British writer Fay Weldon opened up a whole new financial can of worms with her novel "The Bulgari Connection," sponsored by the Italian jewelry company Bulgari in return for a few mentions in the plot. Some critics wailed about the new field of "fictomercial," but most accepted the book for what it is: a harmless little experiment by a talented novelist.
—"Whew! What a year," The Atlanta Journal and Constitution, December 15, 2001

Are there worse things that can happen to the novel? The beleaguered form has been declared dead on numerous occasions, by writers ranging from Gore Vidal to V. S. Naipaul; it has been chilled by the looming shadow of hypertext fiction; and it has long since ceded its cultural importance to the dominant contemporary storytelling form, the movies. And now, just when it seemed that the least you could claim for the fading redundancy that is "literary fiction" was its artistic integrity, Fay Weldon has gone and dragged advertising into its pages.

Weldon anticipated the opprobrium some would heap on her for the deal she struck with Bulgari, the Italian jewelry company; it paid her an undisclosed sum in exchange for Weldon's placing references to their products in her new book. But Weldon, who in previous novels has been fearless in taking on targets like sexism, feminism, therapy and cloning, has been typically bold and unapologetic in pioneering this hybrid form of fictomercial. And her past work as an advertising copywriter — she reportedly came up with the British slogan "Go to Work on an Egg" at about the same time her friend Salman Rushdie, who also worked in advertising, is said to have dreamed up "delectabubble" to describe an airy kind of chocolate bar — has surely stood her in good stead in "The Bulgari Connection."
—Sylvia Brownrigg, "Your Ad Here," The New York Times, November 4, 2001