Module # 13 Writing Science
Fiction
Introduction
Writing science fiction is a true test of the imagination as authors create
not only characters and plots, but often new creatures, cultures and even
entire worlds. As long as the logic of your story remains consistent in the
world you have created, you really can do anything and the stars are the
limit.
Films and TV shows have shaped perceptions of the genre, but the best
stories in any medium can capture the imagination of a wide audience. Good
science fiction not only describes an imaginary world but throws up a mirror
to our own. It should also inspire a sense of wonder in the reader and, in
some cases, can even predict the future!
In this session, Stephen Baxter (author of Titan, Voyage,
and the Xeelee series of novels) explains how to approach writing
science fiction and will cover:
- Finding inspiration
- Developing your ideas
- World-building
- Future and alternate histories
- How to inspire a sense of wonder
- Plus his top ten SF short stories
One Small Step...
Science fiction is one of the few literary fields in which the short story
form continues to flourish. In fact, some aficionados would say that it is
in the short form that science fiction is at its best, with startling ideas
polished to an economical brilliance.
For a new writer, the existence of short story markets is a good thing.
It's a lot easier to figure out how a good story works than a novel - and
wasting two weeks on a story that fails is a lot better than wasting a year
on a bad novel. And it is a way into more ambitious projects: science
fiction publishers do track the short-story markets in search of new talent.
By 1987, I'd been writing stories for some years, without success in
placing anything for publication; I'd even tried a novel. I'd tried to study
the craft - notably, in those days, Larry Niven, and I was a great fan of
stories like The Hole Man, which was written in such a lucid style
that studying it helped me figure out how such pieces work.
The core of my first published story, Xeelee Flower, was a Niven-like
jeopardy situation: I had an image of an astronaut, stranded in orbit around
a sun about to go nova, sheltering behind an energy-soaking 'umbrella'. To
develop the idea I did some technical research, to figure out just how much
energy each square metre of the umbrella would have to absorb.
But I also figured out the background. Who was this guy? How had he got
stranded there? Where did the 'umbrella' come from? I came up with the
notion of powerful off-stage aliens called the Xeelee, whose purloined
artefact, the Xeelee Flower itself, would save my hero's life. Accompanying
this was a vague idea of a galaxy full of minor species, including
ourselves, living in the shadow of the Xeelee.
All this was very playful; I wanted the tone to be light and fast-paced.
I worked on the story in the early summer of 1986. I remember sitting up
late to watch soccer matches in that year's World Cup; when the action was
dull I would progress the story a little more.
I sent the story to Interzone, which was then and is now Britain's top
science fiction short story magazine. The magazine had an upcoming new
writers' issue, with a slot just big enough for Flower. That was a
bit of luck, but I'd been pushing on a lot of closed doors for a long time.
One of them was eventually going to open for me.
Ideas for Free
I don't find it easy to answer the question, 'Where do you get your ideas?'
as the truest answer is, 'From everywhere and anywhere'. Science fiction is
a literature which deals with the universe, and its impact on humanity -
there is no limit to the subject matter, and so no limit to the sources of
ideas.
For example, I once watched a natural history programme about creatures
who survive in rushing rivers: an environment in which life is all about
catching stuff being washed down from upstream, and, most of all, hanging
on. I was intrigued by the idea. What if humans were stranded in a similar
situation? That simple notion became my short story, Downstream.
In a sense you should turn your whole life into a kind of low grade
research exercise. I read voraciously - a lot of pop science for me, as
science and technology are my subject matter - but also a heavyweight
newspaper, daily, from cover to cover, as well as histories and biographies.
You should watch TV - particularly documentaries - but the factual
density is so low that you'll find you invariably have to do backup reading
on anything that catches your attention - I turned to the local library to
find out more about life in rushing streams. Keep cuttings files, and
notebooks with entries on anything that catches your attention.
