Introduction to Science Fiction

Science fiction allows us to understand and experience our past, present, and future in
terms of an imagined future.

Kathryn Cramer, The Ascent of Wonder (1994)

Definition of the Genre

The science fiction genre, an exciting collection of intellectual and physical
adventure, overlaps a great deal with all other genres. As a result, it is very difficult to
define the genre with one simple, straightforward definition that clarifies its relation to
other genres. In particular, there is great debate about the differences and overlap
between fantasy and science fiction. Science fiction fans, even those most entrenched
in the genre, often have very strong and very divergent views on what constitutes a
science fiction work.

In general, science fiction is considered to be a genre that explores the question "what
if?". It continually investigates moral, philosophical and technological possibilities by
creating new and exciting realities. Diana Tixier Herald offers her personal definition
of science fiction in Genreflecting, expressing the idea that science fiction deals with
"scientific topics, space travel, aliens and recognizably Earth-variant worlds or life
forms that have not been touched by magic". Time travel is also a common theme in
many science fiction novels.

With roots in the nineteenth century, science fiction is often recognized for its long
and rich history as well as its intellectual content. It is also recognized for its diversity;
within the genre there is great variation in the topics, themes and length of science
fiction works. The following is a list of many of the themes that are covered within
the genre of science fiction: Hard Science, New Wave, Ecology, Messianic/Religious,
Dystopia/Utopia, Apocalypse, Alternate and Parallel Worlds, Time Travel, Time
Warp, Lost Worlds, Immortality, Psionic Powers, Space Opera, Galactic Empires,
Militaristic, Space Travel, Alien Beings, Computers, Automation, Cyberpunk, Robots,
Androids, Cyborgs, Social Criticism, The Superhuman, Women in Science Fiction,
Love and Sex, Detectives in Science Fiction, and Science Fantasy.

Appeal and Characteristics of the genre

Though there is a great deal of diversity and variety within this genre, the following
discussion includes the characteristics that are common to all science fiction works.
This discussion shows how these characteristics relate to the four general appeal
factors for fiction.

Storyline

Science fiction is widely recognized as speculative fiction. Works in this genre have
storylines that explore moral, social, philosophical, technical and intellectual issues
and/or questions. Authors utilize a setting that establishes otherness of time and/or
place, a setting outside of everyday reality, to allow for the discussion of new,
challenging and sometimes controversial ideas. There are typically many different
layers and levels to a science fiction storyline, and it can be enjoyed at any or all of
those levels. Overall, as Joyce Saricks points out, science fiction is a genre that
affirms the role of story in our lives.

Frame

One important part of the frame in science fiction works is the technical and scientific
detail. As discussed above, one of the important traits of this genre is its focus on
science and technology; without sufficient detail, works of science fiction lose this
characteristic. It is important to note, however, that, since the 1950's, knowledge of
scientific detail is not as critical to the reader's understanding of the work. Readers
without a background in science can now pick up almost any work of science fiction
and still understand the plot perfectly.

The frame of the story, the special setting or particular atmosphere, is instrumental in
setting the tone. There is a wide range of frame, atmosphere and tone in this genre,
from the comic nature of Douglas Adams to the more somber and philosophical
atmosphere of Ursula LeGuin.

Characterization
As both Saricks and Tixier recognize, storyline and frame are the focus of this genre.
Characters are usually secondary to the questions that are pursued through the action
of the plot. Though the more literary end of the genre does focus more heavily on
characters, in general the genre focuses on situations and events. Also, many of the
science fiction characters are series characters, developed slowly over the course of
the series.

Pacing

The pacing within the genre varies greatly with the particular work, but it is generally
linked to the type and amount of action in the story. The action in science fiction
works may be either psychological/philosophical (interior) or physical (exterior).
Typically, the assumption is that works focused on interior action are slower paced
and those focused on exterior action are faster paced.

Subgenres
Since there is such immense diversity within this genre, there are a myriad of different
thematic subgenres. The many SF themes introduced above (see Definition of the
Genre), can all be explored in more detail in Diana Tixier Herald's "Introduction to
Science Fiction" in Genreflecting.

Here, we will explore Joyce Saricks' useful model of two major subgenres. Saricks
proposes two major Science Fiction subgenres: Storyteller Focus and Philosophical
Focus. This model of two subgenres examines the appeal of these primary subgenres,
which fall at opposite ends of the science fiction spectrum. This is useful because all
science fiction works can be understood in relation to these two polar opposite
subgenres, either as falling into one category or falling into both. The following is a
definition and description of each of these subgenres as well as a listing of authors
who fall within each of these subgenres.

Storyteller Focus

This subgenre is focused on creating interesting, engaging and inspiring stories to

capture the reader's attention. Indeed, the success of a book in this subgenre, rests
heavily on the author's ability to tell a good story. The books in this subgenre are
readily accessible to all readers, and not as focused on literary style as those in the
Philosophical subgenre. The stories in this subgenre feature very detailed and vivid
descriptions that make characters and settings come to life.
Though the ideas and questions of these works are usually manifested through the
plot, the characters also become very important to the reader. Characters are
generally more stereotypical in this subgenre than they are in the Philosophical
subgenre, but this allows the reader to quickly relate to and sympathize with the
characters. Characters are often either good or bad, and this position is not reversed
during the story. These works often feature a cast of characters and the relationships
between these characters are central to the plot. Many of these stories will be told
from multiple points of view so that the reader can see the different perspectives of
many characters.

