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Potboiler
Potboiler
Potboiler
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A potboiler or pot-boiler is a novel, play, opera, film, or other creative work of low quality whose main purpose is to pay for the creator's daily expenses—thus the imagery of "boil the pot", which means "to provide one's livelihood."[1] Authors who create potboiler novels or screenplays are sometimes called hack writers or hacks. Novels deemed to be potboilers may also be called pulp fiction, and potboiler films may be called "popcorn movies".

Usage

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If a serious playwright or novelist's creation is deemed a potboiler, this has a negative connotation that suggests that it is a mediocre or inferior work.

Historical examples

[edit]
  • In 1854 Putnam's Magazine used the term in the following sentence: "He has not carelessly dashed off his picture, with the remark that 'it will do for a pot-boiler'".[2]
  • Jane Scovell's Oona: Living in the Shadows states that "...the play was a mixed blessing. Through it O'Neill latched on to a perennial source of income, but the promise of his youth was essentially squandered on a potboiler."[3]
  • Lewis Carroll, in a letter to illustrator A. B. Frost in 1880, advises Frost not to spend his advance pay for his work on Rhyme? & Reason? lest he be forced to "do a 'pot-boiler' for some magazine" to make ends meet.[4]
  • A 1980s reviewer for Time condemned the novel Thy Brother's Wife, by Andrew Greeley, as a "putrid, puerile, prurient, pulpy potboiler".[5]
  • In the late 1990s, American author and newspaper reporter Stephen Kinzer wrote that reading a "potboiler" is "a fine form of relaxation but not exactly mind-expanding."[6]
  • In an interview with Publishers Weekly, writer David Schow described potboilers as fiction that "stacks bricks of plot into a nice, neat line".[7]

See also

[edit]

References

[edit]

Further reading

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Potboiler

View on Grokipedia
from Grokipedia
A potboiler is a work of , , or other creative production that is crafted hastily and primarily for commercial profit, typically resulting in inferior artistic or literary merit. The term derives from the idiomatic expression "keep the pot boiling," which refers to maintaining a fire under a cooking pot to sustain life, metaphorically extended to any labor done solely to earn a living. Its figurative application to artistic works first appeared in the late (1783), though the modern sense solidified around in reference to hastily produced novels or paintings. Potboilers have historically proliferated in popular genres such as thrillers, romances, and disaster films, where formulaic plots and sensational elements prioritize mass appeal and sales over innovation or depth. By the late , they became a staple of the publishing industry, exemplified in "light literature" series targeted at summer readers seeking escapist . Often viewed with disdain by critics, potboilers nonetheless sustain many authors' careers, allowing them to fund more ambitious projects while providing affordable diversion to wide audiences.

Definition and Etymology

Definition

A potboiler is a literary, artistic, or produced primarily to generate , typically with limited regard for or . These works are often created hastily to meet financial needs, resulting in formulaic or mediocre content designed for quick commercial appeal rather than enduring value. The term encompasses various media, including novels, plays, , and operas, where the creator prioritizes profitability over innovation or depth. Potboilers are commonly associated with popular genres like thrillers or romances, where predictable plots and sensational elements drive sales. While the label carries a , implying inferior quality, some potboilers achieve commercial success and even cultural influence despite their origins in economic necessity. However, they are distinguished from more ambitious works by their focus on mass-market consumption rather than critical acclaim.