If your ambition is to write hard science fiction, you ought to be
prepared to go to the primary sources: the technical journals. The Science
Museum Library in London offers free readers' cards, and many university
libraries offer similar facilities. Today the internet is a valuable
resource, of course, but rather like TV, I often find it wide but shallow.
What kind of ideas are you looking for? Again, it's impossible to answer
definitively. Anything that looks as if it might form the seed for a scene,
a story, a character, or a novel. Anything that strikes you as interesting,
surprising, ironic, or illuminating.
From Dream to Reality
So you have your core idea, but how do you develop it?
Perhaps the key difference between a science fiction story and a
'mainstream' story is that your science fiction story may be set in a whole
new world, such as a colonised Mars, or Earth of 2237. When you're
world-building, you have to reinvent everything, from the ground up -
history, biology, geology, economics, even how the sewage works.
The extraordinary situation of Downstream had caught at my
imagination, and from that seed I developed a new world by addressing a
series of questions. What if people tried to survive in such an environment?
I imagined primitive colonies, clinging to rock faces. How did the people
get there? The answer to that became a key feature of the plot. There could
be no two-way communication up and down the river, and perhaps the evolution
of isolated colonies would diverge, so I imagined the corpses of
differently-evolved upstream para-humans washing down the stream over the
heads of my protagonists. And so on.
Happily you don't have to work all this out in advance. You can imagine
it all bit by bit as you go along. None of my prior research on
Downstream focused my imagination half so well as the moment when my
lead character opened his eyes and took his first look around.
Which brings me to the characters. Research and world-building alone
aren't sufficient, of course: research can only provide a background,
against which - as in every good story - sympathetic characters, in conflict
with each other and their environment, ultimately reach a climax and
resolution.
So after building the world of Downstream I had an interesting
scenario, but as yet no story to tell because nobody had a problem to solve.
So we have people living in a stream. So what? Ask the Hollywood question:
'Who's it hurting?' My answer in this case was the guy who lets go, and is
washed downstream, unable - ever - to return to his family. With that as the
core of the story's tension, I developed a plot designed to dramatise the
features of my invented world.
A Sense of Wonder
Why do we read science fiction in the first place? For the sense of wonder
it gives us. But it doesn't happen by accident, and it seems to surprise
some readers that science fiction writers work consciously at making their
stories wondrous! This sense of wonder can come from:
- Changing the reader's perception
- Dramatic revelations of the nature of the new world
- Rushes of extrapolation from the central idea
- Changes of scale or perspective
- Multiple levels of meaning in the central idea
The last is maybe the most important. As you work on your fiction you
should always be aware of levels in the story above and beyond the bare
physical idea: the river in Downstream, for example, could serve as a
metaphor for the one-way progress of time. Such levels of meaning provide
the story with a deeper significance.
But when working it's best consciously to concentrate on telling the
tale: let deeper concepts inform the work, rather than distort your tale by
bringing them out overtly. You're an entertainer, not a preacher!
Future Histories
After that first short story, The Xeelee Flower, the Xeelee continued
to be very important for me. In my next story I posited humans in a
four-dimensional cage, put there by another lot of powerful off-stage
aliens. Eventually I realised that if I made the aliens the Xeelee, I had
the beginning and the end of a future history, a story of mankind's future
which grew organically from that point.
A future history is a body of fiction set against a consistent background
of events and characters, and spanning significant intervals of space and
time. Examples include Isaac Asimov's Robot and Foundation
series, Robert Heinlein's Future History, and Larry Niven's Known
Space series.
A future history provides an explanatory framework for the development of
a consistent future, sometimes (but not always) starting from the present.
Thus my own Xeelee sequence of linked novels and stories follows the
expansion of mankind across and out of the Solar System, our interaction
with a complex community of alien species dominated by the enigmatic Xeelee,
and finally the revelation of the universe's central conflict and the
destiny of humankind.