In this subgenre, moral questions are raised, but these questions are typically also
answered in the same work. The reader, and the characters, have a sense of what is
"right" and "wrong" in this other world because the author makes this clear. The
novels in this subgenre are typically more clear cut on their stance on issues, typically
arguing for one moral code over another. There is very little ambiguity here and a
firm, clear resolution is promised in the end. This is a fairly optimistic and upbeat
genre, filled with hope, humor and adventure. Favorite characters generally survive to
go on to the next book in series.

The pacing of this subgenre is usually fairly quick. The successful storyteller author
will quickly hook readers in the first few pages of a work and then advance the plot
speedily from there. There is a more dialogue in this subgenre than in the
Philosophical subgenre, this helps to keep the pacing brisk.. The action is usually
physical, rather than psychological, with characters focusing on action rather than on
interior thought.

Authors and Titles in Storyteller Subgenre

• Piers Anthony (more complex and darker tone than others in this subgenre)
• Isaac Asmimov (more complex and darker tone than others in this subgenre)
• David Brin (more complex and darker tone than others in this subgenre)
• Lois McMaster Bujold (Vor series)
• Orson Scott Card (The Ender's Game, Memory of the Earth)
• David Weber
• Connie Willis (Doomsday Book, To Say Nothing of the Dog)
• A.C. Crispin (Starbridge series - Starbridge is first book in series
• Star Trek series
• Star Wars series

Philosophical Focus
In this genre, rather than focusing on the story itself, it is the writing style which is of
great importance. Authors are methodical in their development of plot, characters and
the many layers of the work. The aim of this subgenre is to display quality literary
style and techniques, and to illicit deep thought.

The characters within this subgenre are anything but stereotypical. They are carefully
crafted, complex characters who often surprise the reader with their actions or
thoughts. As Saricks says, the "characters are not bound by the plot or driven by it
(272-273)". It is difficult to tell which characters are "good" or "bad", and roles are
frequently reversed within one work. The focus of this subgenre is on the characters
psychological development, rather than on the physical action of plot. Characters are
often faced with supremely difficult and complex decisions that they must ponder for
a time. Significantly, the central questions of the work are revealed through the
characters, not through the plot.

In contrast to the Storyteller subgenre, the moral and philosophical questions raised in
these works are seldom definitely answered. These works are rife with complexity,
ambiguity and moral uncertainty. It is not typically clear what is right or wrong and
the characters rarely resolve their issues or problems. Whereas the storyteller subgenre
promises a resolution at the end of the story, this subgenre promises an ending that
will stimulate continued thought and consideration.

The pace of this subgenre is generally slower. These works are typically much more
densely written, with much less dialogue. The action is interior, focused on the
psychological and philosophical development of the characters and plot. Of critical
importance to this subgenre, is the frame. Like all other aspects of the books, the
mood and atmosphere is carefully crafted to lend a particular tone to the work.
Typically, this tone is a much darker, and more pessimistic view than with the
storyteller subgenre. As Saricks points out, this subgenre is often criticized for being
more concerned with mood than with plot.

Saricks makes a point of mentioning one new theme within this subgenre,
"Cyberpunk". This is an extreme theme within the Philosophical subgenre, with a
much more cynical disposition. The books in this category are very edgy, with anti-
hero protagonists and black, biting humor. Featuring a bleak future, where science has
not provided all the answers and society is slipping away, these book are often
intimidating to new readers because they are filled with special jargon and word
plays. Some examples of this theme are William Gibson's Neuromancer and Neal
Stephenson's Zodiac.

Authors and Titles in Philosophical Subgenre

 • Greg Bear (Queen of Angels)
• Octavia Butler (Dawn)
• Arthur C. Clarke (Childhood's End)
• Philip K. Dick (Do Androids Dream of Electric Sheep?)
• Ursula Leguin (The Lathe of Heaven)
• Mary Doria Russell (The Sparrow)
• Dan Simmons (Hyperion)
• Sherri Tepper (Grass)
• Kate Wilhem
• Gene Wolfe
• Roger Zelazny (The Dream Master)

Works Consulted
Barron, Neil. Anatomy of Wonder 4: A Critical Guide to Science Fiction. R.R.
Bowker: New Jersey, 1995.

Herald, Diana Tixier. Genreflecting: A Guide to Reading Interests in Genre Fiction,

Fifth Edition. Libraries Unlimited, Inc.: Colorado, 2000.

Saricks, Joyce G. The Readers' Advisory Guide to Genre Fiction. American Library
Association: Chicago, 2001.

From the following website:

http://www.conknet.com/~fullerlibrary/ReadersAdvisory/SCIENCE%20FICTION
%20READER/Introduction.htm