Ten things every new creator of science fiction should know

There's no mention of RAY GUNs, so I have to question just how good this advice was!

To be fair, it seemed to be a good deal of common sense.
 
But it gives absolute 'this is good, this isn't' rules, claiming that all sci-fi must be personality based, that there is only one 'right' way of writing. The fact that it is saying 'Don't write any more of the stories that Chrispy revels in' (I loved Ringworld, a mission of gravity, Arthur C. Clarke…, the books where the universe was the principal protagonist and the antagonist, and here someone is saying "No, no, mustn't talk about things, people are the only proper subject) is almost irrelevant; there are doubtless many books I've not yet read in the earlier style. But I do object to being told not 'publishers are more likely to pick up books that fit in with their preconceptions' but 'the only permissible study for mankind is man'. Like an iman with the Koran, laying down limits.

Science fiction was supposed to be the literature that defined limits by going beyond them and exploring the unthinkable. Not just gubbins (although they are well represented) but the extremes of human thought, the human spirit. Now we're told 'when you explore an alien contact it's got to be symbolic of racism or bureaucracy; if it doesn't relate to the here and now, it's not relevant'.

I don't like people who tell me that. I don't care if they're commercially correct; what they're saying in this article is that they are purveyors of Truth with a capital "T". (Please don't anyone point out how many times in my posts I write as if my opinions were handed down from on high; you know me here, and recognise I'm always ready to discuss.)

These are opinions. They are based on more experience than my opposing opinions, but this doesn't make them absolutes, just fashion labels.
 
Personally, I think that this is good advice.

Yes, science fiction is not all satire, and yes it doesn't have to all represent the present day. There is no requirement on writers of SF to grapple with "issues". (Most obvious attempts to do so will be banal and will date very quickly) in the same way that there is no obligation on fantasy writers to astonish readers with depictions that, crikey, life in the old days was actually hard. In fact, I suspect that "issues characters" will seem flat as cardboard (corrupt politician, earnest young woman, innocent native etc).

But - Asimov's characters were pretty weak. Likewise Clarke's. Not because they weren't dealing with the trauma of being bullied for being the only Martian in the village, but because they were just cyphers, competent people* whose job often was to move around the tech and show off the ideas. That doesn't make the ideas bad. Often, the ideas were amazing. But I believe that to produce a great novel you have to have great characters as well as great ideas or great events. Everything has to be top-notch.

I don't think it matters which ideas a writer is talking about, or whether the average Guardian reader would agree with them. You have to write good characters. Take Horza or Xoxarle from Consider Phlebas or Case or Julius from Neuromancer. Those are the sort of rounded people that I want to read about. The existence of characters like that isn't incompatible with science fiction that moves the boundaries forward and explores new ideas.

* The phrase seems to be "competent man" but that's not the direction I want to send this in.
 
I have to agree with Chrispenycate for the most part. I don't believe there can be a 'right' way to write science fiction. It certainly isn't wrong to write stories that have absolutely no bearing whatsoever to the world today. It isn't wrong if your stories do either.
I think if there is any rule at all, is that there should be no rules governing what makes good science fiction or indeed fantasy.

I don't think the one about trends is very true either, look how long trends tend to last; who isn't sick of zombies? Handsome romantic vampires? scantily clad demon hunters or fallen angels?
Not everyone is sick of them, in fact the market for them is still big. Yet how many years have these carbon copy stories been churned out now? I say if you actually like the trend, go with it. I do however say you shouldn't write what is currently 'in' simply because it is the fashion. Write what you know and where your passion lies, whether it is or isn't trendy today.

For me, the real heart of a story are characters, if they are believable and people can connect or relate to them, then the bells and whistles are really just scenery. But that is the type of story we tell, everyone is different, and that is what makes the genre great.
 
(Please don't anyone point out how many times in my posts I write as if my opinions were handed down from on high; you know me here, and recognise I'm always ready to discuss.)

I find it odd that you would ask for the benefit of the doubt when you seem to give none to the author of the article.

That aside, I think you're misreading the article.

I can only assume you're arguing against the following rules, but as none of them are saying what you claim they're saying, it's only an assumption on my part, but here goes anyway...

1) You're still just telling personal stories.

I can only assume you're arguing against this one when you talk about Clarke's Ringworld and how the article is personally attacking your beloved style of SF. Well, even the "big idea" novel of Ringworld had characters. While the focus of the story was on the exploration of Ringworld, it was told through the eyes of the characters. It was just as much their views (or Louis' interpretation of their views). Ringworld wasn't just the story of an engineering problem, it was four diametrically opposed characters struggling with a hostile environment and each other. Without those characters there'd be no story. It would be an academic article in a journal. So yeah, even Ringworld was just telling a personal story.

3) Science fiction is always about the time when it was created.

In the sense of all SF is an allegory for modern times, clearly false. In the sense of all SF (just as all writing) is a reflection of the writer, who is a reflection of the times s/he is living in, clearly true. The article argues for the latter and doesn't comment on the former.

8) Trends are at least half over by the time you know about them.

While you could easily destroy the sentence above, the gist, don't chase trends is a sound one.

The rest are either demonstrably true or clearly stated as opinions / suggestions.

But it gives absolute 'this is good, this isn't' rules, claiming that all sci-fi must be personality based, that there is only one 'right' way of writing.

It's not a story without characters. But I think I addressed this above.

The fact that it is saying 'Don't write any more of the stories that Chrispy revels in' (I loved Ringworld, a mission of gravity, Arthur C. Clarke…, the books where the universe was the principal protagonist and the antagonist, and here someone is saying "No, no, mustn't talk about things, people are the only proper subject)

Again, you seem to be misreading the article and misremembering Ringworld. Protagonist: Louis. Antagonist: Nature, and at times Nessus, Speaker, and Teela. Man vs Nature and Man vs Man. It's not nothing vs nature or nothing vs nothing.

But I do object to being told not 'publishers are more likely to pick up books that fit in with their preconceptions' but 'the only permissible study for mankind is man'. Like an iman with the Koran, laying down limits.

Again, you're reading things into the article that aren't there.
 
On trends, there was a comment posted on the Asimov's forum years ago (before said forum hit an iceberg and sank)...

It's easy to spot the Last Big Thing. I wonder how many publishers were flooded with stories about boy wizards after Harry Potter was published.

I think that's what the article is saying about trends.
 
Another rule IMHO, that probably comes out of one of the 10, is that "cool" gadgets don't make a story. Especially when the gadgets are weapons. This is for at least two reasons; one is that, especially in far-future SF, it's really easy to think up hideously powerful weapons that have at least some justification in vaguely believable theory. (I know that because I've done it, including at least one occasion on this board.) It's an awful lot more difficult to come up with a story in which the Kill-O-Zap Gun doesn't completely dominate the story to its detriment.

The other is that, for near-future stuff, real life is likely to overtake your cool idea remarkably quickly. Translations of street signs in foreign alphabets projected on your retina? Coming to Google Glass Real Soon Now (tm). Smart sniper rifles that only fire when they will definitely hit? Already on the market, including the closely related built-in ballistic computers. And so on...
 
As an aside, I've always thought that, in a far-future or space opera setting, you can get round the technology problem by making reliability, or ease of supply (including ammo) for weapons and gear to be much more important that fancy extra bits. When your mech suit runs out of batteries, owning a mule might seem much more important.

It's an interesting factor, and gets away from the computer-game idea that the most elite soldiers with the best stuff will automatically win (Space Spartans hell yeah!). There are better weapons than the AK47 or the Sten gun, but they were easy to make, repair and load.
 

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