But why are future histories so popular? For the bookseller, a future
history is a way to tie in the reader to the rest of an author's work. And
in return, with the most successful histories, cross-reference and context
can provide the loyal reader with a magical glimpse beyond a single piece of
fiction and into a fully integrated future. As for the writer, a future
history schema is a way of tying together ideas which are, perhaps,
disparate, and it is also a framework which can stimulate new ideas. Quite
often science fiction ideas are just too big for a single story, or even a
single novel which is why series are so popular. I suspect that the best
histories are grown organically, allowed to develop alongside the author's
deepening exploration of their own subject matter.
What about the constraints a future history places on a writer? Of course
it's true that working within a unified background leads to problems of
continuity and, as future histories grow like coral, such limits tend to
grow ever tighter. Asimov described the difficulties of providing essential
background detail for readers of later Foundation episodes, and in
one notorious case he showed a young teenager writing out a school essay on
her world's history!
In fact, perhaps because of the various constraints - and perhaps because
an author's interests evolve - writers generally seem to visit their future
histories less and less as time goes on. Whatever the difficulties, however,
the judgement of readers and marketplace alike is that future histories
continue to have a great deal of appeal.
Alternate Histories
Science fiction is a literature of worlds other than our own, an exploration
of answers to the question, 'What if this were so?' We tend to project such
new worlds into the future. But there's no reason why you shouldn't extend
your 'what if?' exercises into the past, to discover how things might
plausibly have been otherwise.
Alternate histories explore worlds differing from our own by a small but
conceivable change to the past. The fascination is in the detailed
working-out of the new destiny of people, nations, even species, in worlds
that might have been.
The first major alternate history in science fiction was L Sprague de
Camp's Lest Darkness Fall, serialized in 1939 in John W Campbell's
Unknown magazine, in which a 6th century time-traveller tries to prevent
the collapse of the Roman Empire and the onset of the Middle Ages.
The most popular historical branch points tend to be decisive and
dramatic events such as battles and wars, in which the alternatives
generated by different outcomes are reasonably clear-cut. Alternate
historians' favourite source of turning points is probably World War II, and
imagined worlds in which the Nazis triumphed (for instance The Man in the
High Castle by Philip K Dick and Fatherland by Robert Harris)
tend to be grisly places. There is still room for a few twists though, and
Stephen Fry's Making History suggets a world where Hitler was never
even born.
Some eras are visited more frequently than others. Steampunk science
fiction is set against a 19th century background, especially Victorian
London. In my own Anti-Ice, I imagined my version of Isambard Kingdom
Brunel getting hold of an energy source as dense as, yet more manageable
than, nuclear power: There are glittering monorails across the English
Channel, land liners rolling across Europe, and aerial yachts flying to the
Moon, complete with gas-lamps, dinner services, and clockwork
celestial-navigation tables...
The possibilities are literally infinite. Alternate history provides a
sense of the extraordinary fragility of the here-and-now: it might so easily
have been different. And, more than anything, alternate histories are fun.
Rules of the Game
- By far the most important rule of all, for any writer who wants to be
a professional, is finish your work properly, and submit it to a paying
market. If you submit, you might not sell. But if you don't submit you
definitely won't sell.
- The second is don't give up. When your story doesn't sell first time,
try it somewhere else, and somewhere else again, while you're working on
another story in the meantime. It is hard work to become a writer, as it
is to become a brain surgeon or an airline pilot, or anything worthwhile.
But persistence will pay off.
- Use the first draft of a story or novel as an adventure of exploration
for yourself, a way of finding out what the tale is about. You can fix any
inconsistencies in later drafts, when you're done discovering.
- If you write what's called hard science fiction, as I (usually) do,
it's best to avoid breaking the laws of physics!
- Following the lead of H G Wells, I find that One Big Idea is generally
enough for a story, and everything should progress from that single seed.
- Show, don't tell. Even though the seed of the story may be your new
world, the story is actually about the characters, with their world as a
backdrop. If you want to point out some neat feature of your world it has
to be relevant to - or better still, a significant element of - the story.
- There comes a point in many science-based tales in which the
explanation of technical elements comes into conflict with the needs of
your fiction. The fiction has to win - you're writing entertainment, not
text books.
