Comment from the book world in January 2024

‘I've been thinking for some time that science fiction, as a genre, is finished. The world it once imagined has arrived, and interest in the future and new technologies is widespread. Instead of appealing only to a niche audience, sci-fi has been absorbed into the mainstream of fiction. And as fantasy enjoys a boom in popularity - the "Romantasy" subgenre in particular - much of what is now published as science fiction has a fantasy element to it: space opera, alternate histories, sagas set on alien worlds.

Cyberpunk was perhaps the most important trend in science fiction in the 1980s and 90s, but since then it's often reduced in memory to a particular aesthetic of future-noir thriller represented by Ridley Scott's Blade Runner. So The Big Book of Cyberpunk, edited by Jared Shurin is a huge, eye-opening, mind-blowing surprise. Two fat volumes with more than 100 stories, by authors from at least two dozen different countries (some published here in English for the first time), ranging from proto-cyberpunk stories from the 1950s and 60s through genre-defining tales by William Gibson, Pat Cadigan, Neal Stephenson and many newer names, right up to 2021 with a post-cyberpunk story written in collaboration with AI.'

Lisa Tuttle, author of 18 novels for adults and children, including My Death, A Nest of Nightmares, The Mysteries, The Bone and The Flute, Dolphin Diaries, a series for children, various short story collections and several works of non-fiction, in the Guardian.

'How do you become a writer? Answer: you write.

It's amazing how much resentment and disgust and evasion this answer can arouse. Even among writers, believe me. It is one of those Horrible Truths one would rather not face.

The most frequent evasive tactic is for the would-be writer to say, But before I have anything to say, I must get experience.

Well, yes; if you want to be a journalist. But I don't know anything about journalism, I'm talking about fiction. And of course fiction is made out of experience, your whole life from infancy on, everything you've thought and done and seen and read and dreamed. But experience isn't something you go and get-it's a gift, and the only prerequisite for receiving it is that you be open to it. A closed soul can have the most immense adventures, go through a civil war or a trip to the moon, and have nothing to show for all that "experience"; whereas the open soul can do wonders with nothing.

I invite you to meditate on a pair of sisters. Emily and Charlotte. Their life experience was an isolated vicarage in a small, dreary English village, a couple of bad years at a girls' school, another year or two in Brussels, which is surely the dullest city in all Europe, and a lot of housework. Out of that seething mass of raw, vital, brutal, gutsy Experience they made two of the greatest novels ever written: Jane Eyre and Wuthering Heights...

Now, of course they were writing from experience; writing about what they knew, which is what people always tell you to do; but what was their experience? What was it they knew? Very little about "life." They knew their own souls, they knew their own minds and hearts; and it was not a knowledge lightly or easily gained. From the time they were seven or eight years old, they wrote, and thought, and learned the landscape of their own being, and how to describe it. They wrote with the imagination, which is the tool of the farmer, the plow you plow your own soul with. They wrote from inside, from as deep inside as they could get by using all their strength and courage and intelligence. And that is where books come from. The novelist writes from inside.

I'm rather sensitive on this point, because I write science fiction, or fantasy, or about imaginary countries, mostly-stuff that, by definition, involves times, places, events that I could not possibly experience in my own life. So when I was young and would submit one of these things about space voyages to Orion or dragons or something, I was told, at extremely regular intervals, "You should try to write about things you know about." And I would say, But I do; I know about Orion, and dragons, and imaginary countries. Who do you think knows about my own imaginary countries, if I don't?

OK, how do you go about getting at that truth? You want to tell the truth. You want to be a writer. So what do you do?

You write.'

Ursula K Le Guin, author of several famous SF novels, including The Left Hand of Darkness, A Wizard of Earthsea and The Dispossessed.

Lit Hub

‘My settings of Europe and English visitors weren't really doing it for them, so we decided Scotland would be good. I thought an island would be great, because it's a small community, and it's an opportunity for my main character to get away from it all. The team at HarperCollins have been so supportive and enthusiastic...

I'm very reassuringly honest. It's a job as well as a calling. It's my living - I'm the chief breadwinner in my house. My husband is retired, he supported me through the two decades while I wasn't making enough to live on, and was doing all kinds of things to do with writing to survive - judging competitions, running workshops, appraising manuscripts. When he wanted to retire, I was very happy to change places - it all worked out well. I work for a big publisher, Avon is a very commercial imprint. When I first started talking to my agent [Juliet Pickering at Blake Friedmann], she said: What are you hoping for? And I told her I really wanted a publisher that would get right behind me, and get me in supermarkets. And that's exactly what happened...

It's got to be a good decision for my domestic publishing, my world English publishing, which includes North America and Australia, and also for my translations - I'm currently translated into 12 languages. Juliet and I wouldn't make a non-commercial decision for any of those publishers if we could help it. There's always a careful conversation about the setting...'

Sue Moorcroft, the bestselling author of 25 romantic fiction titles, including One Summer in Italy, The Christmas Promise, A Summer to Remember, Starting Over and Is This Love? and president of the UK Romantic Novelists' Association, in Bookbrunch

https://www.suemoorcroft.com/

'Some writers start with a sentence and have no idea where it's going. Others know every character's biography. I'm in between. I know the beginning and the end before I start. I recommend you know where you're going. You're a lot freer to twist and turn if you know your destination.

Always ask "What if?" What if you put spyware on your kid's computer, discover something and then your kid disappears? What if you saw your dead husband cuddling your child on your nannycam?'

Harlan Coben has over 80 million books in print. He has written 35 novels including Win, The Boy from the Woods, Tell No One and a young adult series, and is the creator and producer of several Netflix tv dramas and two French mini-series. This excerpt is from the Sunday Times' Culture.

https://www.harlancoben.com/

'You want to write the twist so that it doesn't suddenly come out of nowhere. I tried to see a few things so that (the reader) thinks, of course! But it is hard to get that balance I think, of trying to get a twist in that is unguessable but not too "out there". My editor doesn't know what the story is about, she knows roughly, but she doesn't know the twists, so it's good to have a fresh pair of eyes...

To be honest, I didn't even know what the term psychological thriller was, it was only what the publishers called it...

Writing in lockdown, 'So that was a bit of freedom in a way, I didn't have any expectations almost. Now there's a bit more pressure because you want to keep writing books that people are going to like. But I try not to think too much about it because otherwise I don't think I'd write anything!'

Claire Douglas, author of 8 books, including The Girls Who Disappeared (a Richard and Judy Book Club choice), The Couple at No 9 and The Wrong Sister (to be published in March) in The Boookseller