Writing Fantasy and Science Fiction

Writing Fantasy and Science Fiction
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Although the problems of writing fantasy and science fiction include all those pertaining to the writing of any kind of fiction, particular problems arise in stories in which unprecedented things can and do happen, as well as stories that often involve unhuman characters of various sorts, and that might require the elaborate design of entire imaginary worlds. This book provides an elementary introduction to problems of those kinds, and the ways in which they modify the general problems of writing fiction. It also suggests strategies that might enable the problems to be handled constructively and productively. The author has published more than seventy novels in the field, more than twenty short story collections, and more than twenty related works of non-fiction; he has, as the saying goes, been there, done that, and chewed his t-shirt in relevant frustration. Robert Reginald says: «An absolutely first-rate guide to writing fantastic literature. Stableford has much to say that potential writers of ALL fiction might find valuable, interesting, and highly illuminating. His reasonable discussion and dissection of the basic issues facing authors of creative fiction–and the solutions to be found to each problem–are dollops of solid gold advice, in this editor's humble opinion. Every would-be author should read this book–and more than once!»

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Brian Stableford. Writing Fantasy and Science Fiction

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AUTHOR’S NOTE

This book was originally commissioned by Hodder & Stoughton for their “Teach Yourself” imprint, under which it was published in 1997. I have deleted or modified a few references which would have been anachronistic now, but have not otherwise revised or updated it.

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The Art of Extrapolation

Even if you are working with wholly imaginary worlds, the problem of slotting the imaginary into the real still has to be faced. Stories that are set on planets orbiting distant stars or stories set in a “Secondary World” like Tolkien’s Middle-Earth still have to borrow some of their coherency from the reader’s acquaintance with the actual world. The worlds in which planetary romances and Secondary World fantasies are set may have an entirely invented geography and an entirely imaginary history but their basic physical conditions are usually transferred without any elaborate commentary from our world. Magic may defy scientific laws but it has to work within the framework of the laws which it violates, as a series of exceptions. Even in the boldest fantasies it is taken for granted that without magic to hold them up, the castles in the clouds would fall, and that, without magic to aid her, the heroine who is deprived of oxygen will asphyxiate.

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