An epistolary novel is a novel written as a series of documents. The usual form is letters, although diary entries, newspaper clippings and other documents are sometimes used. Recently, electronic "documents", such as blogs and e-mails have also come into use. The word epistolary comes from the Latin word epistola, meaning a letter.
The epistolary form can add greater realism and verisimilitude to a story, chiefly because it mimics the workings of real life. It is thus able to demonstrate differing points of view without recourse to the device of an omniscient narrator.
The first novel to explore deeply the complex play that the genre allows was Aphra Behn's Love-Letters Between a Nobleman and His Sister (1684), which appeared in three successive volumes in 1684, 1685, and 1687. The novel tested the genre's limits of changing perspectives: individual points were presented by the individual correspondents, and the central author's voice and moral judgement disappeared (at least in the first volume; her further volumes introduced a narrator). Behn furthermore explored a realm of intrigue with letters that fall into the wrong hands, with faked letters, with letters withheld by protagonists, and even more complex interaction.
The epistolary novel as a genre became popular in the 18th century in the works of such authors as Samuel Richardson, with his immensely successful novels Pamela (1740) and Clarissa (1749). In France, there was Lettres persanes (1721) by Montesquieu, followed by Julie, ou la nouvelle Héloïse (1761) by Jean-Jacques Rousseau, and Laclos' Les Liaisons dangereuses (1782), which used the epistolary form to great dramatic effect, because the sequence of events was not always related directly or explicitly. In Germany, there was Johann Wolfgang von Goethe's Die Leiden des jungen Werther (1774) (The Sorrows of Young Werther) and Friedrich Hölderlin's Hyperion. The first North American novel, The History of Emily Montague (1769) by Frances Brooke was written in epistolary form.
Later in the 18th century, the epistolary form was subject to much ridicule, resulting in a number of savage burlesques. The most notable example of these was Henry Fielding's Shamela (1741), written as a parody of Pamela. In it, the female narrator can be found wielding a pen and scribbling her diary entries under the most dramatic and unlikeliest of circumstances.
The epistolary novel slowly fell out of use in the late 18th century. Although Jane Austen tried her hand at the epistolary in juvenile writings and her novella Lady Susan, she abandoned this structure for her later work. It is thought that her lost novel "First Impressions", which was redrafted to become Pride and Prejudice, may have been epistolary: Pride and Prejudice contains an unusual number of letters quoted in full and some play a critical role in the plot.
The epistolary form nonetheless continued to be used, surviving in exceptions or in fragments in nineteenth-century novels. In Honoré de Balzac's novel Letters of Two Brides, two women who became friends during their education at a convent correspond over a 17 year period, exchanging letters describing their lives. Mary Shelley employs the epistolary form in her novel Frankenstein (1818). Shelley's novel is her "hideous progeny", as she stated in a Preface to her story in 1831. Her "hotchpotch" of a story strains the limits of the epistolary form, involves the letter in murder most foul and undermines the effectiveness of the letter medium itself.
Fyodor Dostoevsky used the epistolary format for his first novel, Poor Folk (1846), as a series of letters between two friends, struggling to cope with their impoverished circumstances and life in pre-revolution Russia.
The Moonstone (1868) by Wilkie Collins uses a collection of various documents to construct a detective novel in English. In the second piece, a character explains that he is writing his portion because another had observed to him that the events surrounding the disappearance of a certain moonstone might reflect poorly on the family, if misunderstood, and therefore he was collecting the true story. This is an unusual element. Most epistolary novels present the documents without questions about how they were gathered. He also used the form previously in The Woman in White (1859).
Bram Stoker's Dracula (1897) uses not only letters and diaries, but also dictation discs and newspaper accounts. While the novel draws on the epistolary form, by the end of the story it reduces it, along with other media, to a monstrous "mass of typewriting".
C. S. Lewis used the epistolary form for The Screwtape Letters (1942), and considered writing a companion novel from an angel's point of view -- though he never did so. It is less generally realized that his Letters to Malcolm: Chiefly on Prayer (1964) was a similar exercise, exploring theological questions through correspondence addressed to a fictional recipient, "Malcolm", though this work may be considered a "novel" only loosely in that developments in Malcolm's personal life gradually come to light and impact the discussion.
Alice Walker employed the epistolary form in "The Color Purple" (1982). The 1985 film adaptation echoed the form by incorporating into the script some of the novel's letters, which the actors spoke as monologues.
The Boy Next Door (2002) by Meg Cabot is a romantic comedy novel dealt with entirely by emails sent among the characters.
Several of Gene Wolfe's novels are written in the forms of diaries, letters, or memoirs.
We Need to Talk about Kevin (2003) is a monologic epistolary novel, written as a series of letters to the narrator's husband Franklin.
"The Confessions of Max Tivoli" by Andrew Sean Greer - 2004