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

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

 

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.