Etymology

The term "potboiler" originated as a compound of "pot" (referring to a cooking vessel) and "" (denoting something that boils or heats), initially carrying a literal meaning related to cooking or maintenance. The earliest known attestation appears in 1736 in the South-Carolina Gazette, where it likely referred to a potwaller—a householder entitled to vote in certain English and colonial contexts by virtue of maintaining a separate boiling pot for cooking, symbolizing economic independence. This usage connected to broader 18th-century notions of "potwalling," a practice tied to qualifications in Britain and its colonies, emphasizing the hearth as a marker of self-sufficiency. By the early , the phrase "keep the pot boiling" had emerged in figurative English idiom to mean providing the necessities of , such as and , drawing from the literal act of sustaining a for cooking. This expression, attested from the in broader forms like "boil the pot," evolved to underscore economic survival amid industrialization and precarious livelihoods for artists and writers. The modern figurative sense of "potboiler"—a work of , , or other creative output produced quickly and often of inferior quality solely to generate income—crystallized around 1840 in . It directly alludes to churning out material just sufficient to "keep the pot boiling" for financial sustenance, rather than for . An early printed example occurs in the September 1854 issue of Putnam's Monthly Magazine, where a describes a dismissed as "it will do for a pot-boiler," implying hasty production for profit. This usage gained traction in the mid-19th century among literary circles, reflecting the pressures of and market-driven in both Britain and the .

Historical Context

Origins of the Term

The term "" originated as a of "pot" and "," evoking the image of maintaining a cooking pot at a boil to provide sustenance, a for producing work to earn a living. This figurative sense draws from the earlier phrase "keep the pot boiling," attested as early as the to mean ensuring one's financial necessities were met. The earliest recorded use of "potboiler" appears in 1736 in the South-Carolina Gazette, likely referring to a or someone qualified by virtue of maintaining a for boiling pots, akin to the English "potwaller." In British electoral history, a "potwaller" was a man who resided in lodgings with his own , enabling him to "boil his own pot" and thus qualify as a voter in certain boroughs; this practice dates to at least the mid-15th century, with "potwalling" formalized in records like a 1455 decree. By 1765, "potboiler" was used in this political sense in the Providence Gazette, denoting an average citizen with voting rights based on household independence. The term's application to artistic or literary works emerged in the late , shifting from literal householding to creative production driven by economic need. In 1783, Irish painter James Barry described certain exhibited as "pot-boilers," dismissing them as trashy, hastily produced pieces made for quick sale rather than artistic value. This usage reflects growing pressures on artists to generate income amid precarious livelihoods, with the sense solidifying by the 1840s to denote any mediocre work churned out to "keep the pot boiling." An early literary example appears in an 1854 issue of Putnam's Monthly Magazine, critiquing a painting dashed off indifferently as a "pot-boiler."

Evolution in the 19th and 20th Centuries

The term "potboiler" emerged in the early as a figurative expression for literary or artistic works produced hastily to generate income sufficient to "keep the pot boiling," meaning to afford basic sustenance. Its roots trace to the literal sense of maintaining a cooking pot at a simmer, with the idiomatic phrase attested from the , but the derogatory application to creative output dates to around 1840, reflecting the precarious financial situations of many artists and writers during the . This period saw increasing professionalization of authorship amid expanding print markets, where writers balanced artistic ambitions with economic pressures. By the mid-19th century, "potboiler" had solidified as a label for inferior works churned out solely for profit, often leveraging an author's established . A notable early usage appeared in the Saturday Review in , describing such productions as "books which are composed for the simple and sole purpose of being sold under cover of a ," highlighting the tension between commercial imperatives and artistic integrity. This era's in magazines and newspapers amplified the phenomenon, as authors like and produced popular installments that, while innovative, sometimes veered into formulaic territory to meet deadlines and audience demands. The term thus encapsulated the growing divide between "high" and market-driven fiction, with potboilers often dismissed as lacking depth yet essential for many writers' survival. In the late 19th and early 20th centuries, the concept evolved alongside mass literacy and cheaper printing technologies, extending beyond novels to short stories and plays. exemplified this shift, viewing his series—beginning with in 1887—as potboilers that funded more ambitious projects, despite their enduring popularity and cultural impact. Critics increasingly applied the term to sensational genres like dime novels and gothic romances, critiquing their formulaic plots and moral simplifications as symptoms of commodified culture.

