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I have a friend—call him Tom—who, like me, is a writer. Tom has written many novels over a long and enviable publishing career, and his novel-writing philosophy, related to me over various drinks at various bars, can be summarized as follows: Write whatever the hell you write, whatever concept or character or situation has burrowed under your skin and must be freed. Forget commerce and forget audience—you write for an audience of one, and if an editor or reader happens to find it interesting, all the better. A bestseller, in Tom’s view, should merely be a happy alignment of the world’s interests with your own, a momentary occupation of a dominant paradigm that is essentially unplannable. Or not something to be planned, at any rate.
Tom’s philosophy holds many advantages. It is pure, uncompromised and uncompromising. It presumably results in the best art, at least if you assume that, in theory, the most adventurous art usually takes money the least into account. And it is easily followed, as well, simply by adhering to its lone Thelemic precept: Do what thou wilt.
It is, finally, a comforting artistic position for an artist to hold vis-à-vis commerce. If you are utterly beholden to your artistic impulses, you cannot be surprised or mind much when a piece of art does not sell. You did not create it to sell. If it does, great, but whether it does or not is a simple matter of luck, of spinning the wheel. Further, it implies a retroactively absolving determinism—if a lifetime of artistic work has sold no paintings, no albums, no books, why fret? After all, you were always going to do the thing you were going to do, and you were never going to do the thing you weren’t going to do, and the thing you did do was never not going to be unpopular, QED.
This may be a philosophically solid position, but is it necessarily true? I began to ask this question after the publication and non-success—the anti-success—of my first novel. I wrote the book, as many first-time novelists do, in a kind of prelapsarian innocence, protected from the practical concerns of publication by ignorance and wonder at the odd fact of writing a novel in the first place. In the beginning, I hadn’t even really intended to write a novel, had simply been working on a short story that kept accumulating pages. In the end, it sold to a trade house, and the whole experience had the hazy quality of a dream, an impression strengthened by the arcane inscrutability of the publishing process.
Preparing to write a second novel, I had no such illusions. I had seen the amount of machinery required to make a book, all the stubborn engines of commerce that must be coaxed to life; I had received the distant publication schedules, the important dates that feel imaginary set nearly two years in the future; most importantly, I had a book come out that didn’t do much of anything besides get some nice reviews. These are lessons that cannot be unlearned, and they come with a circumspection about the projects to which you are willing to commit your time and attention. Suddenly lots of market-related considerations crept in that would never have occurred to me the first time around. I began to wonder, contra Tom: Could a writer set out to write a popular book?
In a largely facetious (though slightly more serious than I’d like to admit) attempt to address this question, I decided to take the most literal possible approach and go through several years of New York Times Best Seller lists. After all, to write a bestseller, it would be helpful to know what has sold best. Making the Times best-seller list may seem like casting a broad net, but only counting literary number ones, I was left with, approximately, All the Light We Cannot See and The Nightingale. So I figured hitting the top ten for a week would do it, over the previous five years. Too much further back and you might run into epochal changes of taste, some forgotten mania of the aughts. Also, I didn’t have the time.
An immediate issue this exercise presented, and a question much larger than the scope of this piece, was deciding what qualifies as “literary fiction.” For my purposes, I included almost anything not having to do with worldwide conspiracies, serial killers, werewolves and shapeshifters and rogue triple agents—i.e. anything not obviously genre. And though they invoke the Bard of Avon, William Shakespeare’s Star Wars series—The Empire Striketh Back, The Jedi Doth Return, I am not making this up—did not make the final cut.
(Before moving on to actual findings, a couple of notes after having spent many man hours going through nearly 300 or so of these weekly lists. First—and I realize this is the summit of trite publishing observation—but holy shit does James Patterson, or The James Patterson Military Industrial Complex or whatever it is, produce a lot of books. I’m not sure I noticed more than a handful of weeks in the last five years in which some Pattersonian permutation wasn’t on The List. David Baldacci, also. Second, Brad Thor may be the only bestselling genre author with a less plausible name than his protagonist, the relatively mundane “Scott Horvath.” You would think his hero should be named something like Odin Hercules, but no.)
Having compiled a long list of recent literary hits, what did I learn? Well, for one thing, start your title with “The.” Around a third of these bestsellers are “The” books. The Goldfinch, The Nightingale, The Martian, The Interestings, The Vacationers, The Girl on the Train. Granted, “the” is a fairly common word in English usage, but I suspect it also holds some subliminal power for prospective readers, announcing a book as official in subject and purpose—the definite article, so to speak. Just imagine how many more copies All the Light We Cannot See would have sold if it had been titled, for example, The Light We Cannot See (All of It), or The Entirety of Unseen Light.
Another smart move is to be famous already. Ideally, have written To Kill a Mockingbird 50 years ago, but otherwise, at least be a known quantity. This, of course, introduces another chicken/egg problem, i.e., how did these writers get to be known quantities before they were? At any rate, surprisingly few authors seem to make the list from out of nowhere.
More seriously, write one of two types of books: mysteries or historical fiction, both if possible. In either of these genres, you’re in good shape if you can work in something to do with a famous painting or painter or other noteworthy work of art or artist. Anything to do with marriage and travel to exotic locales, as well. Over and again, a combination of these elements popped up, and the obvious common theme is that of escape: escape into the past, escape into a mystery, escape into aesthetics and culture, escape into imagined relationships, and the literal escape from one’s home to parts unknown. It turns out that the escapist instinct that drives genre fiction sales is alive and well in readers of literary fiction—it simply requires (debatably) better sentences and (usually) less fantastic trappings.
With these guidelines in mind, I came up with a few potential novels that wouldn’t have seemed out of place on the list. Here’s one: a historical mystery based on the life and death of Paul Gauguin. But told from the perspective of his estranged wife, Mette-Sophie, via a diary she keeps as she travels the world, investigating her husband’s artistically triumphant and morally bankrupt life after leaving his family. Call it The Journals of the First Mrs. Gauguin. A synopsis of this ghostly book in the style used to query agents is as follows:
When a previously unknown Paul Gauguin painting is discovered in an abandoned apartment in Chicago, art historian Lena Wexler is assigned the job of tracking its provenance; an investigation back through time, and place—from Chicago to Miami, from Denmark to France, from Tahiti to, finally, The Marquesas, all with the help of The Journals of the First Mrs. Gauguin.
Does this sound like a book people would buy? I think so. I can very easily imagine this book on the coffee table of my mother-in-law, an omnivorous reader of literary bestsellers, classics, and nonfiction who helms a monthly book club. I’m fairly confident that if I queried 20 agents with this synopsis, one or two would request a read. It sounds like a popular book.
The only problem is that for it to exist, I would have to write it. And it’s not a book I can write. Working through this little thought experiment confirmed what I already knew writing a novel requires: an ineffable, personal spark of interest that catches fire and burns steadily enough to not be extinguished by doubt and creative incapacity; a fire that manifests over time as curiosity about the subject, and the project itself, how it all turns out. Lacking this deep interest, an otherwise valid project—exciting, interesting, and commercial—remains a theoretically good idea, like going to medical school or quitting social media.
Since this essay’s inception, I’ve published another novel and have two more in stages of revision, and I’ve fully accepted Tom’s point of view: You have to write what you want to write, even if what you want to write won’t usually be what people want to read. You can’t spend two to five years on something for a theoretical, external reward. Or I can’t, anyway, but maybe some people can—if so, The Journals of the First Mrs. Gauguin is all yours.
Image: Flickr/Nabeel H
