That’s a hard question, there are so many good novels that go just under the popular radar. For me M.K. Wren’s Sword of the Lamb is a definite favourite. How will a government that has spanned centuries react when faced with political and social unrest? How does this affect the people born to a world that has never changed? If you enjoyed Asimov’s foundation series, you will probably like this one.
As a writer, what would you choose as your mascot/avatar/spirit animal?
Oh fun! I think I would take a raven as my spirit animal. They are known for being wise birds but also for having a sense of fun and mischief.
How many unpublished and half-finished books do you have?
Eeep. Do I have to admit it? At least eight, there is just not enough time!
What does literary success look like to you?
For me its all about the reader’s reaction. Yes, the sales are great (PLEASE – buy the books), but if one person says to me that my words opened their eyes to a bigger world, or that I showed them the power of words and the beauty that they can bring, then I’m a success.
What kind of research do you do, and how long do you spend researching before beginning a book?
I originally didn’t think that I was researching to write a book when I started out to write Y’keta. About five years ago, my husband found out that he was part Cree. At that time, I went back to the indigenous legends I’d learned growing up in Northern Alberta as a way to teach my son the history and culture that my husband never learned. For more than four years I studied the language and history of several different indigenous cultures.
How many hours a day/week do you write?
When the words are flowing I write two to three hours a day. When things aren’t so easy and I’m struggling with a scene or a plot point it’s harder, but I try to keep to writing something every day. Whether poetry, or as part of my ongoing books.
How do you select the names of your characters?
I try to find names that will work within the cultures of the story taking into consideration the ‘hardness’ or ‘softness’ of certain sounds and whether they match the character. In Y’keta, I borrowed the name of a traveller that my friend met in Ontario (Y’keta) and adjusted the name of my cousin, Sian.
What was your hardest scene to write?
In my work-in-progress, D’vhan, there is a scene where a young child dies. Writing it was emotionally crippling and took me to some very dark areas of my past. It was a necessary part of the story, but very very hard.
Why did you choose to write in your particular field or genre? If you write more than one, how do you balance them?
I write fantasy because the words are my way of exploring a world I can’t see. I’m a mythmaker, there is nothing that gives me more creative juice than asking a question and then building a world to find the answer. Myths and fantasy give us the opportunity to look at ourselves in new and often unusual ways, to play a huge game of ‘what if’ and see where the answers will fall. I find the basic understanding is the same when I’m working on romance books, except that you are now playing what if with relationships and feelings.
How long have you been writing?
According to my mum I have always written stories and poems. I wrote my first ‘official’ poem in Grade four and had my first work published in a school magazine in 1977.
What inspires you?
There are so many people that inspire me, whether they are historical figures or literary ones. I think the common thread in all of them is that they had the opportunity to quit, every reason to say I’m too old, too tired, it’s just easier to let it be someone else’s problem. This kind of hero, unwilling, often flawed, yet willing to step up, gets me every time.
How do you find or make time to write?
Finding time to write is an ongoing issue for me. I have started to take myself on writing dates, the people at the local Starbucks know my name and how I want my coffee, they don’t ask anymore. I also have a great group of writer friends that hold sleepovers now and then. Much laughter, much wine, and many words have come from these weekends.
What projects are you working on at the present?
I’ve got three projects on the go at the moment, with a never empty folder of ideas on the backburner.
The next book in the Sky Road Trilogy, D’vhan, is in the ‘necklace’ stage of drafting. I’ve got several pearls but I’m missing the chain of story movement that will tie them together.
I am working on a romance that will be part of an upcoming series of novellas with my contribution, Peace Out, slated for May 2018.
There is also a chapbook of poetry in the works, although at the moment the prose has centre stage.
Romance novella, Peace Out releases on May 4th. Video.
I am plotting a YA Fantasy based on a world where the center of the earth is molten magic and drilling is creating imbalance and magic quakes – Geomages! I’ve also got poetry,plans for a darker themed adult fantasy about a dying world that even the gods have abandoned, two other romance novels and a space opera. So much to do! It’s going to be fun.
The definition of a graphic novel is a book made up of comics content. However, the term is not strictly defined, though Merriam-Webster’s dictionary definition is “a fictional story that is presented in comic-strip format and published as a book”, while its simplest definition is given as “cartoon drawings that tell a story and are published as a book”
Obviously, some will say these are not ‘novels’ in the traditional sense at all. One such author, Alan Moore believed: “It’s a marketing term…that I never had any sympathy with. The term ‘comic’ does just as well for me…The problem is that ‘graphic novel’ just came to mean ‘expensive comic book’ and so what you’d get is people like DC Comics or Marvel Comics – because ‘graphic novels’ were getting some attention, they’d stick six issues under a glossy cover and called it graphic novel under the action hero’s name.
However, the term ‘graphic novel’ is broadly applied to include non-fiction, anthologized and fiction works and is distinguished from the term ‘comic book’, as this refers to comic periodicals.
Richard Kyle, a fan historian coined the term ‘graphic novel’ in 1964 and the term gained popularity in the comic community from 1978 and especially with the start of the Marvel graphic novel line in 1982. The book industry began using ‘graphic novel’ as a book shelf category in 2001. Most comics historians agree that the first real ‘graphic novel’ was Will Eisner’s A Contract With God and Other Tenement Stories published in 1978. Decidedly adult in its images, themes, and language, Eisner’s book spoke to the generation that had first grown up with superhero comics in the 1940’s and 1950’s.
I found a fascinating link regarding the history of graphic novels. Take a look: http://libguides.marymede.vic.edu.au/graphic_novels/history