Tag: Phillip K. Dick

This author’s note originally appeared in the February 20th edition of my newsletter. To sign up for my author newsletter, click here.

One of the projects I hope to get to someday is to make a podcast on the history of science fiction. I’m a huge fan of podcasts, and subscribe to almost 100 of them, and some of my favorites are history podcasts like Hardcore History, History of Rome, Revolutions, The Cold War: What We Saw, etc. At this point in my life, I don’t think it’s the right time to get into podcasting, but at some point in the next few years I’d really like to try my hand at it.

I have thought a lot about what this History of Science Fiction podcast would look like, though, and it’s led to some interesting thoughts about the future direction of the genre. Let me explain.

Modern science fiction began with Mary Shelley’s Frankenstein, which laid the groundwork for just about everything else. Authors like Jules Verne and H.G. Wells picked up the torch, launching “scientific romance” as its own literary genre. Many of the conventions and tropes of science fiction were set during this era, which lasted from the 1820s through the early 1900s.

The next major era of science fiction was the era of the pulps, which experienced its heyday in the 1920s and 30s. The publishing innovations that had made the penny dreadfuls possible only a generation earlier now led to a proliferation of novels and short story magazines, opening up all sorts of opportunities for new writers.

This was the era of bug-eyed aliens and scantily-clothed damsels in distress, as frequently displayed in the cover art. Science fiction, mystery, western, adventure, and true crime stories were all mashed up together. Major names from this era include Edgar Rice Burroughs and Hugo Gernsback, who coined the term “scientifiction” to distinguish the stories that would later be called under the name “science fiction.”

The pulps laid the groundwork for the golden age, which lasted through the 40s and 50s. It was greatly influenced by John Campbell’s tenure as editor of Astounding Science Fiction, and the authors that he mentored. This was when science fiction really came into its own. Major authors from this era include Isaac Asimov, Robert A. Heinlein, Arthur C. Clarke, George Orwell, and Ray Bradbury.

The next major era was the New Wave, when authors like Ursula K. Le Guin, Michael Moorcock, Frank Herbert, and Phillip K. Dick broke out of the conventions established by Campbell and other golden age figures, experimenting with new styles and creating new tropes. This was when we began to distinguish between “hard” science fiction that revolved around the hard sciences like physics and math, and “soft” science fiction that revolved instead around things like political science and social studies. The political radicalism of the 60s and 70s also influenced the science fiction of this era.

At this point, most histories of science fiction point to an era called “cyberpunk” or “the digital age,” which emerged in the 80s and defines the period that we’re currently living through. However, I don’t think this is correct. Instead, I think that literary science fiction went through a dark age from the mid-80s to the late 00s, and only recently began to emerge from it. Let me explain.

In film, TV, and video games, the 80s and 90s were a golden age. For books, however, it was exactly the opposite. The rise of the big box stores like Borders and Barnes & Noble drove independent booksellers out of business, which caused many local distribution companies to collapse. This, in turn, led to a period of mergers and consolidation within the publishing industry, giving rise to the “big six”: Hachette, HarperCollins, Macmillan, Penguin, Random House, and Simon & Schuster.

At the same time, the rise of the internet led to a massive and precipitous decline across newspapers and periodicals, including traditional short story magazines such as Analog and Asimov’s. Most of the science fiction magazines folded, unable to adapt their business models to the changing world. This would later change as podcasting and crowdfunding, but before those innovations would later revolutionize the industry, many considered short stories to be dead.

The effect of all of this was that literary science fiction entered a period of managed (and sometimes catastrophic) decline. As the publishing houses merged and consolidated, their offices all moved to New York City in order to pool talent and resources into one geographic center. However, this also led to problems like groupthink as publishing fell in an echo chamber.

Science fiction began to balkanize. The proliferation of cyberpunk, steampunk, deiselpunk, biopunk, and all the other _____punk subgenres is emblematic of this. Furthermore, as all of the major editors became caught up in the echo chambers of progressive, blue-state politics, they increasingly overlooked red state authors from “flyover country.” Baen, whose offices are in North Carolina, has never suffered from this, but Tor and the other New York publishers really have.

I think Orson Scott Card really bookends this period. In the 80s, he was the first author to win the Hugo and the Nebula in the same year. In the 00s, he was all but excommunicated from the canon for his allegedly homophobic views. Science fiction had transformed from the big tent genre of the 50s, 60s, and 70s to something so balkanized, elitist, and radical that “wrongthink” had unironically become a crime in the very genre that had invented the term.

And then indie publishing happened.

This author’s note is getting long, and there are other things (including writing) that I have to do today, so I’ll have to end on that note. I’ll follow up in my next newsletter with my thoughts on current trends in the science fiction genre, and where we’re heading from here. I think the 20s will see some massive creative destruction, but ultimately I’m hopeful that the best is yet to come. The dark age is over, and there’s never been a better time to be a reader—or a writer!