She had an older sister, Margot. Edith was the more devout parent, while Otto was interested in scholarly pursuits and had an extensive library; both parents encouraged the children to read.
By Charlie Stross Being a guy who writes science fiction, people expect me to be well-informed about the current state of the field—as if I'm a book reviewer who reads everything published in my own approximate area. This is a little like expecting a bus driver to have an informed opinion on every other form of four-wheeled road-going transport.
Similarly, marketing folks keep sending me SF novels in the hope I'll read them and volunteer a cover quote.
But over the past decade I've found myself increasingly reluctant to read the stuff they send me: I have a vague sense of dyspepsia, as if I've just eaten a seven course banquet and the waiter is approaching me with a wafer-thin mint.
This isn't to say that I haven't read a lot of SF over the past several decades. While I'm an autodidact—there are holes in my background—I've read most of the classics of the field, at least prior to the s.
But about a decade ago I stopped reading SF short stories, and this past decade I've found very few SF novels that I didn't feel the urge to bail on within pages or a chapter or two at most.
Including works that I knew were going to be huge runaway successes, both popular and commercially successful—but that I simply couldn't stomach. It's not you, science fiction, it's me. Like everyone else, I'm a work in progress.
I've changed over the years as I've lived through changing times, and what I focus on in a work of fiction has gradually shifted. Meanwhile, the world in which I interpret a work of fiction has changed.
And in the here and now, I find it really difficult to suspend my disbelief in the sorts of worlds other science fiction writers are depicting.
About a decade ago, M. John Harrison whose stories and novels you should totally read, if you haven't already wrote on his blog: Every moment of a science fiction story must represent the triumph of writing over worldbuilding. Worldbuilding literalises the urge to invent.
Worldbuilding gives an unnecessary permission for acts of writing indeed, for acts of reading. Worldbuilding numbs the reader's ability to fulfil their part of the bargain, because it believes that it has to do everything around here if anything is going to get done.
Above all, worldbuilding is not technically necessary. It is the great clomping foot of nerdism. It is the attempt to exhaustively survey a place that isn't there.
A good writer would never try to do that, even with a place that is there. I recognize the point he's putting in play here: The implicit construction of an artificial but plausible world is what distinguishes a work of science fiction from any other form of literature.
It's an alternative type of underpinning to actually-existing reality, which is generally more substantial and less plausible—reality is under no compulsion to make sense.
Note the emphasis on implicit, though. Worldbuilding is like underwear: Worldbuilding is the scaffolding that supports the costume to which our attention is directed.
Without worldbuilding, the galactic emperor has no underpants to wear with his new suit, and runs the risk of leaving skidmarks on his story.[ENGLISH] WriteDiary is a free and secured online Diary and Journal with a supplementory Diary app for Android.
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