Define 'hard' and 'soft' sci-fi. [See for distinction: (link) Why are they distinct? Where are each found (types of books, age/gender-demographics, or region)? Where does 'soft sci-fi' end and fantasy begin? Are they distinguished by authorial background? What trends have been seen in both over time (what are the trends right now?). Most importantly, what are their different narrative functions/potentials (are hard meant for commentary on humanity while soft are just set dressing? Vice versa?)? And why does the distinction matter?
Some examples of 'hard sci-fi': works of Isaac Asimov/H.G. Wells, The Martian, The Diamond Age, Interstellar (arguably) Some Examples of 'soft sci-fi': Dune, Star Trek, Ender's Game, Slaughterhouse-Five, most dystopians
Adding to the list above, I think Ted Chiang is an author who writes wonderfully in both soft and hard science fiction. Even his hard science fiction works still reveal a theme about humanity. I think these two distinctions are based on the social sciences vs. stem (chemistry, engineering, physics, etc.) but I think both groups are important. Soft is just as important as hard; the one biggest thing that truly differentiates them is the subject matter, but both types of fiction still tell a story. – seouljustice8 years ago
'The shift from a single track, uniquely verbal medium such as the novel (or the short story), which "has only words to play with", to a multitrack medium such as film, which can play not only with words, but also with theatrical performance, music, sound effects, and moving photographic images, explains the likelihood – and I would suggest even the undesirability — of literal fidelity' (Robert Stam)
How do you think the adaptation's of Dracula by Bram Stoker, most notably Francis Ford Coppola's film, explore the complexities of adaptation ?
I'll add to this quote-bank: "films about Dracula today are as often seen as adaptations of other earlier films as they are of Bram Stoker's novel" (Linda Hutcheon). – ProtoCanon6 years ago
A common complaint in literature is the presence of one-dimensional secondary characters. These are characters outside of the standard formula or protagonist and antagonist; or are characters that act as a stimuli for plot progression. Understandably a character that is only going to dominate a single scene or at times a single line of dialogue in your story is not going to be one that you develop in any real depth. However, the lack of any consideration, or flippant description, can be both jarring and demoralising for your reader and will ultimately remove their engagement in the story. The two most common issues are completely generic stereotypes – the balding fat cop or the little asian punk girl – or the use of disjointed extremes – the asian emo-punk girl cop with pink hair but still wearing the standard police uniform – both of which will break the verisimilitude of the reading experience.
One suggestion is to begin to develop framework secondary characters using RPG character sheets. This is similar to making up a skeleton outline of a character, but using a template that keeps all the information in the same areas. The idea is that by using these pre-generated character sheets it will allow characters to be briefly fleshed out in ways that create them as more than a stereotype, but less than a full-blown character. The use of a standard template is already a good organisational strategy that will help you manage your secondary characters. And anyone who has had experience as a DM/GM will know how vital this is for developing NPCs (non-player characters) that populate their worlds. An RPG template will help you categorise the different abilities, skills, characteristics and even notes on physical appearance of each of your secondary characters in a fast and efficient manner.
As a GM, this is an interesting proposition and I agree wholeheartedly with the need to flesh out background characters (especially if you find yourself relying on cliches too often). However, I question whether Character Sheets are the best way to do this. A lot of what's on character sheets are strictly numbers, and while this could lead to inspiration for character traits (ex. This guy has an 8 in Charisma, I guess he's a bit stand-offish), there are other ways of fleshing out characters that lends itself more immediately to narrative traits. For example, there are countless "20 Questions For Developing Your Character" articles and things of that nature that can help a writer create a more developed character. Something that could set this piece aside from articles like those could be further recommendations on how writers should further utilize character sheets once they're made, perhaps using those numerical representations in their writing process beyond having a convenient layout for abilities and gear. – Shaboostein6 years ago
I'm not predominantly a fiction writer, but my partner is and from what I've gleamed from him regarding the use of writing templates/formulas is that they are very good for beginners and getting used to structure etc., but when you begin writing more they can be somewhat constrictive and actually quash creativity. I'd say it would work the same in this case. It's probably a good exercise if you feel like you need to improve your skills in that area or if you're a new/beginner writer trying to figure everything out but after awhile you'll probably need to take off the 'training wheels' (so to speak) in order to do more. – ToriBridgland6 years ago
I love your topic, and I think it can go a bit broader than the specific scenario you suggest here. Your idea goes beyond just keeping track of detailed character descriptions.
Personally, my favorite parts of storytelling are creating new worlds, creating characters that are shaped by those worlds, and plot twists that change the arcs of those characters and/or dramatically impact those worlds. RPGs, especially from the GM's chair, offer those three things in spades! After making the world and using the rules to combine various elements of that world (this is how magic can intermingle with big swords, this is what affects a robot differently from a human, etc.), you can use any plot twists you come up with as milestones for the characters to be reached. The rest of the plot fills itself in through improvisation and (usually) dice rolls. See also the LitRPG genre. – noahspud6 years ago
I think everyone has suffered from anxiety at some point in their lives. Whether it's gut-wrenching anxiety with extreme mind fog or worrying about present/future events. Being a writer, I understand exactly what it's like to have several things pulling me in different directions, in a single day. I want to write, I have creative ideas, I've gotta find leads, family, friends, exercise and all of the other things, I need to do to "adult".
