Stop obsessing over creating a completely original book concept. Learn why execution matters more than originality, how to develop fresh takes on familiar tropes, and why “it’s been done before” shouldn’t stop you.
The Paralysis of the Originality Obsession
You’ve got a promising story idea brewing. Then the panic hits:
“Wait—hasn’t this been done before? There are already books about chosen ones/detective partners/time travel romances/found family. My idea isn’t original. I should scrap it and find something completely new.”
So you abandon your compelling concept for something “more original”—usually something so bizarre and unprecedented that you can’t actually write it, or that no audience exists for it.
Here’s the uncomfortable truth that will free you: Complete originality in storytelling is not only nearly impossible, it’s also not what makes books successful.
The Originality Myth That’s Stopping You From Writing
The False Belief
Aspiring writers often operate under a damaging assumption:
“To succeed, I must create a story concept that’s never existed before—a plot, theme, or world so unprecedented that readers and publishers will immediately recognize its brilliance.”
The reality: This standard is impossible and counterproductive. Even the most groundbreaking books are built on familiar foundations.
The Historical Evidence
Look at any “revolutionary” work and you’ll find predecessors:
Before Harry Potter:
- Boarding school stories (countless examples)
- Child discovers magical abilities (common fantasy trope)
- Chosen one prophecies (ancient narrative structure)
- Magical education systems (The Worst Witch, 1974)
What made Rowling different: Not inventing these concepts, but combining them with exceptional world-building detail, emotional resonance, complex plotting, and accessible prose that appealed to both children and adults.
Before The Hunger Games:
- Dystopian YA (numerous predecessors)
- Survival competitions (Battle Royale, 1999; The Long Walk, 1979)
- Oppressive governments and rebellion (1984, Fahrenheit 451)
- Coming-of-age through violence (Lord of the Flies)
What made Collins different: Not the individual elements, but the specific combination—YA lens on violent spectacle, reality TV commentary, love triangle with genuine emotional stakes, and immediate, propulsive prose.
Before Game of Thrones:
- Epic fantasy series (Tolkien, Jordan, Brooks)
- Medieval-inspired fantasy worlds (ubiquitous in genre)
- Political intrigue in fantasy (countless examples)
- Morally gray characters (common in fantasy by 1990s)
What made Martin different: Not inventing political fantasy, but subverting genre expectations (heroes die, villains have complex motivations), television-inspired POV structure, and willingness to explore uncomfortable themes fantasy often avoided.
Understanding the Genre Innovation Cycle
About once per generation, someone does create something genuinely new—a genre or approach that didn’t meaningfully exist before.
Historical genre creators:
- Mary Shelley → Science fiction (Frankenstein, 1818)
- Edgar Allan Poe → Detective fiction (1840s)
- J.R.R. Tolkien → Modern fantasy (The Lord of the Rings, 1954)
- William Gibson → Cyberpunk (Neuromancer, 1984)
- Stephenie Meyer → Paranormal romance YA (Twilight, 2005)
The pattern: Even these “genre inventors” drew heavily from existing traditions. Shelley combined Gothic horror with philosophical inquiry. Tolkien synthesized Norse mythology, medieval romance, and World War I trauma. Gibson merged noir detective fiction with technology speculation.
The takeaway: If genuine genre invention happens roughly once per decade across all of publishing, you probably aren’t creating one right now—and that’s completely fine.
What Publishers Actually Want: The “Fresh Take” Formula
When agents and editors say they want “something fresh,” they’re not demanding unprecedented originality. They’re looking for a distinctive angle on familiar territory.
The “X Meets Y” Framework
Publishing professionals frequently describe concepts using combinations:
- “It’s Pride and Prejudice meets zombies” (Pride and Prejudice and Zombies)
- “It’s The Martian meets Project Hail Mary” (hard sci-fi survival with humor and problem-solving)
- “It’s Bridgerton meets Ocean’s Eleven” (romance with heist elements)
Why this works:
- Communicates concept quickly using shared reference points
- Signals familiar enough to find audience, different enough to feel new
- Combines established successful elements in novel ways
The Fresh Take Elements
A fresh take typically involves one or more of these differentiators:
1. Unique Voice The same story told with distinctive narrative voice feels completely different.
Example: Detective stories existed for a century before Raymond Chandler’s noir voice transformed the genre. The plots weren’t revolutionary—the prose was.
2. Underexplored Perspective Familiar story from overlooked viewpoint.
Example: Retelling myths from female characters’ perspectives (Circe, The Song of Achilles). The myths are ancient—centering marginalized voices makes them fresh.
3. Genre Fusion Combining elements from different genres creates new hybrid forms.
Example: Pride and Prejudice and Zombies (literary classic + zombie horror), The Southern Book Club’s Guide to Slaying Vampires (book club fiction + vampire horror)
4. Demographic Shift Story type that existed for one age group/demographic brought to another.
Example: YA fantasy existed, but adult fantasy with YA sensibilities (complex world-building, coming-of-age themes) like The Poppy War created market space.
