The Guide to Writing Fantasy and Science Fiction

by Philip Athans

  EROTIC FANTASY

  Likewise growing in popularity, this subgenre is often referred to as fantasy romance. Though any of the subgenres not only can but should include some romantic elements, erotic fantasy dials the heat up a few notches—sometimes more than a few. I would define it as a fantasy story in which sex and/or romance are the primary movers for the plot. How “hot” an erotic fantasy novel can get is up to the sensibilities of the author and editor. From the beginning of the romance genre, there have been fantasy elements, such as the ghost in Emily Bronte’s Wuthering Heights. However, it was Anne Rice who broke this subgenre into the mainstream with the Sleeping Beauty novels she wrote under the pseudonym A. N. Roquelaure.

  IN THE WINGS

  And…? I think every fantasy fan out there is waiting for someone to show us a new fantasy subgenre. “From a sales perspective,” says Kuo-Yu Liang, Vice President of Sales and Marketing for Diamond Book Distributors, “I’ve seen no difference (in sales of one subgenre over another). It’s all about whether the reader is emotionally connected.” Chances are that a new subgenre will come from a crossover, or intermingling, of the fantasy genre with other genres.

  Though the fantasy genre is largely defined by its archetypes, there’s no reason an author should feel limited by them. When an author combines those archetypes with the archetypes of other genres, the fusion can create extraordinary results, bringing about new, as-yet-unnamed subgenres.

  If the detective in what would otherwise be a mystery story is a wizard, the mystery becomes a fantasy. If the heroine of a romance novel is a dragon in the guise of a princess, the romance becomes a fantasy. And on and on. However, you need to have equal respect for both (or all three, or all four) genres that you’re mixing.

  In any case, tell your story. You’ll either be missing the trend, riding the trend, or creating the trend. “All of publishing is trend-driven, never mind fantasy,” John Betancourt, bestselling author, editor, and publisher of Wildside Press, told me. “It can’t be avoided.” He’s absolutely right.

  CHAPTER 2

  WHAT IS SCIENCE FICTION?

  It’s helpful to look at science fiction as a ratio of science to fiction. With a few exceptions, what separates the science fiction subgenres are the proportions of this ratio.

  HARD SCIENCE FICTION

  This genre is most heavily weighted to the science side. Hard science fiction authors make a careful study of trends in research and technology across broad categories, from astrophysics to biotechnology, and do their best to get right as many of the facts that underlie their imagined technology as they can. Every generation since Jules Verne has had its hard science fiction writers, but Isaac Asimov and Arthur C. Clarke are among the most notable. Current practitioners of the research-intensive art of hard science fiction include Charles Stross and Greg Bear.

  MILITARY SCIENCE FICTION

  Military science fiction emphasizes warfare in the future, with tales of rugged soldiers bristling with high-tech weaponry, fighting dangerous—usually alien—opponents across the exotic landscapes of distant worlds, or in fleets of starships. Robert A. Heinlein’s Starship Troopers is a primary text for the military science fiction subgenre, and David Drake, as well as David Weber and his stories of the Honorverse, are Heinlein’s heirs apparent. How the author decides to weight that science-to-fiction ratio is optional, but most military science fiction tends to be heavy on the science, though it takes the form of military technology and strategy.

  SPACE OPERA

  This subgenre has elements of both hard and military science fiction but is defined by a ratio much more heavily weighted to the fiction side. Authors of space opera, from George Lucas to Simon R. Green, are less concerned with how the ray gun works than how cool the hero looks shooting it. Space opera is more fun, though on an intellectual level it’s less educational. But never discount its power to energize an audience (case in point: Star Wars).

  SLIPSTREAM

  Slipstream is the most difficult to define of the science fiction subgenres. Imagine that science fiction ratio so tipped to one side that it’s nearly zero percent science, one hundred percent fiction. That raises the obvious question: What makes it science fiction? There’s no clear answer. Slipstream, a term first coined by author Bruce Sterling, is a cross of science fiction and contemporary fantasy. It’s not quite horror—it’s not meant to scare you—and it’s not about the gadgets and gizmos, but then neither is it inhabited by dragons and elves. I’d put many of the classic stories of Harlan Ellison, such as “Shattered Like a Glass Goblin” and “ ‘Repent, Harlequin!’ Said the Ticktockman” in this category, and Kelly Link is a contemporary darling of the slipstream world. The story “Hugo Mann’s Perfect Soul” by R. A. Salvatore at the back of this book is as much a slipstream story as it is a work of contemporary fantasy.

  CYBERPUNK

  This genre has fallen out of favor of late, if for no other reason than we’re now living in the future that its creators first imagined. Cyberpunk concentrates on the future of information/computing technology and the interaction of humanity and machines. William Gibson first coined the term cyberspace in the cyberpunk short story “Burning Chrome,” and went on to write his masterpiece, Neuromancer, which immediately took its place as a classic of the genre.