What if I could tame the beast with creativity. The ability to transmute anxiety from one container and articulate it into a creative container. Creativity comes in numerous forms, whether you're cooking your favourite dish, writing blog posts or even arranging flowers in your garden. Practicing a creative cycle weekly has proven to lower stress levels and I think it would be an interesting topic in a day and age, where anxiety is at such a high.
I think this is a great topic! The only thing is that anxiety can often prevent individuals from being creative. Even though I don't think that anxiety can necessarily be cured with creativity, I definitely agree that finding treatment options that help revitalize creativity will certainly help ease the burden of anxiety. – Kurlehh7 years ago
I agree with Kurlehh, and I think that if somebody writes this article they should focus on how well anxiety could be "treated" with creativity. – Indigo7 years ago
Instead of the word "cure" maybe "manage" is more appropriate in describing how anxiety can be handled? Maybe the topic could be broadened into what exactly is anxiety, how to recognize it, and how to go about handling it with creative pursuits; how anxiety can be a force for productivity and accomplishments. – chloet27 years ago
Things about how creativity could be motivated or created and through that you can judge about anxiety and how it can be treated – Rusi7 years ago
"Practicing a creative cycle" I think needs to be rewritten, it's not clear what that means. But what motivates creativity is a good idea. – Joseph Cernik6 years ago
I definitely agree with the people above. I suffer from GAD (Generalized Anxiety Disorder) and while creativity can help me a ton, there are some days where it is so bad that I can't bring myself to be creative in any way. I think creativity is more of an outlet than a cure. While sometimes I certainly do feel recharged and elated when I get my creativity flowing, the anxiety disorder itself is still there. This is great topic, insightful points can be made. This is just a topic that I feel needs to be addressed from all kinds of perspectives! – Megan Taylor6 years ago
As an avid language-learner myself, I often question why my peers are so disinterested in the art of learning a foreign language. From beginning my secondary school it was complusory to learn either French or Spanish for the first two years. After that we were given an option to continue the course or drop it … many of who dropped.
Despite being British, I believe that the majority of native English speakers are quite lazy and closed to the idea of learning another language seeing as English is the most popular language to learn as a second language. Therefore I open this topic: should it be compulsory for young children (mainly in English-speaking countries) to be continuously taught a different language until their education is complete or should there still be choice in whether they continue or stop?
Both options offer positives and negatives, but which has more that can sustainably affect the development of the future generations' prospects and opportunities?
Excellent topic. I also think it would be worthy to look at how other countries approach learning languages. For instance, almost everyone in Scandinavian countries have English as a second language. I also think it's fascinating that mostly English speaking countries avoid learning a second language or it's done poorly (perhaps a reminent of colonialism? Since English became a global language and English-speaking individuals aren't as limited to communicating around the world?). As a Canadian, I can say that although French is mandatory in elementary, they do a terrible job of teaching it. Most kids get sick of learning it, since after so many years you can barley hold a conversation. – Pamela Maria6 years ago
I think it is also important to discuss here the issue in taking second languages seriously from a curriculum view - that too often there is one year of this, then one year of that, etc. so that no depth or opportunity to develop is really offered.
I would also offer that as part of this is why not mainstream foreign films more fully. Or better yet on TV. I know some shows in America are making more of an effort to use Spanish as part of the show without subtitling it, pretty much to say "hey you should know this." I liked that in Firefly Whedon did this with Mandarin. – SaraiMW6 years ago
This is interesting. In Canada those in English school must learn french starting in grade 4, while those in French school must learn English. I went to a full french school but was already fluent in English since I lived in southern Ontario. One thing I noticed is that although my anglophones friends had been learning french for most of their lives, their french skills sucked, they couldn't keep up in a conversation to save their lives. Yet if you flip it and go to Quebec, they all have at least conversational English skills or they are completely fluent. It always seems to me that although both language are official languages, English is more important and valued so despite the fact that anglophones students should be fluent in English they aren't. It seems to me that English systems don't put nearly as much effort into learning a second language since it isn't a necessity compared to a french speaker needing to learn English. It would be interesting to see how other countries who have two official languages go about teaching the language and see why there is such an imbalance, most likely because of the value placed in one language over the other. – tmtonji6 years ago
'In Xanadu did Kubla Khan. A stately pleasure-dome decree…'. It's said that Samuel Taylor Coleridge composed his classic poem whilst under the influence of Laudanum (an alcoholic tincture of Opium). Similarly such great names as Bram Stoker, Charles Dickens, George Eliot, Dante Gabriel Rossetti, Percy Bysshe Shelley and Lord Byron had ongoing 'relationships' with the same. What was once considered acceptable behaviour amongst the creative is now legislated against, often for good reason, but many of us today start our daily routine with our drug of choice, i.e. coffee. Narcotics have had a profound influence on the creative mind across the centuries and will, no doubt, continue to do so in the future. Consider why the creative mind sometimes requires or even craves external stimulus and why we are frequently willing to ignore drug usage among the creative when enjoying the fruits of their labour.
