One of my twins loves reading pre and post apocalyptic YA novels, but even he has reached saturation point. There’s really only so many stories you can digest involving the horror, chaos and disintegration of society that comes from either impending doom or the aftermath of an end of the world scenario. In many ways, our mutual ‘apocalyptic’ fatigue (after all, I’ve read almost all the same books) is indicative of market saturation as well as stagnation. It also raises issues, to follow on from Jim’s post yesterday, about how writers nurture their ideas to execution.
I think it’s safe to say the market has pretty much covered these scenarios:
- alien invasion
- ecological disaster
- Impending meteor/asteroid strike
- vampires/werewolves/demons/zombies/robots/monsters/mutations etc. taking over the world
- government conspiracy/police state/total control/thought control/emotional control
- evil schemes that generally involve youths in competition to kill or hunt each other down and/or destroy society
Note: Feel free to add to this list by the way…
But the key element I think (at least on the fatigue front) is that many novels now feel merely derivative of stories that have come before and which deal with the same or similar ‘apocalypse’ event. It’s hard, given what has already been written, to come up with a new idea or new way of executing that idea that doesn’t feel tired or hackneyed. It is, in some respects representative of the classic dilemma facing all writers – namely, how do you put a new/fresh/unique spin on an idea/mystery/predicament that has already been done to death? This is where I think it is critical for writers to take a step back when considering their idea for a novel (before what Jim calls the ‘green light’ stage) and evaluate the key elements of concept and premise (that my fellow blog mate Larry Brooks is so good at describing).
I jot all my ideas down in a notebook – most of which will never develop into a completed novel – either because the idea itself is to thin, or the execution/story that surrounds the idea doesn’t turn out to be novel enough, or complex enough to sustain itself. When considering any new WIP, I take my idea, produce a detailed proposal and then (because I’m an outliner) map out the plot for the story. As part of this process, it soon becomes apparent if the idea cannot sustain a novel, especially if I couldn’t answer these critical questions:
- Why should readers care about my story/idea?
- If it deals with well worn tropes, what makes my idea or POV unique or significantly different (I don’t count trivial distinctions)?
- How would this story stand out from all the other novels out there?
- Even if I think the idea is sufficiently novel to warrant a story, do I really know what the concept/premise behind this is in sufficient detail (anyone who’s read Larry Brooks knows that many stories collapse because a failure at the concept or premise stage).
At the moment (thankfully) I’m not considering any a pre or post apocalyptic story ideas. Although my son and I have reached the tipping point we could still be brought back with a unique twist/edge or story about the end of the world. The key issue I think is that, when considering a new idea, read extensively before committing to the story. In a crowded market, you have to stand out (even when you’re writing about chaos and the end of the world…)
So, are there any types of stories you are totally ‘over’? How do you approach developing your ideas when facing a a crowded/saturated corner of the market?