A Quote by Pamela Sargent

'Floating Worlds,' published in 1975 and the lone science fiction novel by acclaimed historical novelist Cecelia Holland, was unique in being completely devoid of the usual pulp influences present in much space opera up to that time.
Historical fiction is actually good preparation for reading SF. Both the historical novelist and the science fiction writer are writing about worlds unlike our own.
What 'Floating Worlds' does draw on is Holland's artistry in bringing the past to life in her historical fiction and depicting the people who inhabited that past.
I guess...on one hand, I spent way too much time watching science fiction and reading science fiction when I was growing up. But a part of it is I also never felt much of a connection to the world in which I lived while I was growing up, and so, oddly enough, I think I felt a lot more connected to the worlds that I read about in science fiction.
There are so many stories to tell in the worlds of science fiction, the worlds of fantasy and horror that to confine yourself to even doing historical revisionist fiction, whatever you want to call it - mash-ups, gimmick lit, absurdist fiction - I don't know if I want to do that anymore.
There are similarities between historical novels and science fiction. Being thrown into the Napoleonic Wars is just as much of a different world as space.
I've read science fiction my whole life. I never really dreamed that I'd be a published science fiction writer myself, but a short story I started years ago sort of demanded to be turned into a novel.
I grew up reading comic books, pulp books, mystery and science fiction and fantasy. I'm a geek; I make no pretensions otherwise. It's the stuff that I love writing about. I like creating worlds.
"Hard" science fiction probes alternative possible futures by means of reasoned extrapolations in much the same way that good historical fiction reconstructs the probable past. Even far-out fantasy can present a significant test of human values exposed to a new environment. Deriving its most cogent ideas from the tension between permanence and change, science fiction combines the diversions of novelty with its pertinent kind of realism.
What writers of fantasy, science fiction, and much historical fiction do for a living is different from what writers of so-called literary or other kinds of fiction do. The name of the game in F/SF/HF is creating fictional worlds and then telling particular stories set in those worlds. If you're doing it right, then the reader, coming to the end of the story, will say, "Hey, wait a minute, there are so many other stories that could be told in this universe!" And that's how we get the sprawling, coherent fictional universes that fandom is all about.
At 18, my first short story was published - I was paid a penny a word by a science fiction magazine. I continued to write, and five years later I published my first novel, 'Sweetwater.'
Science fiction is for real, space opera is for fun.
Being a fan of science fiction, I collect a lot of science fiction art work and so if you go to my house there's like a library and you just geek out on science fiction material. A lot of the colony worlds specifically are built as a melting pot of different societies, because the world is at a point where there are only two zones that are left inhabitable.
There is only one definition of science fiction that seems to make sense: 'Science fiction is anything published as science fiction.'
Douglas Adams did not enjoy writing, and he enjoyed it less as time went on. He was a bestselling, acclaimed, and much-loved novelist who had not set out to be a novelist, and who took little joy in the process of crafting novels. He loved talking to audiences. He liked writing screenplays. He liked being at the cutting edge of technology and inventing
As a journalist, I would talk to writers, directors, creative people, and discover that for an awful lot of them, the moment they became successful, that was all they were allowed to do. So you end up talking to the bestselling science-fiction author who wrote a historical-fiction novel that everybody loved, but no one would publish.
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.
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