  STEAMPUNK

  Steampunk is gaining in popularity in both the adult and young reader arenas. In an article in Time magazine, Lev Grossman said of steampunk, “The same way punk took back music, steampunk reclaims technology for the masses. It substitutes metal gears for silicon, pneumatic tubes for 3G and wi-fi. It maximizes what was miniaturized and makes visible what was hidden.” Steampunk novelists like Cherie Priest and Jay Lake imagine a world of Victorian-styled technology and science to create a very specific form of historical science fiction.

  ALTERNATE HISTORY

  Alternate history shares some of steampunk’s thinking, but where steampunk is weighted more toward fiction, alternate history is concerned more with real science and real history—with a twist. Alternate history authors like Harry Turtledove take historical research very seriously then imagine “what if” situations, such as: What if Hitler invented the A-bomb before the Americans did? What if the Ancient Egyptians made contact with technologically advanced aliens? Think of alternate history as science fiction’s answer to historical fantasy, but with a wider historical scope than is found in steampunk.

  SUB-AUIDENCES

  Though science fiction fans are generally willing to pass between the different sub-genres, some of these end up with very specific audiences. Military science fiction, for instance, tends to have a predominantly male audience, and there are precious few if any examples of military science fiction written for young readers. But maybe that just means we’re waiting for the first great military science fiction series for kids.

  In any case, no matter which genre or sub-genre you write in, you must above all have your audience in mind when you start to write. Let’s figure out how to do that.

  CHAPTER 3

  KNOW YOUR AUDIENCE

  Fantasy and science fiction appeal to a wide variety of readers and can range from simple chapter books for early readers up to epic series for a sophisticated adult audience. Before getting started on your novel you’ll need to decide who you want to write for. Each of the following broad categories, based on reading level, presents its own challenges and will have a significant effect on the story you tell, not just how you tell it. Still, almost all of the subgenres and crossovers we’ve discussed in the previous chapters can be expressed at any reading level and for any audience.

  ADULT, TEEN, AND MIDDLE GRADE

  The primary distinction between adult, teen, and middle grade novels is the age of the protagonist. In general, adults like to read about adults, and teens (and tweens) like to read about teens.

  Adult Fantasy and Science Fiction

  The audience for adult fantasy and science fiction allows greater leeway with elements like
sex and violence, but beyond that obvious distinction, adult fantasy tends to have a more sophisticated point of view. You’ll want to explore headier subject matter and have a more complex view of politics and relationships. The theme or message of an adult fantasy novel may push boundaries that a children’s book couldn’t even approach.

  Teen Fantasy and Science Fiction

  Teen fiction is a rapidly expanding category in all the major bookstores. Though teenagers are particularly subject to distraction from new media such as video games and the Internet, teens do read. Teenage girls seem to read more than boys do, according to most of the industry surveys, but teen boys are particularly drawn to fantasy and science fiction. Teen boys make up a substantial segment of the audience for tie-in fantasy—novels based on role-playing games, video games, and so on—but will pick up original stories as well. Though it may seem old-fashioned to draw distinctions between genders, teen girls tend to be more drawn to character-driven stories with some romance, while boys are a bit more interested in action and adventure.

  Middle Grade Fantasy and Science Fiction

  Middle grade books are intended for kids ages eight to twelve (third to sixth graders), also known as “tweens.” These kids are starting to read on their own and likewise are starting to make their own decisions about what to read. Parents, teachers, librarians, and other “gatekeepers” still have a pronounced influence on the choices that middle graders make, so those adults will have to be comfortable with the subject matter. There’s no room for sexual content of any kind in a middle grade book, and though action elements are a must, especially if you want boys to read your book, avoid graphic violence.

  WRITING FOR CHILDREN

  Fantasy for kids can still deal with significant issues, but you will have to tread carefully around, or avoid entirely, subjects like sex, politics, and religion. You have to take care in terms of reading level and vocabulary as well. There are a couple different methods to determine reading level. The SMOG Readability Formula (http://niace.org.uk/development-research/readability) and the Flesch-Kincaid Grade Level Index are both easy enough to apply. Microsoft Word will automatically determine the Flesch-Kincaid grade level as part of its grammar check function.

  Though it would be nice to hope that a friendly acquisitions editor or agent will let you know if your book has stepped over the line in terms of content or reading level, then work with you to fix it, chances are you’ll never get that chance. An editor or agent will probably move you from the “maybe” to the “no thanks” pile the second you cross one of those boundaries. Do your homework before you venture into the middle grade or younger worlds. Though it can seem like a minefield at times, there are maps out there. Lesley Bolton’s The Everything® Guide to Writing Children’s Books contains excellent advice for would-be children’s authors in any genre.

  TO SUM UP

  In her book Are Women Human? (Harvard University Press, 2006), Catherine A. MacKinnon wrote, “The pornographers know what pornography is.” I think the same holds true with fantasy and science fiction. Fantasists and fantasy readers know what fantasy is. Likewise for science fiction authors and readers. Sometimes the distinction is overwhelmingly clear. Works like The Hobbit, The Wonderful Wizard of Oz, and Beowulf helped define the fantasy genre and provide strong benchmarks that we’ve all been building on since. The early works of Jules Verne and H. G. Wells drew the basic boundaries of science fiction. In some cases, the lines blur a bit, confusing editors, agents, booksellers, and even readers. But in the end, fantasy is fiction in which the impossible is possible without a logical explanation. Science fiction is where the impossible is possible with a logical explanation.