Characteristics

Common Traits

Potboilers are typically characterized by their primary motivation of financial gain, often resulting in works produced hastily with minimal emphasis on artistic depth or innovation. These pieces prioritize commercial viability over literary ambition, leading to formulaic structures that appeal to mass audiences through accessible and entertaining content. As literary historian Donna Harrington-Lueker notes, potboilers emerged in the alongside affordable technologies, enabling the creation of inexpensive, disposable formats like dime novels that catered to rising literacy rates among middle- and working-class readers. In terms of narrative style, potboilers commonly feature fast-paced, suspenseful plots driven by melodramatic elements, including high-stakes conflicts involving , , and romance. These stories employ predictable conventions and tropes—such as dramatic settings like castles at sunset or exaggerated character archetypes—to maintain reader without requiring complex interpretation. Reviews from the late described such works as "lightweight" and easy to interrupt, allowing vacationers to "take them up and lay them down without fear of losing the trend," which underscores their design for casual, escapist consumption. Thematically, potboilers often revolve around familiar, relatable subjects like dynamics, roles, and , providing cathartic resolutions that reinforce conventional morals while avoiding profound social critique. This focus on broad appeal facilitates high sales volumes, as seen in 1870s summer reading series that marketed "agreeable" fiction for idle hours. Unlike more , potboilers tend to favor value—through humor, , or sensational twists—over rigor, ensuring they serve as diverting distractions rather than transformative experiences.

Production Motivations

Potboilers are predominantly motivated by the need for rapid financial gain, allowing authors to produce work efficiently to cover living expenses or meet pressing economic demands. This pragmatic drive often prioritizes commercial viability over artistic innovation, resulting in formulaic narratives tailored to popular tastes and quick cycles. The term itself evokes the of "keeping the pot boiling," symbolizing the effort to generate sufficient for basic sustenance, such as for cooking in pre-industrial contexts, which evolved into a for artistic output in the . A key impetus for potboiler production has been familial or personal financial hardship, compelling writers to supplement income through sensational or accessible genres. , for example, authored dozens of pseudonymous potboilers under the name A.M. Barnard—featuring themes of passion, crime, and intrigue—to support her impoverished family during the 1860s, before (1868) brought lasting success and financial independence. Similarly, composed early potboiler novels under various pseudonyms following his 1819 decision to abandon law studies, using these hasty works to secure immediate earnings in a nascent, competitive landscape that demanded prolific output for survival. Even established authors resorted to potboilers when facing monetary shortfalls or contractual pressures. , grappling with low royalties from his initial novels and debts from acquiring Lamb House in 1897, crafted (1898) as a lucrative for serialization in Collier's Weekly, leveraging the holiday market's appetite for supernatural tales to obtain swift payment. similarly envisioned (1895) as a "potboiler" war narrative to capitalize on public interest in Civil War stories and alleviate his own financial instability, drawing from journalistic instincts for efficient storytelling. Beyond pure necessity, potboilers sometimes enabled authors to hone skills, fulfill publisher expectations, or sustain career momentum amid irregular income streams. This economic rationale underscores the tension between creative integrity and marketplace realities, particularly in eras of expanding where and amplified opportunities for quick remuneration.

