So, a quick post today. As some of you will know, I'm an editor as well as a sci fi writer, and that means that I fix a lot of errors. But, being a writer, I also make them.
I've been watching Mythbusters a lot lately. Unfortunately, I don't spend my days firing guns, breaking down doors, fending off wild jellyfish, etcetera, so my understanding of how to do these things is impaired. And Hollywood certainly doesn't help. Did you know, for instance, that bullets don't ricochet and produce sparks? Sure, they do ricochet, but--as frequent readers of Cracked.com may also know--they certainly aren't as fatal as advertised, either. In movies, TV, and a lot of books, one shot means you die.
But what about science fiction? We often talk about matter transporters, Faster Than Light (FTL) travel, fast-growth cloning, and other semi-realistic and sometimes purely fictional technologies. (Yes, I know cloning is real, but we haven't cloned any humans and we haven't sorted out that pesky issue of the telomeres yet.) So when it comes to the little details, do we follow the 'Rule of Cool' (doing whatever seems coolest) or do we try our best to create something realistic? There's a few approaches to this, which I'll outline below.
Approach 1: Whatever is The Coolest
This is what it says on the tin. Ricocheting spark-bullets? Diving through suspiciously close asteroid belts? Ignoring side-effects of a drug treatment? Convenient amnesia? Arguably, this is sloppy writing, but it's also within most readers' comfort zones and is often easy to picture. As well, most readers won't be experts, and most who are will recognize the value of entertainment rather than something that's, well, more rigorous in intent. However, some readers are annoyed by this, and too many scientific errors or historical anachronisms will bounce you right out of a story.
Approach 2: Scientific Rigor
Jack McDevitt stands out as an author who follows this; Charles Sheffield, too. It characterizes a lot of Golden-Age sci fi, but not the pulp sci fi (which tends to follow Approach 1). This is more realistic, and that can be nice, but it can also be bogged down by exposition. Sometimes it's also a bit inaccessible. After all, not all of us who write sci fi are teachers or astronomers. It also involves a lot of research. However, 'getting it right' is really satisfying, and readers often compliment it.
Approach 3: Stuck in the Middle With You
Most sci fi falls into the middle, but there's a skew towards each end. Personally, I think that due to the lack of scientific education, we should be aiming a bit more towards Approach 2, but modifying it. Really, it's okay to have space be silent and sacrifice sparkly bullets and deal with injuries realistically. The thing about Approach 1 is that it arguably makes a story too easy for the characters. Consider Starship Troopers, which is intentionally a satire, and which makes use of Approach 1 very heavily. Consider Alien instead, which was a bit more realistic, and much more difficult for characters to survive.
It's a matter of taste, but consider doing your research very thoroughly before your next story--question the little stuff, too, not just the location of the nearest habitable moon or planet. How would doors work? You don't have to--and shouldn't--explain everything, but a little realism can go a long way.
*****
Yes yes yes. I happen to like my SF with F. I enjoy McDevitt because of his rigor. Mind you, I like Star Wars in spite of its lack of same. I'm happy to aim for the middle ground. Those of us who write space opera should be constantly aware that space is a very dangerous place.
ReplyDeleteI like McDevitt too! I think I mentioned that. But he can write about characters in a fairly subtle way, for all the hard sciencey stuff, and sometimes that does get lost.
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