- If a story idea doesn't evoke wonder in you, don't write it.
- Let your imagination run riot: it's your world, after all, although be
sure to take the reader there with you.
- The last rule is: there are no rules. Or rather every 'rule' in
fiction is there to be broken, which is exactly what the most innovative
writers do. But I'd advise walking before you try to run!
Best of the Rest
I've suggested starting with short fiction, but what about some role models?
Since I was a teenager, I've been putting together lists of my all-time top
ten stories. Of course the list changes with time, but then so do I. This is
the current version, and you'll find all these stories in the authors' own
collections, or collections of classics.
- Of Arthur C Clarke's great and poignant short pieces I'd have to pick
The Nine Billion Names of God (1953), in which a modern computer
helps a group of monks in their task of compiling all the possible names
of God.
- Isaac Asimov's short fiction included perhaps the most famous science
fiction short story of all, Nightfall (1941), and his 'robot'
stories are justly famous for their logic and intricacy - but my pick of
Asimov's is the moving Eyes Do More Than See (1965), about powerful
post-humans mourning the loss of their corporeality.
- I enjoy Robert Heinlein's future history work, but my pick of his is
the intricate and astounding time-travel classic All You Zombies
(1959), about a time traveller who becomes his own father and
mother.
- Of Philip K Dick's explorations of the fragility of reality, I've
always prized War Veteran (1954), whose battered protagonist
mumbles of a war that has yet to be fought.
- Ray Bradbury's Martian stories, collected in The Silver Locusts,
are justly lauded, but of his work I pick the uplifting Frost and Fire
(1946), in which humans are stranded on a planet where their lives last
just eight days.
- Robert Sheckley wrote dozens of hilarious and intricate pieces, but my
choice is the touching Ask a Foolish Question (1953).
- The British writer Ian R MacLeod has built a high reputation in the US
with a string of intelligent and beautiful stories. A personal favourite
of his is Snodgrass (1992), about the fate of the Beatles in a
reality where John Lennon lived on.
- My good friend Eric Brown, another British writer, has delivered a
string of fine short stories including The Time-Lapsed Man (1988),
about an astronaut whose senses suffer an accumulating and devastating
time delay.
- Philip Latham was the pseudonym of an American astronomer; his The
Xi Effect (1950) is an unforgettable depiction of the consequences of
the startling discovery that the entire universe is shrinking.
- All of the above are listed in no particular order and I've already
reached nine, but I've found no room for J G Ballard, Gregory Benford,
Paul J McAuley, Larry Niven, Frederik Pohl, Howard Waldrop, Ian Watson, H
G Wells, and a host of others. But I'd still place as number one - as I
have since I was a teenager, and whose influence I have acknowledged many
times before - James Blish's Surface Tension (1952), a tale of
microscopic humans struggling to escape from a shallow pond, a marvellous
evocation of wonder and the human spirit.
Further Reading
Books
Card, Orson Scott - How to Write Science Fiction and Fantasy
A comprehensive 'how to' manual from the author of the Ender books
with the emphasis squarely on writing ready-to-sell fiction.
Stableford, Brian - The Way to Write Science Fiction
Another leading SF author (this time of The Omega Expedition and
Year Zero) pontificates on the best methods to improve your speculative
writing talents.
Interzone
The long-running UK magazine has recently hit a bi-monthly schedule, but
still publishes a range of SF stories from new and established writers. A
must-read for anyone serious about writing SF.
New Scientist
Weekly magazine rounding up the latest developments in science and
technology, plus in-depth articles on everything from quantum theory to the
construction of language. Heavy on the tech-talk for the uninitiated, but a
valuable source of ideas.
Found other books more useful? Discuss them at the Round Table (http://www.bbc.co.uk/dna/getwriting/roundtable).
Useful Links
BBC Science - http://www.bbc.co.uk/sn
Another fount of inspiration for budding writers. Hot topics covered in
detail, plus the latest science stories from BBC News.
