These observations were made to be directed to Science Fiction writers. Many of them strike to the bone / go in to the hilt / hit the mark with any author picks words and expressions to smudge weak writing.
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Turkey City Lexicon – A Primer for SF Workshops
Edited by Lewis Shiner
Second Edition by Bruce Sterling
Introduction by Lewis Shiner
This manual is intended to focus on the special needs of the science fiction workshop. Having an accurate and descriptive critical term for a common SF problem makes it easier to recognize and discuss. This guide is intended to save workshop participants from having to “reinvent the wheel” (see section 3) at every session.
The terms here were generally developed over a period of many years in many workshops. Those identified with a particular writer are acknowledged in parentheses at the end of the entry. Particular help for this project was provided by Bruce Sterling and the other regulars of the Turkey City Workshop in Austin, Texas.
Introduction (II) by Bruce Sterling
People often ask where science fiction writers get their ideas. They rarely ask where society gets its science fiction writers. In many cases the answer is science fiction workshops.
Workshops come in many varieties — regional and national, amateur and professional, formal and frazzled. In science fiction’s best-known workshop, Clarion, would-be writers are wrenched from home and hearth and pitilessly blitzed for six weeks by professional SF writers, who serve as creative-writing gurus. Thanks to the seminal efforts of Robin Wilson, would-be sf writers can receive actual academic credit for this experience.
But the workshopping experience does not require any shepherding by experts. Like a bad rock band, an SF-writer’s workshop can be set up in any vacant garage by any group of spotty enthusiasts with nothing
better to occupy their time. No one has a Copyright on talent, desire, or enthusiasm.
Science fiction boasts many specialized critical terms. You can find a passel of these in Gary K Wolfe’s CRITICAL TERMS FOR SCIENCE FICTION AND FANTASY: A GLOSSARY AND GUIDE TO SCHOLARSHIP (Greenwood Press, 1986). But you won’t find them in here. This lexicon is not a guide to scholarship. The Workshop Lexicon is a guide (of sorts) for down-and-dirty hairy-knuckled sci-fi writers, the kind of ambitious subliterate guttersnipes who actually write and sell professional genre material. It’s rough, rollicking, rule-of-thumb stuff suitable for shouting aloud while pounding the table.
Part One: Words and Sentences
- Brenda Starr dialogue
Long sections of talk with no physical background or description of the characters. Such dialogue, detached from the story’s setting, tends to echo hollowly, as if suspended in mid-air. Named for the American comic-strip in which dialogue balloons were often seen emerging from the Manhattan skyline.
- “Burly Detective” Syndrome
This useful term is taken from SF’s cousin-genre, the detective-pulp. The hack writers of the Mike Shayne series showed an odd reluctance to use Shayne’s proper name, preferring such euphemisms as “the burly detective” or “the red-headed sleuth.” This syndrome arises from a wrong-headed conviction that the same word should not be used twice in close succession. This is only true of particularly strong and visible words, such as “vertiginous.” Better to re-use a simple tag or phrase than to contrive cumbersome methods of avoiding it.
- Brand Name Fever
Use of brand name alone, without accompanying visual detail, to create false verisimilitude. You can stock a future with Hondas and Sonys and IBM’s and still have no idea with it looks like.
- “Call a Rabbit a Smeerp“
A cheap technique for false exoticism, in which common elements of the real world are re-named for a fantastic milieu without any real alteration in their basic nature or behavior. “Smeerps” are especially common in fantasy worlds, where people often ride exotic steeds that look and act just like horses. (Attributed to James Blish.)