There are writers in commercial women’s fiction who get really worked up, and they blog about [the label] and rail against the establishment. I can empathize and understand that frustration, but at the same time, it’s a waste of energy. I look at what the readers and writers of the romance genre have done in creating a parallel universe where they sell millions of books to readers who know these writers are good. They don’t need the stamp of approval. And what I love about my readers is that they are far more sophisticated, in my opinion, than most literary critics, and far less insecure. At the end of the day, people are reading my books and communicating directly with me, thanks to technology.
American writer
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The biggest driving force in my life has been justice — and by that I don’t mean revenge. I mean fairness for all kinds of people. I think it comes in part from being the daughter of an immigrant who was grossly underestimated for most of his career and life, and the sort of despair you feel watching that happen, the sense that things aren’t fair from a very early age…
Never sat down and thought: “I’m going to create a new genre.” I just sat down and wrote a book that I wanted to read but couldn’t find. In retrospect, I don’t think it’s a new genre; it’s just a novel. There’s an unfortunate tendency in the publishing industry to view ethnicity as a genre and only for certain people. So if you are a minority, your race or ethnicity becomes your genre. Or if you are a woman, your sex becomes your genre. “Women’s fiction”: What does that even mean? Would we ever dare say “commercial men’s fiction”? I think these are marketing terms.