This is a topic that sparks frequent curiosity. Unlike poetry, which adheres to defined structures, or children’s literature, which has a clear target audience, or even narrative non-fiction that is grounded in factual storytelling, the boundaries between literary and commercial fiction are far less distinct and more open to interpretation.
Although some works straddle both styles, the two are fundamentally different in purpose and approach. Literary fiction is typically centered on artistic expression, with narratives shaped by deep character exploration and emotional introspection. In contrast, commercial fiction places a stronger emphasis on plot progression and is designed primarily to entertain. As author and literary fiction judge Diana Evans puts it, ‘Literary fiction emphasizes the craft of writing itself—not just as a vehicle for narrative.’ She continues, ‘Both forms aim to tell compelling stories, but literary fiction balances narrative and language equally, while commercial fiction prioritizes storytelling.’
Ella Kahn, a judge for the commercial fiction category from DKW Literary Agency, highlights this contrast as well. She explains that ‘commercial fiction—regardless of its subgenre—leans more on structured plots and character arcs, while literary fiction tends to delve into style and thematic depth.’
Author and commercial fiction judge Vaseem Khan echoes this perspective. ‘Literary fiction offers a vast and unrestricted landscape where writers can experiment with character depth, thematic richness, and narrative style. The prose must often meet a high literary standard. For those writing commercial fiction, the task is to innovate within genre frameworks while still satisfying the expectations of a specific readership.’
However, it would be inaccurate to suggest that one form is solely about appealing to readers while the other is purely about artistic intent. Both require thoughtful attention to style and substance. The divide between literary and commercial fiction is increasingly fluid. Notably, the Man Booker Prize in recent years has included nominees that blend these categories. Writing quality remains a core requirement for both. ‘Excellent prose is vital across both spectrums,’ says Ella. ‘While literary fiction might demand more stylistic nuance, commercial fiction still values accessible and engaging writing that resonates immediately with readers.’
Vaseem offers crime fiction as a prime illustration of this merging. ‘There are crime novels today that exhibit literary qualities in their prose and structure, while still delivering the gripping elements—such as suspense, character tension, and a central mystery—that define the genre.’
Eva Lewin, who leads writer development at Spread the Word, acknowledges that commercial fiction often hinges on genre and storyline, but she notes that categorization can also be shaped by how a publisher decides to position the book. This is a sentiment shared by Lucy Luck, an agent at C+W agency and a literary fiction judge. She explains, ‘To me, the distinction lies in the intended market impact. Literary fiction (and non-fiction) depends heavily on critical acclaim and literary prizes to build awareness and drive sales, whereas commercial titles are crafted with a strong pitch and aim for mass appeal, often landing prime spots in bookstores and benefiting from promotional campaigns and reader buzz.’
Through the London Writers Awards program, participants are guided to refine their manuscripts to a professional standard, ready for literary agents and publishers, regardless of their chosen category. Before choosing where to submit your work, consider whether your story thrives on plot or character, whether the beauty of the language is paramount or secondary to the narrative, and who you envision as your ideal reader. These reflections can clarify your direction. Ultimately, what matters most is ensuring that your manuscript is as polished and powerful as it can possibly be.
