Eh, I have some vaguely articulated issues with some of these definitions.
Fantasy can be as much about breaking the bonds of fate as it is about the acceptance of it, for one--this is a newer trend but definitely well-represented. I see fantasy as being more about the engagement with fate rather than the acceptance of it.
Romance is way off of the mark--from what I see of it, it's more of an affirmation that love is real rather than an emphasis on beauty, especially in this era when the indie component is stronger in the genre than tradpub. Love conquers all in the end, and while beauty might be a tool, it isn't the focus.
Cleverness does not resonate with science fiction for me at all. That label could be just as easily applied to mystery as well, and perceptiveness could equally be applied to science fiction. Both are problem-solving genres with the difference being that mystery focuses on solving a crime, where science fiction is about solving a problem. If you don't have a crime, you don't have a mystery. And science fiction revolves around problem-solving, whether that's scientific, social, or the impact of advanced technology on society.
These elements can also skew quite differently based on the originating culture of the work. Euro-centered storytelling modes can be very different from Asia-centered storytelling modes. It requires careful thought.
In my research, genre is a catch-all term for a variety of attributes including plot, setting, mood, audience, characters, reality factor, topics, style and more. It would seem classifying a story is a matter of assigning weights to each relevant attributes' importance. To satisfy marketers, librarians, retailers, and audiences who know a story, one can make permutations from the most relevant attributes and let them decide which single label or combo suits them.
Eh, I have some vaguely articulated issues with some of these definitions.
Fantasy can be as much about breaking the bonds of fate as it is about the acceptance of it, for one--this is a newer trend but definitely well-represented. I see fantasy as being more about the engagement with fate rather than the acceptance of it.
Romance is way off of the mark--from what I see of it, it's more of an affirmation that love is real rather than an emphasis on beauty, especially in this era when the indie component is stronger in the genre than tradpub. Love conquers all in the end, and while beauty might be a tool, it isn't the focus.
Cleverness does not resonate with science fiction for me at all. That label could be just as easily applied to mystery as well, and perceptiveness could equally be applied to science fiction. Both are problem-solving genres with the difference being that mystery focuses on solving a crime, where science fiction is about solving a problem. If you don't have a crime, you don't have a mystery. And science fiction revolves around problem-solving, whether that's scientific, social, or the impact of advanced technology on society.
These elements can also skew quite differently based on the originating culture of the work. Euro-centered storytelling modes can be very different from Asia-centered storytelling modes. It requires careful thought.
In my research, genre is a catch-all term for a variety of attributes including plot, setting, mood, audience, characters, reality factor, topics, style and more. It would seem classifying a story is a matter of assigning weights to each relevant attributes' importance. To satisfy marketers, librarians, retailers, and audiences who know a story, one can make permutations from the most relevant attributes and let them decide which single label or combo suits them.