Men, Reading, And “Literature”

     The trends running through the world of fiction publishing are susceptible to many possible explanations. One keeps coming up in discussions on X and elsewhere: “Men have stopped reading! Have they really? Why?”

     If you’re the editor-in-chief of a publisher whose sales figures have been dropping, and your market surveys suggest that the great majority of your customers are female, those are questions that will occupy you heavily. You’d like to sell more books to men, albeit without losing your female customers. But to do so requires that you understand why men are buying your product.

     You raise the question at your quarterly editorial meeting. You do so gently, in the spirit of greater success for the company and for everyone at the table. You swing questioning eyes from associate to associate, from Sally to Jane to Marie to Hester to Rosemary to Elizabeth to Sue to Phyllis to Maureen and finally to Agatha. But none of them have the least idea.

     In sober truth, it can’t all be because publishing houses are overwhelmingly staffed by women. But the paucity of male editors doesn’t help. Women tend not to read the sort of material that men seek. Why, then, should we expect lady editors to be receptive to fiction that appeals to men?

     Yes, romance fiction is oriented toward female tastes. Publishers are sensible enough not to expect a lot of male readers for their romance offerings. But as romantic themes and motifs have seeped into other genres – most notably fantasy and science fiction – those genres have started to lose some of their traditional male readerships. That’s a part of the puzzle that deserves greater attention.

     One subject that might matter more than anyone has yet mentioned is the matter of “literary fiction.” I’m a writer and a reader. I do my best to stay aware of tastes and the patterns that run through them. And I can’t name even one recent work of “literature” that would attract a male reader.

     One further current of interest: Crime fiction and police procedurals, historically a male-favored genre, has trended toward female authorship and has lost male readers in the process. The “hard-boiled” detective story is shedding representation in the crime / mystery genre. Yet the stories are quite similar to those once told primarily by male writers.

     It’s far from simple, especially considering that the “indie” sector is gaining male readership, and has been for some time. Yet indie writers are about equally split between men and women. The distribution of genre production is about the same as in conventional publishing. What accounts for the difference?

     No, it’s not simple at all. We could discuss characters. We could discuss action. We could discuss the prevalence of male writers and male protagonists – but wait: there is no such prevalence! This chestnut will take more than a simple explanation to crack.

     My inclination is toward sensibility:

     Yes, writers have very different styles. Some are austere and distant, formalists of classical discipline who regard a dangling preposition as something up with which one should never put. Others strive for a Hemingwayesque simplicity, They write short, single-clause sentences. Those sentences contain nothing but nouns and verbs. They leave all else to the reader's imagination. Still others are Faulknerian in the luxuriance of their prose, every sentence a labyrinthine maze of baroque elaboration decorated with as many descriptive and evocative elements as one can digest before running out of breath. But this is packaging for a story and, beneath the story, supporting it with relevance and timeliness, its theme.

     A writer's sensibility is composed of the sorts of themes he likes to explore, and the angle from which he approaches them. It partakes greatly of his moral vision. Indeed, it cannot be separated from his grasp on the moral order of the universe...whether or not he believes there is one.

     Gentle Reader, have you ever encountered a writer whose command of the language is superb and precise, but whose stories proclaim ideas that you simply can't abide? Have you ever encountered a writer whose works, despite serious shortcomings of style, throb so powerfully with truth that you can't imagine ever forgoing them? If so, you're peering down the barrel of auctorial sensibility. You're staring the bullet of theme right in the face. It's the ultimate weapon in the battle for the reader's time, money, and attention.

     Everything matters, yet theme is frequently overlooked. The writer’s sense for what ultimately matters – what Tom Kratman calls “eternal verities” – is seldom discussed in this matter of female-skewed readership.

     Courage.
     Justice.
     Duty.
     Loyalty.
     Freedom!

     I sense that stories that revolve around these things are what attract the male reader most powerfully. They’ve been somewhat muted in conventionally published fiction. But they remain strong in the “indie” world.

     Food for thought.