Examples in Literature

19th Century Examples

In the , potboilers proliferated in as commercially driven works prioritizing and rapid production over artistic depth, often serialized in magazines to meet the demands of an expanding middle-class readership. epitomized this trend with his historical romances, earning the moniker "king of the historical potboiler" for blending Gothic elements, crime, and romance in fast-paced narratives. His 1834 novel Rookwood, which romanticized the , sold five editions within three years and exemplified the genre's appeal through vivid action and historical pageantry, though critics dismissed it for lacking substance. Similarly, Ainsworth's Jack Sheppard (1839), centered on an 18th-century thief, featured strong plotting and dramatic illustrations by , achieving massive popularity and inspiring theatrical adaptations, yet it was derided as formulaic entertainment. The subgenre, peaking in the 1860s, further embodied potboiler characteristics with its emphasis on shocking domestic secrets, , and to thrill audiences amid rising literacy and circulating libraries. Mary Elizabeth Braddon's Lady Audley's Secret (1862), a serialized in Robin Goodfellow, explored hidden identities and within a bourgeois setting, captivating readers with its melodramatic twists while facing accusations of moral from reviewers like Henry Mansel. Wilkie Collins's The Woman in White (1859–1860), often regarded as a foundational potboiler, combined mystery and conspiracy in serialized form for , with serialization circulation equivalent to over 100,000 copies in its first year and influencing , though it prioritized plot momentum over psychological nuance. Mrs. Henry Wood's (1861), another hallmark sensation potboiler, depicted a fallen aristocrat's disguise and family intrigue, achieving over 500,000 sales by the century's end through its emotional excess and moral didacticism, serialized initially in The New Monthly Magazine. Thomas Hardy's debut (1871) also fits this mold, incorporating blackmail, impersonation, and arson for commercial royalties, reflecting the era's blend of Gothic revival and market pressures, despite Hardy's later disavowal of its contrived elements. These works, while commercially triumphant, were often critiqued for exploiting public tastes rather than advancing literary innovation, underscoring potboilers' role in democratizing fiction during Victorian industrialization.

20th Century and Modern Examples

In the , potboilers proliferated with the expansion of mass-market publishing and magazines, often prioritizing sensational plots and rapid production to meet commercial demands. Mickey Spillane's Mike Hammer detective series, beginning with in 1947, exemplifies this trend through its hard-boiled noir style, graphic violence, and formulaic revenge narratives that sold millions despite critical disdain for their lurid content. Similarly, ' works, such as (1961), blended sex, ambition, and corporate intrigue in sprawling sagas that dominated lists, earning him the moniker "Potboiler King" for churning out accessible, plot-driven entertainment. Jacqueline Susann's Valley of the Dolls (1966) further illustrates the era's potboiler boom, depicting the drug-fueled downfall of aspiring starlets in Hollywood with melodramatic excess that propelled it to over 30 million copies sold. Transitioning into the late 20th and early 21st centuries, potboilers evolved with the romance and thriller genres, leveraging high-volume output and series formats for sustained profitability. Danielle Steel's romance novels, starting with Going Home in 1973, feature recurring themes of affluent characters navigating love, loss, and family crises, often dismissed as formulaic yet amassing over 800 million copies sold worldwide as of 2023 through their emotional predictability and rapid annual releases. James Patterson's Alex Cross thrillers, debuting with Along Came a Spider in 1993, represent modern potboilers via short, cliffhanger chapters and collaborative ghostwriting, enabling prolific output that has outsold contemporaries and generated $40 million annually at peak. These examples highlight how potboilers adapted to reader appetites for escapism, maintaining commercial dominance amid literary criticism for lacking depth.

