News
September 25, 2025
The Booker jury is right, there are too many bad novels (and I should know)
Roddy Doyle has complained about the standard of novels submitted for this year’s prize — that’s because literary fiction is having a crisis of confidence
**Literary Fiction Faces a Crisis of Confidence, Says Booker Judge Roddy Doyle**
Renowned Irish author and Booker Prize judge Roddy Doyle has ignited a debate within the literary world, voicing concerns about the declining standard of novels submitted for this year’s prestigious award. Doyle, known for his gritty and humorous portrayals of working-class Dublin life, suggests that literary fiction is currently experiencing a crisis of confidence, leading to a glut of subpar submissions.
Doyle's comments, while potentially controversial, reflect a growing unease among some critics and writers about the direction of contemporary literary fiction. The Booker Prize, renowned for celebrating the best in long-form fiction written in English and published in the UK or Ireland, sets a high bar for entrants. The sheer volume of submissions deemed unsuitable, according to Doyle, points to a deeper issue within the publishing industry and the writing community itself.
What exactly constitutes a "bad novel" is, of course, subjective. However, Doyle's assessment hints at a potential lack of originality, weak character development, predictable plots, or a failure to engage with relevant contemporary themes in a compelling way. He implies that many submissions are falling short of the standard expected for serious literary consideration.
The "crisis of confidence" Doyle refers to may stem from various factors. The pressure to conform to market trends, the rise of social media and its influence on storytelling, and the constant demand for new content could all be contributing to a decline in the quality of literary fiction. Some argue that writers are becoming too focused on ticking boxes and appealing to specific demographics, rather than crafting truly original and thought-provoking works.
The impact of Doyle’s remarks is already being felt. His candid assessment is prompting discussion among publishers, agents, and aspiring novelists about the need to refocus on craft, originality, and a deeper engagement with the human condition. Whether this critique will lead to a tangible improvement in the quality of literary fiction remains to be seen, but it has undoubtedly sparked a crucial conversation about the future of the novel.
Renowned Irish author and Booker Prize judge Roddy Doyle has ignited a debate within the literary world, voicing concerns about the declining standard of novels submitted for this year’s prestigious award. Doyle, known for his gritty and humorous portrayals of working-class Dublin life, suggests that literary fiction is currently experiencing a crisis of confidence, leading to a glut of subpar submissions.
Doyle's comments, while potentially controversial, reflect a growing unease among some critics and writers about the direction of contemporary literary fiction. The Booker Prize, renowned for celebrating the best in long-form fiction written in English and published in the UK or Ireland, sets a high bar for entrants. The sheer volume of submissions deemed unsuitable, according to Doyle, points to a deeper issue within the publishing industry and the writing community itself.
What exactly constitutes a "bad novel" is, of course, subjective. However, Doyle's assessment hints at a potential lack of originality, weak character development, predictable plots, or a failure to engage with relevant contemporary themes in a compelling way. He implies that many submissions are falling short of the standard expected for serious literary consideration.
The "crisis of confidence" Doyle refers to may stem from various factors. The pressure to conform to market trends, the rise of social media and its influence on storytelling, and the constant demand for new content could all be contributing to a decline in the quality of literary fiction. Some argue that writers are becoming too focused on ticking boxes and appealing to specific demographics, rather than crafting truly original and thought-provoking works.
The impact of Doyle’s remarks is already being felt. His candid assessment is prompting discussion among publishers, agents, and aspiring novelists about the need to refocus on craft, originality, and a deeper engagement with the human condition. Whether this critique will lead to a tangible improvement in the quality of literary fiction remains to be seen, but it has undoubtedly sparked a crucial conversation about the future of the novel.
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