You bring up an interesting topic. I myself enjoy caffeine, I use it as a tool. Likewise, other substances such as, LSD, DMT or psilocybin mushroom are sometimes used as creative tools. Bill Gates and Steve Jobs for example used LSD as a creative tool. Drug use today is looked down upon. I think that some substances can be used to help with art but within the right context and environment. – LucaTatulli7 years ago
Being more specific would be useful - are you asking about narcotics/opiates only, or including psychedelics such as LSD and psilocybin, or stimulants such as methamphetamines, not to mention other classes of substances? What exactly do you mean by 'drug usage'?? – Sarah Pearce7 years ago
Like Sarah Pearce, I was left wondering what the focus of the essay might be: all drugs? narcotics? stimulants? I would also encourage anyone who takes up this topic to consider the roles of drugs (esp. stimulants and hallucinogens) in the writings of the Beats. – JamesBKelley7 years ago
I have so many questions. Are you considering alcohol as a 'drug'? If so, I don't think we 'ignore' alcohol usage amongst creatives. I would also question using the word 'ignore' - why must we ignore drug usage? The question speaks of evident bias against 'drugs' (however you are defining this term) - I suggest that the more interesting questions revolve around the role of various substances in the evolution of human culture and creativity... – Sarah Pearce7 years ago
So first thought I have is that you are working off an assumption that creative types DO crave the stimuli of drugs. If you wanted to work off of that assumption you would need to get peer reviewed research and even then its a bit of a shaky premise. However I feel like your article actually has a different and more reasonable topic hidden in the layers. A lot of the people you mentioned fell into the Romantic period and the Victorian period of literature. So maybe instead of talking about drug usage in all creative types, you could instead discuss the influence of narcotics on Romantic and Victorian literature. – huntingkat186 years ago
As our world is becoming more socially digitized and interactive, it is undeniable that fandoms have become important aspect in keeping franchises alive, but how important has fan influence become? Transmedia is a growing technic narrators’ in franchises have begun to use in which a single story is told across multiple platforms and adaptations. Although transmedia’s rise through social media and influence have been covered in a few topics and articles on the artifice before, how has fan fiction influenced transmedia storytelling?
Examples may include looking into fanon versus canon and instances where a highly popular canon has become fanon (such as Matt’s appearance in the anime Death Note). Another important aspect to look into is the “Boba Fett Phenomenon” where a side character becomes so wildly popular within the fandom that a franchise is forced to give them a backstory and more character development.
Although I struggled to find a source for this, I remember my Digital Media professor once discussed that there was a scandal in the Dr. Who fandom where a popular fanfiction actually guessed the fate of the current season. The fan who had written the story was sworn to secrecy or told to change their story (can’t recall exactly…) as to preserve the integrity of the show. Regardless, I think this is another example where fan fiction was integrated as an unauthorized expansion within a universe (and therefore has become a piece of transmedia storytelling).
A great theorist for transmedia and fan fiction is Dr. Henry Jenkins.
I myself use to think that fan fiction was boring and unnecessary, but recently this year I reread a book series I fell in love with in high school, 'Vampire Academy' and found a fan fiction writer/ blogger via Tumblr (can't remember their user) but I just fell in love with how they continued the story after it was finished by the author and it just amazed me how they decided to write so much and keep the story alive for themselves and for other readers
I also think that these writers ideas can be taken away from themselves and used in other peoples ideas and stories and can also be taken and twisted to suit the other story but people are so imaginative and society is changing so much, so fan fiction can be taken any place these days, there is also a fan version of the Vampire Academy movie I have not brought myself to watch yet – ambermakx6 years ago
Time Travel is a common plot device in fiction. But when it is introduced often the consequences it allows for or the plot twists become redundant or reversed. Are there examples of fiction that does time travel well, such that the impacts aren't made redundant or that it effectively creates isn't there to offer neat ways to resolve unsolvable plot contrivances. In this regard, is there such a thing as 'good' time travel?
The visual novel and anime called Steins;Gate is always my go-to reference for time travel being done well. It creates it's own rules around time travel and shows the power even small changes in a timeline can realistically make to change the wider world around them. Every use of time travel has deep and meaningful consequences that shakes the story to it's core. However, the show only succeeds because time travel is the major plotpoint of the show. I'd say this is the only way time travel can be done well in fiction - if the story isn't explicitly about time travel, chucking it in to resolve plot contrivances is always bad. – Dimitri Adoniou6 years ago
I think this applies mainly to movies or TV shows, but literature not much. Limit and define the concept of "fiction" here. – T. Palomino2 years ago
