“But even the humblest hackwork requires a certain level of craft, and that means you must understand your genre’s conventions if you are going to succeed – and especially if you are going to convey your message by tinkering with those conventions” (Killian 14).
“A science fiction or fantasy story provides similar evidence for a mythic vision of a world we imagine living in” (Killian 15).
“But you may also may also make your fantasy or future worlds just a little too cozy and similar to our own – when the whole purpose of the genres is to show us the familiar in a context of the new, the strange, and the wonderful” (Killian 15).
“The far-future story often tends to the mythotropic, portraying persons and societies acting out their deepest urges, with the scientific resources to do so. The fun arises in seeing how holding enormous power makes little difference to people who are still enslaved by the same drives that we are” (Killian 23-24).
“Such books are often fun, but beware of the liberation movement that wants to solve its dystopian problems by going back to the U.S. Constitution or some other current document. We would not think much of a current rebel movement that wanted to rescue us by restoring the Roman Empire, adopting the social structure of the Incas, or imposing the Wiccan religion on everyone. So why should we suppose that our political institutions and values will be suitable to the societies of the far future?” (Killian 26).
“Such books are often fun, but beware of the liberation movement that wants to solve its dystopian problems by going back to the U.S. Constitution or some other current document. We would not think much of a current rebel movement that wanted to rescue us by restoring the Roman Empire, adopting the social structure of the Incas, or imposing the Wiccan religion on everyone. So why should we suppose that our political institutions and values will be suitable to the societies of the far future?” (Killian 26).
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Kilian, Crawford. Writing Science Fiction and Fantasy. U.S.A.: Self-Counsel, 1998. Print.
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