Science Fiction and Fantasy Writers of America Inc - http://www.sfwa.org/writing/
An extensive collection of articles from basic 'how to write' pieces to
world building and even resurrecting a stalled career! Best to walk before
you can run, though.
Suite 101 - http://www.suite101.com/welcome.cfm/writing_science_fiction
Another big article library which includes a few more abstract topics,
including using personal UFO experiences to inspire stories and how the
changing world order influences the possibilities of science fiction.
SFF Net - http://www.sff.net/people/Vonda/Pitfalls.html
Prolific author Vonda N MacIntyre runs through her top twelve no-nos all SF
writers should avoid.
Infinity Plus - http://www.infinityplus.co.uk
Lost your library card? Too mean to buy books? Then feast your eyes on this
bumper online collection of short stories by some of the biggest SF authors
around.
More on Get Writing
LEARN
Writing an alternative history? Get your research skills up to scratch with
Fact Into Fiction (http://www.bbc.co.uk/dna/getwriting/module9). People your
world from the ground up with Rose Tremain's advice on Building a Character
(http://www.bbc.co.uk/dna/getwriting/module8). Ready to sell your trilogy?
Learn how to get on the good side of literary agents with Just Business: The
Agent's Tale (http://www.bbc.co.uk/dna/getwriting/module11).
Find out more on Stephen Baxter at http://www.bbc.co.uk/dna/getwriting/baxter.
WRITE
Use the 'Write' button to store your work online at your Portfolio. Submit
your works-in-progress to a Review Circle (http://www.bbc.co.uk/dna/getwriting/reviewintroduction)
for general feedback. Try out some quick writing exercises from the
community at the Challenges (http://www.bbc.co.uk/dna/getwriting/challenges)
area or start a sicence fiction challenge of your own.
TALK
Critical examination of the nuts and bolts of writing technique at Art and
Craft (http://www.bbc.co.uk/dna/getwriting/artandcraft). Join the Science
Fiction Review Group (http://www.bbc.co.uk/dna/getwriting/A2214794) to share
feedback and support, or start your own critiquing group (http://www.bbc.co.uk/dna/getwriting/groups).
Good Luck!
Tip: Fact into Fiction
For inspiration, watch TV documentaries and read broadsheet newspapers, and
not just the science stories. Science fiction often deals with the future of
the planet and the human race, so any current developments in society,
culture, politics or economics could be the springboard for a story.
Tip: Story vs Research
Technology and scientific principles are often important, especially in hard
science fiction, but they shouldn't be allowed to get in the way of the
story. Do the research and make it a key part of the plot, but make sure
your story and characters come first. If you find yourself using thousands
of words to explain complex ideas, you risk losing your readers!
Tip: Using Subtexts
Try to include a subtext in your science fiction story which either comments
on the real world or reflect the universal themes of love, hate, revenge and
so on. Don't force the subtext - it should evolve naturally as you write,
and you may find that by the time you've finished your story, it's about
something completely different compared to your original ideas.
Exercise: World-Building
To create a world, or at least the basis for one, do it from the point of
view of one of the characters who inhabit it. Write a monologue in which
your character is explaining their world to you. Don't just focus on what
colour the sky is and what the plants eat, but where your character fits
into this world and how they interact with it.
Exercise: Future Histories
Take a story from today's newspaper and, from the point of view of someone
living in 100 years time, write an account of how that event or development
is seen through history and how it has affected the world of 2104. Remember
that the history books are often rewritten and someone from the future may
not have the same cultural perspective as we do now. However, they will have
a better idea of how it fits into the bigger picture of the 21st century.
Exercise: Alien Perspectives
How would you describe an everyday activity or event like a football match
if you were from another planet? For instance, you wouldn't necessarily know
what a ball was, that there were two teams competing against each other, or
even why thousands of people were sitting in a large open space making a lot
of noise. Write an abstract description of a similar activity, and imagine
how someone with no knowledge of human ideas and customs would interpret it. |