A Quote by Brian Aldiss

Science fiction is no more written for scientists that ghost stories are written for ghosts. — © Brian Aldiss
Science fiction is no more written for scientists that ghost stories are written for ghosts.
Science fiction is no more written for scientists than ghost stories are written for ghosts.
If you go all the way back, I've always written science-fiction, I've always written fantasy, I've always written horror stories and monster stories, right from the beginning of my career. I've always moved back and forth between the genres. I don't really recognise that there's a significant difference between them in some senses.
Most science fiction seemed to be written for people who already liked science fiction; I wanted to write stories for anyone, anywhere, living at any time in the history of the world.
My old English buddy, John Rackham, wrote and told me what made science fiction different from all other kinds of literature - science fiction is written according to the science fiction method.
I'm mostly a novelist these days, but I have written short stories in Fantasy, Science Fiction and horror.
When I began to write fiction that I knew would be published as science fiction, [and] part of what I brought to it was the critical knowledge that science fiction was always about the period in which it was written.
It cannot be said often enough that science fiction as a genre is incredibly educational - and I'm speaking the written science fiction, not 'Star Trek.' Science fiction writers tend to fill their books if they're clever with little bits of interesting stuff and real stuff.
I do think that science fiction ideas are best expressed through visual media like film and TV. Realist literature depicts things that we have seen in life, but science fiction is different: what it depicts exists only in the author's imagination. When it comes to science fiction, the written word is inadequate.
I'm not a science-fiction writer. I've only written one book that's science fiction, and that's Fahrenheit 451. All the others are fantasy.
I certainly have been writing stories that are hard science fiction, that are very reminiscent of 'Golden Age tales' from the '40s and '50s. I've also written stories that are very high fantasy that are the direct opposite of that style.
I never felt like a happy-go-lucky ingenue to begin with. And parts are written better when you're older. When you're young, you're written to be an ingenue, and you're written to be a quality. You're actually not written to be a person, you're written for your youth to inspire someone else, usually a man. So I find it just much more liberating.
My own writing has perhaps more of an American flavor than a British one, but that's because the stories I've so far written have needed it. 'Empire State,' 'Seven Wonders' and 'The Age Atomic' are all very place-centric, where the setting itself is almost a character. But there is a universality to story that isn't just limited to science fiction.
I was thinking about the legacy of ghosts in fiction, and specifically the moral power of those Dickensian ghosts. Because a ghost can be a very powerful but also manipulative element.
'Filk' is the folk music of the science fiction and fantasy community - you get parodies, you get traditional music that's had the words slightly modified, and you'll also get just original works that have been written about science fiction and fantasy works, or with science fiction and fantasy themes.
It had also been my belief since I started writing fiction that science fiction is never really about the future. When science fiction is old, you can only read it as being pretty much about the moment in which it was written. But it seemed to me that the toolkit that science fiction had given me when I started working had become the toolkit of a kind of literary naturalism that could be applied to an inherently incredible present.
I was a very keen reader of science fiction, and during the time I was going to libraries, it was good, written by people who knew their science.
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