5. Contemporary Relevance Timeless story updated with modern concerns/context.
Example: Dystopian novels existed for decades, but The Hunger Games spoke to reality TV culture and economic anxiety in ways that felt urgent for 2008.
6. Exceptional Execution Sometimes “fresh” just means “done better than it’s been done before.”
Example: There were urban fantasy books before Jim Butcher’s Dresden Files, but his exceptional plotting, humor, and world-building density set new genre standards.
7. Tonal Innovation Familiar premise with unexpected tone.
Example: “Funny urban fantasy” or “cozy mystery but make it horror” or “romance but literary fiction quality prose”
Why “It’s Been Done Before” Doesn’t Matter
Readers Want Familiarity (With Variation)
The reader psychology: When someone finishes a book they loved, their first thought is often: “I want to read something else like this.”
They’re not seeking completely different experiences—they’re seeking variations on what they enjoyed. This is why genres exist and why successful books spawn similar books.
Publishing isn’t ignoring originality to chase trends. Publishing is responding to actual reader behavior: people who love detective novels read multiple detective novels, not one detective novel then something completely different.
Tropes Exist Because They Work
Storytelling patterns repeat because they resonate with human psychology:
The Hero’s Journey works because it mirrors psychological development Enemies to Lovers works because it creates natural tension and transformation Found Family works because it addresses universal belonging needs The Chosen One works because it validates readers’ desire for significance
Using these tropes isn’t lazy—it’s smart.
The goal isn’t avoiding tropes. The goal is executing them with fresh specificity that makes familiar patterns feel newly discovered.
How to Create Your Fresh Take: Practical Strategies
Strategy 1: The Intersection Method
Identify 2-3 elements you love from different sources and combine them.
The process:
- List 5 books/movies/shows you’re passionate about
- Identify specific elements you love (not whole concepts)
- Combine 2-3 elements in unexpected ways
Example:
- Love: The wit of Gilmore Girls
- Love: The world-building of Avatar: The Last Airbender
- Love: The found family dynamics of Guardians of the Galaxy
Combination: Fast-talking, reference-heavy dialogue (Gilmore Girls) + elemental magic system with cultural specificity (Avatar) + misfit crew becoming family (Guardians) = Your unique story
Strategy 2: The Perspective Flip
Take a familiar story and ask: “Whose voice haven’t we heard?”
Applications:
- Classic fairy tale from villain’s perspective
- Historical event from marginalized participant’s view
- Genre story from supporting character’s POV
- Traditional narrative from antagonist’s side
Example: Vampire stories are oversaturated. But vampire story from the vampire hunter’s therapist? From the vampire’s accountant? From the town’s insurance adjuster dealing with supernatural claims? Fresh angles create fresh stories.
Strategy 3: The “But Make It _____” Approach
Start with familiar premise, add unexpected modifier.
Formula: [Familiar trope] but make it [unexpected element]
Examples:
- “Chosen one narrative but the chosen one rejects the call and someone else has to step up”
- “Regency romance but one character is a time traveler from the present”
- “Heist story but it’s middle schoolers stealing back confiscated items”
- “Detective story but the detective has severe social anxiety”
Strategy 4: The Specificity Test
Generic concepts feel unoriginal. Hyper-specific execution feels fresh.
Generic: “A detective solves murders in New York” Specific: “A food critic with synesthesia helps police solve murders using flavor memories from crime scenes”
Generic: “A young woman discovers she has magical powers” Specific: “A Cuban-American botanist discovers her family’s plant magic extends to resurrecting extinct species—and someone wants to use that power to bring back dinosaurs”
The specificity itself creates freshness.
Strategy 5: The Subversion Strategy
Understand genre expectations, then deliberately violate them.
Requirements:
- Must understand conventions deeply (can’t subvert what you don’t know)
- Subversion must serve story, not exist for shock value
- Replace subverted element with something equally satisfying
Example: Traditional fantasy: Chosen one defeats evil overlord, restores peace Subversion: Chosen one realizes the “evil overlord” is maintaining necessary balance, and defeating them would cause collapse
Strategy 6: The Mashup Method
Combine genres that don’t typically mix.
Unexpected combinations:
- Horror + Romance = Gothic romance renaissance
- Mystery + Fantasy = Dresden Files, Rivers of London
- Science Fiction + Western = Firefly, The Mandalorian
- Literary Fiction + Thriller = Gillian Flynn’s work
The key: Both genres must be fully realized, not one as window dressing for the other.