Examples in Other Arts

Film and Television

In film and television, a potboiler refers to a commercial production designed primarily to generate , often featuring fast-paced plots, sensational elements, and formulaic that prioritizes over artistic or depth. The term, borrowed from literary contexts, implies works created hastily to "keep the pot boiling" financially, typically with lower production values or reliance on genre tropes like thrillers, action, or . This contrasts with prestige films or series that emphasize vision or critical acclaim, though potboilers can achieve significant or viewership success through broad appeal. The application of "potboiler" to cinema emerged in the early , aligning with the rise of mass entertainment during the silent era and Hollywood's . Early examples include sensational silent films that exploited titillating content for quick profits, such as the 1925 "Salome of the Tenements," a feminist potboiler emphasizing enterprise and upward mobility in a tale of a seamstress becoming a fashion designer. By the 1930s, the term described anti-Nazi like (1939), a production that blended espionage thrills with moral messaging but was critiqued as melodramatic and message-heavy rather than nuanced. During Hollywood's (1920s–1950s), potboilers proliferated as B-movies—low-budget second features on double bills, produced rapidly to fill theater programs and maximize studio profits. These often featured genre staples like horror, Westerns, or noir, with directors like in creating B-movie potboilers that mixed exploitation elements with stylistic flair, such as quick-paced crime tales. Blaxploitation films of the 1970s, including lurid action potboilers like those starring , exemplified the subgenre's focus on trendy, outrageous narratives targeting underserved audiences for commercial gain. In television, potboilers adapted to episodic formats, emphasizing serialized or procedural elements to retain viewers and secure ad revenue, particularly from the onward with cable expansion. British series like (2018), a with relentless twists and high-stakes action, exemplifies the modern TV potboiler, achieving massive ratings through its bingeable intensity despite formulaic plotting. Australian crime High Country (2024) similarly employs glossy production and clichés—murder mysteries in remote settings—to deliver accessible . Contemporary potboilers in film continue this tradition, often as mid-budget genre entries blending spectacle with narrative drive. Shutter Island (2010), directed by , was labeled a potboiler for its B-movie sheen and psychological twists, running over two hours yet rooted in old-fashioned thriller conventions. Recent examples include Conclave (2024), an intellectual thriller about papal intrigue that bubbles with pulpy suspense from its outset, and The Meg (2018), a creature-feature adaptation of a potboiler , prioritizing blockbuster action over depth. These works highlight potboilers' enduring role in sustaining industry finances while occasionally elevating genre tropes through star power or direction.

Visual Arts and Music

In visual arts, a potboiler refers to a work produced rapidly by an artist primarily for financial necessity rather than artistic innovation, often commissioned or created for quick sale to patrons or the market. Such pieces typically prioritize commercial appeal over depth, featuring conventional subjects like portraits or genre scenes that cater to popular tastes. During the , potboilers were common among painters seeking steady income. In the early 20th century, American artist produced numerous commercial illustrations and designs as potboilers to fund his personal painting pursuits and lifestyle, including book covers and promotional art that he later described as mere financial stopgaps contrasting his more ambitious landscapes. In music, potboilers denote compositions crafted not from pure inspiration but to secure , positions, or immediate , a practice driven by composers' economic throughout history. While often viewed as lesser efforts, some elevated the form through enduring quality, such as George Frideric Handel's (1717), composed with a definite pecuniary object in view to regain King George I's after a diplomatic lapse, yet achieving widespread acclaim for its lively suites. Wolfgang Amadeus Mozart's Flute and Harp Concerto (K. 299, 1778) was similarly a potboiler, created on commission for the amateur-musician Duc de Guines, reflecting the composer's frequent need to produce accessible works for patrons even without full compensation. These cases illustrate how financial pressures could yield both routine output and accidental masterpieces, underscoring the tension between commerce and creativity in musical production.

Cultural and Critical Perspectives

Criticisms

Potboilers have long been derided in literary circles for prioritizing commercial success over , often dismissed as formulaic works produced hastily to sustain authors' livelihoods. Critics argue that these narratives rely on predictable plots, sensational elements, and clichéd tropes to appeal to mass audiences, sacrificing depth and originality in favor of profitability. This view positions potboilers as symptomatic of a commodified literary , where economic pressures lead to the production of "trashy" or "pestiferous" that undermines the pursuit of genuine literary excellence. In the , moral and cultural critics expressed particular disdain for potboilers, associating them with escapist frivolity and moral decay. For instance, Reverend Thomas De Witt Talmage condemned such "paper-covered romances" as "literary poison" that could shame readers caught with them, reflecting broader anxieties about the novel's accessibility and its potential to corrupt through . Satirical publications like Puck further mocked their repetitive motifs—such as dramatic sunsets or elaborate heroine attire—highlighting their uniformity and lack of innovation as objects of ridicule. Even prominent authors internalized these critiques; referred to his own (1898) as a "shameless potboiler," underscoring the term's of rushed, market-driven writing, though later scholarship elevated the novella's psychological complexity beyond such labels. Twentieth-century literary theory amplified concerns about potboilers' role in debasing cultural standards, portraying them as mass-produced by "hacks" who suppress creative individuality to cater to the . Scholars contend that this homogeneity not only alienates authors from authentic expression but also lures talent away from more ambitious works, ultimately lowering societal literary tastes and emotional depth. William Faulkner's (1931), initially written as a deliberate potboiler to boost sales after financial struggles, exemplifies how even canonical figures resorted to such tactics. These criticisms persist in debates over popular versus , where potboilers are seen as perpetuating a cycle of that marginalizes innovative, non-formulaic narratives.