  * * *

  PART II

  THE SIX STEPS

  “Real seriousness in regard to writing is one of two absolute necessities. The other, unfortunately, is talent.”

  —ERNEST HEMINGWAY

  Is it really as easy as following six simple steps—do this then that then the other, exactly in that order, six times in all—and in the end you’ve produced a perfect science fiction or fantasy novel? Of course not, and neither this section’s heading, nor the book’s subtitle, is meant to imply that. However, there are six major elements to a well-crafted science fiction or fantasy novel, elements that no author can afford to ignore or take lightly. You will find yourself bouncing back and forth between steps. Fear not. The creative process can feel messy at times, but only when it’s working properly.

  STEP ONE | STORYTELLING

  “Fantasy’s ability to serve as a perfect venue for moral questions is (among a few other things) what gives the genre its enduring strength.”

  —PAUL S. KEMP, the New York Times bestselling novelist and creator of Erevis Cale

  Storytelling is at the heart of any genre of fiction. If you’re a good natural storyteller, world building, research, sentence structure—the craft of writing—is something you can learn by heeding advice from books like this one, from helpful editors and English teachers, and so on. If you’re not a good natural storyteller, you’ve got a long, difficult road ahead of you. Teaching writing is relatively easy, but teaching storytelling is close to impossible.

  This section will cover the superstructure upon which all your world-building details and clever turns of phrase are supported. Idea, theme, plot… without them you can tell us all about the political structure of your fantasy world, create a whole new language and alphabet, portray a rich mythology or fantastical religion, but no one will ever know. You won’t have finished a book, you’ll have filled a notebook. You won’t be done, you’ll just be ready to start.

  CHAPTER 4

  START WITH AN IDEA

  What is your book about?

  Hollywood screenwriters use what they call a “log line” to describe a movie in twenty-five words or less. Crafting a clear log line for your novel is a good exercise to run through early on. It can help keep you focused as you write and help you describe your book to agents, editors, and readers when you’re done.

  A reluctant hero inherits a strange family heirloom that just happens to be at the center of the ultimate struggle of good against evil.

  That’s one way of describing The Lord of the Rings in twenty-four words.

  A lost alien race has left behind working starships that intrepid prospectors take to unknown destinations across the galaxy in search of riches.

  Frederick Pohl’s Gateway in twenty-three words.

  But where do ideas come from? Legendary author Harlan Ellison is famous for this profound answer:

  Go ahead, ask me the dumbest question a writer can be asked:

  “DUHH, WHERE D’YA GETCHER IDEAS?”

  My answer is always the same—since there is no answer to this query. At least neither Plato nor Socrates nor Shakespeare could make the codification. When some jamook asks me this one (thereby revealing him/herself to be a person who has about as much imaginative muscle as a head of lettuce), I always smile prettily and answer, “Schenectady.”

  And when the jamook looks at me quizzically, and scratches head with hairy hand, I add: “Oh, sure. There’s a swell Idea Service in Schenectady; and every week I send ’em twenty-five bucks; and every week they send me a fresh six-pak of ideas.”

  And wouldja believe it… there is always some insufficient asshole who asks me for the address.

  In fact that factory is not located in Schenectady, but in your head. Or if you prefer, in your soul, or your spirit—or ideas are handed to you from Jesus, or your muse, or the little mouse named Chitzy that lives in your limbic system.

  Tolkien drew inspiration from myth and legend, as have countless authors before and since. Sometimes those myths and legends aren’t ancient fables but contemporary tales of fantasy, like fantasy authors inspired by romance novels or the evolving vampire myth. A lot of the best science fiction and fantasy ideas start with the words “What if?”

  What if a vampire became an agent for the CIA? What if a gnome from Iceland
moved to a small town in Alaska and became a local hero? What if a suit of armor drives everyone who wears it insane? What if the best swordsman in the kingdom lost both his arms? What if the gods of Greek mythology were alive and well and working in the New York fashion business?

  Where did these ideas come from? I have no idea. I just thought of them. And I mean literally, just this second as I typed this. Those ideas were not in my notes.

  Sometimes ideas come from as mundane a source as the daily newspaper. Bestselling author of The Sword of Shannara, Terry Brooks often draws inspiration from current events: “Almost everything I write starts and ends with world and personal issues that countries and individuals struggle to resolve in the present.”

  THE TIMELESSNESS OF GOOD STORIES

  R. A. Salvatore advises caution when relying on current events for inspiration, though he’s known to do it himself. “One of my biggest problems,” he admits, “is balancing the current events aspect with the story I’m trying to tell. Sometimes I get so angry over certain issues that I can’t be satisfied unless I shout something, even if maybe, in the context of the fantasy book, I should have whispered.”