When to Worry About Originality (And When to Ignore It)
Red Flags That Suggest Too Similar:
- Your concept is virtually identical to recent bestseller (within last 2 years)
- You’re deliberately trying to write “the next [successful book]” rather than your story
- Your plot beats are interchangeable with another specific book (not just genre patterns)
- You’re copying specific world-building details rather than drawing from shared mythology
Green Lights That Suggest You’re Fine:
- Your story shares genre tropes with many books (that’s what genres are)
- Someone can describe it as “X meets Y” (that’s a feature, not a bug)
- Similar concepts exist but yours has different voice/character/execution
- You’re drawing from same public domain sources (mythology, history, fairy tales)
- Your specific characters and their arcs are distinctive even if premise is familiar
The Execution Principle: Why “How” Matters More Than “What”
Two writers given identical prompts will produce completely different novels. The premise is just the starting point—everything that matters happens in execution.
What “Exceptional Execution” Means
Strong execution involves:
- Vivid, specific prose that creates sensory experience
- Complex characters with internal contradictions
- Authentic dialogue that reveals character
- Plotting that balances surprise with inevitability
- Thematic depth beyond surface story
- Emotional resonance that affects readers
- World-building details that feel discovered, not invented
- Pacing that maintains engagement
Two writers write “wizard school” stories:
Writer A: Generic chosen one enrolls, learns magic, defeats evil teacher, saves school Writer B: Harry Potter series
The difference isn’t the concept—it’s the execution.
Rowling’s execution included: Detailed magical world, complex ongoing plot, emotional depth, humor balancing darkness, class commentary, found family themes, and prose accessible to children but satisfying to adults.
Frequently Asked Questions About Originality
Q: What if my idea is really similar to a book that just came out?
A: Depends on “really similar.” Same genre/premise? Probably fine. Nearly identical plot? Consider adjusting. Publishing has 12-24 month lag, so your book won’t hit market simultaneously.
Q: Should I read books similar to mine before writing?
A: Yes. Know your genre. Understand what’s been done so you can differentiate. Reading similar books helps you find your unique angle.
Q: What if someone accuses me of copying?
A: If you genuinely didn’t copy (didn’t consciously replicate specific plot/characters/prose), similar ideas are coincidence. Zeitgeist causes parallel invention. Focus on your unique execution.
Q: Are there any truly original ideas left?
A: No—and that’s okay. Even “original” ideas combine existing elements. Shakespeare borrowed all his plots. Focus on your voice and execution.
Q: How original does my concept need to be for traditional publishing?
A: Not very. Publishers want quality execution on concepts they can market. “Too original” can actually be harder to sell than fresh take on familiar territory.
The Liberating Truth About Originality
Stop viewing originality as a requirement and start viewing it as an impossible standard that even the greatest writers don’t meet.
The writers you admire didn’t succeed because they invented new story types. They succeeded because they executed familiar story types with distinctive voice, deep character work, excellent plotting, and emotional resonance.
Your job isn’t to:
- Invent a new genre
- Create unprecedented plot structure
- Discover story type that’s never existed
- Avoid any similarity to existing books
Your job IS to:
- Find the specific story only you can tell
- Execute familiar elements with your unique voice
- Create characters readers care about deeply
- Craft prose that makes familiar territory feel newly discovered
- Combine elements in ways that feel fresh to you
The paradox: When you stop trying to be completely original and focus instead on authentic execution, you often produce the most distinctive work.
Your voice, your specific character choices, your particular combination of influences, your unique perspective—these create originality through execution, not through forcing unprecedented concepts.
Your Fresh Take Action Plan
Step 1: Embrace your “unoriginal” idea Stop apologizing for familiar elements. They’re your foundation, not your limitation.
Step 2: Identify your unique angle What makes YOUR version of this story different? Voice? Perspective? Character? Setting? Combination of elements?
Step 3: Go hyper-specific Generic feels unoriginal. Specific details create freshness. Add concrete, distinctive elements.
Step 4: Focus on execution Pour energy into character depth, prose quality, plotting excellence, emotional authenticity—not concept originality.
Step 5: Know your genre Read widely in your category. Understand conventions. Find your differentiating factors.
Step 6: Trust your voice Your unique perspective and voice are the originality. Two writers with identical outlines produce completely different books.
The Final Permission You Need
You are allowed to write:
- Another chosen one story
- Another enemies-to-lovers romance
- Another detective novel
- Another coming-of-age tale
- Another dystopian future
- Another vampire/werewolf/witch book
- Another heist story
- Another [insert familiar trope here]
What matters: How YOU write it. Who YOUR characters are. What YOUR voice sounds like. What YOUR specific take brings to familiar territory.
The publishing industry doesn’t need another completely unprecedented genre. It needs YOUR well-executed take on the stories humans have been telling since we gathered around campfires.
Stop chasing impossible originality. Start pursuing excellent execution.
Your “unoriginal” idea, brought to life with your authentic voice and careful craft, is exactly original enough.
Now stop reading about originality and go write your derivative, unoriginal, familiar, trope-filled, absolutely perfect story.