Positive Views and Legacy

Despite their frequent dismissal as formulaic or commercial, potboilers have been praised for their ability to deliver immediate and emotional engagement, often through suspenseful plots that maintain reader interest from start to finish. This "boiling" tension, as the term suggests, creates an unputdownable quality that provides escape, particularly in genres like mystery and romance, allowing audiences to immerse themselves in thrilling narratives without demanding deep intellectual commitment. Scholars note that such works engage universal themes—family dynamics, personal faith, and social challenges—in accessible ways, fostering broad readership and even serendipitous discoveries in casual settings like vacations or secondhand bookstores. In historical context, potboilers played a pivotal role in democratizing during the , when rising rates and inexpensive production methods enabled the proliferation of dime novels and summer series featuring , , and romance. These affordable paperbacks, designed for easy portability, encouraged reading among working-class and vacationing audiences, transforming from an pursuit into a widespread activity. By the late 1800s, publishers like Scribner actively promoted diverse "light " for seasonal consumption, blending melodramatic potboilers with humor and poetry to cater to varied tastes, thereby sustaining the industry and authors' livelihoods. The legacy of potboilers endures in contemporary popular , where their emphasis on plot-driven influences bestsellers like and Big Little Lies, which capture collective cultural preoccupations during summer reading seasons. This tradition underscores the value of "agreeable" that readers can pick up and set aside at will, promoting reading habits without guilt or obligation. Moreover, by enabling writers to generate income through quick-turnaround works, potboilers have historically supported the creation of more ambitious literature, ensuring a vibrant ecosystem for that prioritizes enjoyment and over artistic pretension.

References

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  3. https://www.etymonline.com/word/potboiler
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  6. https://www.collinsdictionary.com/us/dictionary/english/potboiler
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  18. https://www.mentalfloss.com/article/630486/henry-james-the-turn-of-the-screw-facts
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  26. https://www.upi.com/Archives/2001/07/11/Susanns-legacy-A-new-Dolls-potboiler/6092994824000/
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  30. https://beverlyboy.com/filmmaking/what-are-potboiler-films/
  31. https://www.nytimes.com/interactive/2018/09/14/movies/women-film-history.html
  32. https://www.latimes.com/archives/la-xpm-1992-02-20-ol-3645-story.html
  33. https://www.bampfa.berkeley.edu/program/films-seijun-suzuki
  34. https://www.nytimes.com/1995/06/23/movies/critic-s-choice-film-colossally-outrageous-and-black.html
  35. https://www.nytimes.com/2018/10/23/arts/television/bodyguard-review-netflix.html
  36. https://www.theguardian.com/tv-and-radio/2024/mar/19/high-country-review-tv-crime-series-binge-cast-leah-purcell
  37. https://www.theguardian.com/film/filmblog/2010/mar/16/shutter-island-scorsese-you-review
  38. https://www.npr.org/2024/10/24/nx-s1-5159601/conclave-is-a-potboiler-that-starts-bubbling-in-its-opening-moments
  39. https://reverseshot.org/reviews/entry/2456/the_meg
  40. https://www.nytimes.com/1910/03/19/archives/art-and-potboilers.html
  41. https://www.adirondacklife.com/2019/01/02/early-work-rockwell-kent/
  42. https://sheetmusicpoint.com/magazines/etude/1920/january/musical-potboilers/
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  44. https://www.cambridge.org/core/journals/pmla/article/point-of-view-in-the-turn-of-the-screw/F8488D5934E6EC5AD072BD5A3D238720
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