Gold: The Final Science Fiction Collection
Part Three: On Writing Science Fiction The Name Of Our Field
In last issue's editorial, I talked of Jules Verne's "extraordinary voyages" and that brings up the point of how difficult it was to find a name for the kind of items that are published in this magazine and others like it.
This magazine contains "stories"; and "story" is simply a shortened form of "history," a recounting of events in orderly detail. The recounting could, in either case, be of real incidents or of madeup ones, but we have become used to thinking of a "history" as real and of a "story" as made-up.
A "tale" is something that is "told" (from the Anglo-Saxon) and a "narrative" is something that is "narrated " (from the Latin). Either "tale" or "narrative" can be used for either a real or a made-up account. "Narrative" is the less common of the two simply because it is the longer word and therefore has an air of pretentiousness about it.
A word which is used exclusively for made-up items and never for real ones is "fiction," from a Latin word meaning "to invent."
What this magazine contains, then, are stories-or tales-or, most precisely, fiction. Naturally, fiction can be of different varieties, depending on the nature of the content. If the events recounted deal mainly with love, we have "love stories" or "love tales" or "love fiction." Similarly, we can have "detective stories," or "terror tales," or "mystery fiction," or "confession stories," or "western tales," or "jungle fiction." The items that appear in this magazine deal, in one fashion or another, with future changes in the level of science, or of science-derived technology. Doesn't it make sense, then, to consider the items to be "science stories," or "science tales," or, most precisely, "science fiction"?
And yet "science fiction," which is so obvious a name when you come to think of it, is a late development.
Jules Verne's extraordinary voyages were called "scientific fantasies" in Great Britain, and the term "science fantasy" is still sometimes used today. "Fantasy" is from a Greek word meaning "imagination" so it isn't completely inappropriate, but it implies the minimal existence of constraints.
When we speak of "fantasy" nowadays, we generally refer to stories that are not bound by the laws of science, whereas science fiction stories are so bound.
Another term used in the 1920s was "scientific romance." Romance was originally used for anything published in the "Romance languages," that is, in the popular tongues of western Europe, so that it was applied to material meant to be read for amusement. More serious works were written in Latin, of course. The trouble is that "romance" has come to be applied to love stories in particular so "science romance" has a wrong feel to it.
"Pseudo-science stories" was sometimes used, but that is insulting. "Pseudo" is from a Greek word meaning "false," and while the kind of extrapolations of science used in science fiction are not true science, they are not false science either. They are "might-be-true" science.
"Super-science stories," still another name, is childish.
In 1926, when Hugo Gernsback published the first magazine ever to be devoted exclusively to science fiction, he called it Amazing Stories.
This caught on. When other magazines appeared, synonyms for "amazing" were frequently used. We had Astounding Stories, Astonishing Stories, Wonder Stories, Marvel Stories, and Startling Stories all on the stands, when the world and I were young.
Such names, however, do not describe the nature of the stories but their effect on the reader, and that is insufficient. A story can amaze, astound, astonish, and startle you; it can cause you to marvel and wonder; and yet it need not be science fiction. It need not even be fiction. Something better was needed.
Gernsback knew that. He had originally thought of calling his magazine "Scientific Fiction." That is hard to pronounce quickly, though, chiefly because of the repetition of the syllable "fic." Why not combine the words and eliminate one of those syllables? We then have "scientifiction."
"Scientifiction," though, is an ugly word, hard to understand and, if understood, likely to scare off those potential readers who equate the "scientific" with the "difficult." Gernsback therefore used the word only in a subtitle: Amazing Stories: the Magazine of Scientifiction. He introduced "stf" as the abbreviation of "scientifiction." Both abbreviation and word are still sometimes used.
When Gernsback was forced to give up Amazing Stories he published a competing magazine, Science Wonder Stories. In its first issue (June, 1929), he used the term "science fiction" and the abbreviation "S.F."-or "SF" without periods-became popular. Occasionally, the word has been hyphenated as "science-fiction," but that is only done rarely. The story, however, doesn't end there.
As I said last issue, there is a feeling among some that the phrase "science fiction" unfairly stresses the science content of the stories. Since 1960 in particular, science fiction has tended to shift at least some of its emphasis from science to society, from gadgets to people. It still deals with changes in the level of science and technology, but those changes move farther into the background.
I believe it was Robert Heinlein who first suggested that we ought to speak of "speculative fiction" instead; and some, like Harlan Ellison, strongly support that move now. To me, though, "speculative" seems a weak word. It is four syllables long and is not too easy to pronounce quickly. Besides, almost anything can be speculative fiction. A historical romance can be speculative; a true-crime story can be speculative. "Speculative fiction" is not a precise description of our field and I don't think it will work. In fact, I think "speculative fiction" has been introduced only to get rid of "science" but to keep "s.f."
This brings us to Forrest J. Ackerman, a wonderful guy whom I love dearly. He is a devotee of puns and word-play and so am I, but Forry has never learned that some things are sacred. He couldn't resist coining "sci-fi" as an analog, in appearance and pronunciation, to "hi-fi," the well-known abbreviation for "high fidelity." "Sci-fi" is now widely used by people who don't read science fiction. It is used particularly by people who work in movies and television. This makes it, perhaps, a useful term.
