Off Book: Dinah Alobeid on Literary & Upmarket Fiction (Gateways, Comfort Reads, and Rom-Com Hot Takes)

genredpodcast
6 days ago
3 min read

About the episode:

This week on Off Book, we sit down with writer, dancer, and communications pro Dinah Alobeid to talk about her one true love: literary and upmarket fiction. We dig into what those distinctions actually mean, why they get such a bad rap, and how they might convert even the most die-hard romantasy readers.

Along the way, Dinah shares her favorite gateway reads, the “advanced stack” for serious fans, and the books that made her cry, clutch her chest, and reexamine everything.

We also talk about her upcoming podcast Play This at My Funeral, launching November 1st, and how planning your own funeral playlist might be less morbid—and more joyful—than you’d expect.

What we cover:

What literary and upmarket fiction actually are. How they differ from genre fiction, why they’re often misunderstood, and why the best ones feel like philosophy wrapped in story.
Gateway picks for skeptics. Including Tomorrow, and Tomorrow, and Tomorrow by Gabrielle Zevin—a contemporary masterpiece that proves hype can be earned.
The “advanced stack.” For readers ready to go deeper: My Year of Rest and Relaxation (Ottessa Moshfegh), Sweetbitter (Stephanie Danler), Fates and Furies (Lauren Groff), and The Immortalists (Chloe Benjamin).
Comfort-zone reads. Slice-of-life, fish-out-of-water, and multi-generational favorites like Tom Lake, Hello Beautiful, Fault Lines, and Less.
Rom-com hot takes. Why Emily Henry’s early books hit harder than her recent ones, and how authors like Nicholas DiDomizio, Georgia Clark, and Hannah Orenstein are pushing the genre forward.
The heartbreakers. All the Light We Cannot See and All Fours—both beautiful, devastating, and unforgettable.
Why literary fiction isn’t boring. Dinah makes the case for reading to feel, not just to escape—and how a single, perfectly written line can change how you see the world.

Quick definitions (Dinah's take):

Literary fiction: Character-driven, language-forward, deeply emotional; the conflict lives inside the people.
Upmarket fiction: The bridge between literary and commercial—beautifully written with accessible, propulsive plots that still have emotional depth.

Why it matters:

Dinah argues that literary fiction isn’t elitist—it’s empathetic. It’s for readers who want to see the small, intimate stakes of real life told with care and precision. It’s the kind of writing that doesn’t just entertain you—it rearranges you.

“If you only read genre fiction, you might miss the line that rearranges you.”

Dinah’s full book recommendations:

✨ Gateway Picks (for genre readers who are curious)

Tomorrow, and Tomorrow, and Tomorrow — Gabrielle Zevin
Writers & Lovers — Lily King

📚 The “Advanced Stack” (for readers already hooked)

My Year of Rest and Relaxation — Ottessa Moshfegh
Sweetbitter — Stephanie Danler
Fates and Furies — Lauren Groff
The Immortalists — Chloe Benjamin

☕ Comfort-Zone Reads (slice-of-life, multi-generational, fish-out-of-water)

Tom Lake — Ann Patchett
Hello Beautiful — Ann Napolitano
Fault Lines — Emily Itami
Less — Andrew Sean Greer

💕 Rom-Coms That Go Beyond the Trope

The Gay Best Friend, Nearlywed, Burn It All Down + upcoming A Murder Most Camp — Nicholas DiDomizio
Most Wonderful — Georgia Clark
Maine Characters — Hannah Orenstein
Book Lovers, Beach Read, Happy Place — Emily Henry (with a spirited debate on which ones hold up)

💔 For When You Want to Sob Beautifully

All the Light We Cannot See — Anthony Doerr
All Fours — Miranda July

🕯️ Deep Cuts & Mentions

City of Girls & The Signature of All Things — Elizabeth Gilbert
Heartburn — Nora Ephron
Euphoria — Lily King
Florida — Lauren Groff
The Secret Garden — Frances Hodgson Burnett
The Seven Husbands of Evelyn Hugo — Taylor Jenkins Reid (discussed re: hype vs. prose)
Fault Lines — Emily Itami
Diana Quincy’s Regency Romances* (Arab-American author infusion of culture & language)