"Now that I'm being very successful, publishers are trying to mainstream me, but I'm unabashedly genre. It's what I like to read, what I like to write"
About this Quote
Success is supposed to be a coronation, but Laurell K. Hamilton frames it as a tug-of-war. The moment publishers start “mainstreaming” her, the compliment curdles: the industry’s stamp of legitimacy doubles as an attempt to sand down the very edges that made her bankable. “Now that I’m being very successful” isn’t humblebrag so much as a diagnostic. Commercial proof should settle the argument, yet it triggers a new round of gatekeeping, where genre is treated like a ladder you’re meant to climb off of once you’ve reached a certain rung.
The key word is “unabashedly.” It’s a refusal to perform literary shame. Hamilton isn’t pleading for permission to stay in paranormal romance, urban fantasy, or whatever shelf label a retailer assigns; she’s asserting that taste is an aesthetic and political choice. The subtext is a critique of cultural hierarchy: “mainstream” pretends to be neutral, but it often means recalibrating voice, heat level, pacing, and tropes to satisfy reviewers and prize culture that reward “seriousness” over satisfactions.
Her last line is the pivot from brand to identity: “what I like to read” and “what I like to write” collapses the false divide between consumer and creator. She’s aligning herself with her audience rather than the prestige pipeline. Context matters here: Hamilton built a massive readership in a period when genre fiction, especially by women, was routinely patronized as guilty pleasure. This is a line in the sand: don’t rescue me from the thing I chose.
The key word is “unabashedly.” It’s a refusal to perform literary shame. Hamilton isn’t pleading for permission to stay in paranormal romance, urban fantasy, or whatever shelf label a retailer assigns; she’s asserting that taste is an aesthetic and political choice. The subtext is a critique of cultural hierarchy: “mainstream” pretends to be neutral, but it often means recalibrating voice, heat level, pacing, and tropes to satisfy reviewers and prize culture that reward “seriousness” over satisfactions.
Her last line is the pivot from brand to identity: “what I like to read” and “what I like to write” collapses the false divide between consumer and creator. She’s aligning herself with her audience rather than the prestige pipeline. Context matters here: Hamilton built a massive readership in a period when genre fiction, especially by women, was routinely patronized as guilty pleasure. This is a line in the sand: don’t rescue me from the thing I chose.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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