We can define "sci-fi" as trashy material sometimes confused, by ignorant people, with SF. Thus, Star Trek is SF while Godzilla Meets Mothra is sci-fi.
This magazine contains "stories"; and "story" is simply a shortened form of "history," a recounting of events in orderly detail. The recounting could, in either case, be of real incidents or of madeup ones, but we have become used to thinking of a "history" as real and of a "story" as made-up.
A "tale" is something that is "told" (from the Anglo-Saxon) and a "narrative" is something that is "narrated " (from the Latin). Either "tale" or "narrative" can be used for either a real or a made-up account. "Narrative" is the less common of the two simply because it is the longer word and therefore has an air of pretentiousness about it.
A word which is used exclusively for made-up items and never for real ones is "fiction," from a Latin word meaning "to invent."
What this magazine contains, then, are stories-or tales-or, most precisely, fiction. Naturally, fiction can be of different varieties, depending on the nature of the content. If the events recounted deal mainly with love, we have "love stories" or "love tales" or "love fiction." Similarly, we can have "detective stories," or "terror tales," or "mystery fiction," or "confession stories," or "western tales," or "jungle fiction." The items that appear in this magazine deal, in one fashion or another, with future changes in the level of science, or of science-derived technology. Doesn't it make sense, then, to consider the items to be "science stories," or "science tales," or, most precisely, "science fiction"?
And yet "science fiction," which is so obvious a name when you come to think of it, is a late development.
Jules Verne's extraordinary voyages were called "scientific fantasies" in Great Britain, and the term "science fantasy" is still sometimes used today. "Fantasy" is from a Greek word meaning "imagination" so it isn't completely inappropriate, but it implies the minimal existence of constraints.
When we speak of "fantasy" nowadays, we generally refer to stories that are not bound by the laws of science, whereas science fiction stories are so bound.
Another term used in the 1920s was "scientific romance." Romance was originally used for anything published in the "Romance languages," that is, in the popular tongues of western Europe, so that it was applied to material meant to be read for amusement. More serious works were written in Latin, of course. The trouble is that "romance" has come to be applied to love stories in particular so "science romance" has a wrong feel to it.
"Pseudo-science stories" was sometimes used, but that is insulting. "Pseudo" is from a Greek word meaning "false," and while the kind of extrapolations of science used in science fiction are not true science, they are not false science either. They are "might-be-true" science.
"Super-science stories," still another name, is childish.
In 1926, when Hugo Gernsback published the first magazine ever to be devoted exclusively to science fiction, he called it Amazing Stories.
This caught on. When other magazines appeared, synonyms for "amazing" were frequently used. We had Astounding Stories, Astonishing Stories, Wonder Stories, Marvel Stories, and Startling Stories all on the stands, when the world and I were young.
Such names, however, do not describe the nature of the stories but their effect on the reader, and that is insufficient. A story can amaze, astound, astonish, and startle you; it can cause you to marvel and wonder; and yet it need not be science fiction. It need not even be fiction. Something better was needed.
Gernsback knew that. He had originally thought of calling his magazine "Scientific Fiction." That is hard to pronounce quickly, though, chiefly because of the repetition of the syllable "fic." Why not combine the words and eliminate one of those syllables? We then have "scientifiction."
"Scientifiction," though, is an ugly word, hard to understand and, if understood, likely to scare off those potential readers who equate the "scientific" with the "difficult." Gernsback therefore used the word only in a subtitle: Amazing Stories: the Magazine of Scientifiction. He introduced "stf" as the abbreviation of "scientifiction." Both abbreviation and word are still sometimes used.
When Gernsback was forced to give up Amazing Stories he published a competing magazine, Science Wonder Stories. In its first issue (June, 1929), he used the term "science fiction" and the abbreviation "S.F."-or "SF" without periods-became popular. Occasionally, the word has been hyphenated as "science-fiction," but that is only done rarely. The story, however, doesn't end there.
As I said last issue, there is a feeling among some that the phrase "science fiction" unfairly stresses the science content of the stories. Since 1960 in particular, science fiction has tended to shift at least some of its emphasis from science to society, from gadgets to people. It still deals with changes in the level of science and technology, but those changes move farther into the background.
I believe it was Robert Heinlein who first suggested that we ought to speak of "speculative fiction" instead; and some, like Harlan Ellison, strongly support that move now. To me, though, "speculative" seems a weak word. It is four syllables long and is not too easy to pronounce quickly. Besides, almost anything can be speculative fiction. A historical romance can be speculative; a true-crime story can be speculative. "Speculative fiction" is not a precise description of our field and I don't think it will work. In fact, I think "speculative fiction" has been introduced only to get rid of "science" but to keep "s.f."
This brings us to Forrest J. Ackerman, a wonderful guy whom I love dearly. He is a devotee of puns and word-play and so am I, but Forry has never learned that some things are sacred. He couldn't resist coining "sci-fi" as an analog, in appearance and pronunciation, to "hi-fi," the well-known abbreviation for "high fidelity." "Sci-fi" is now widely used by people who don't read science fiction. It is used particularly by people who work in movies and television. This makes it, perhaps, a useful term.
We can define "sci-fi" as trashy material sometimes confused, by ignorant people, with SF. Thus, Star Trek is SF while Godzilla Meets Mothra is sci-fi.
