There have been many attempts at defining science fiction.For example, Patrick Parrinder comments that "[d]efinitions of science fiction are not so much a series of logical approximations to an elusive ideal, as a small, parasitic subgenre in themselves." This is a list of definitions that have been offered by authors, editors, critics and fans over the years since science fiction became a genre. Definitions of related terms such as "science fantasy", "speculative fiction", and "fabulation" are included where they are intended as definitions of aspects of science fiction or because they illuminate related definitions—see e.g. Robert Scholes's definitions of "fabulation" and "structural fabulation" below. Some definitions of sub-types of science fiction are included, too; for example see David Ketterer's definition of "philosophically-oriented science fiction". In addition, some definitions are included that define, for example, a science fiction story, rather than science fiction itself, since these also illuminate an underlying definition of science fiction.
The Encyclopedia of Science Fiction, edited by John Clute and Peter Nicholls, contains an extensive discussion of the problem of definition, under the heading "Definitions of SF". The authors regard Darko Suvin's definition as having been most useful in catalysing academic debate, though they consider disagreements to be inevitable as science fiction is not homogeneous. Suvin's cited definition, dating from 1972, is: "a literary genre whose necessary and sufficient conditions are the presence and interaction of estrangement and cognition, and whose main formal device is an imaginative framework alternative to the author's empirical environment". The authors of the Encyclopedia article—Brian Stableford, Clute, and Nicholls—explain that, by "cognition", Suvin refers to the seeking of rational understanding, while his concept of estrangement is similar to the idea of alienation developed by Bertolt Brecht, that is, a means of making the subject matter recognizable while also seeming unfamiliar.
Tom Shippey compared George Orwell's Coming Up for Air (1939) with Frederik Pohl and C. M. Kornbluth's The Space Merchants (1952), and concluded that the basic building block and distinguishing feature of a science fiction novel is the presence of the novum,Shippey, Tom (1991) Fictional Space. Essays on Contemporary Science Fiction, page 2, Humanities Press International, Inc., NJ a term Darko Suvin adapted from Ernst Bloch and defined as "a discrete piece of information recognizable as not-true, but also as not-unlike-true, not-flatly- (and in the current state of knowledge) impossible."Suvin, Darko (1979) Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre, New Haven, pp. 63–84.
The order of the quotations is chronological; quotations without definite dates are listed last.
Definitions
In chronological order Hugo Gernsback. 1926. "By 'scientifiction' I mean the Jules Verne, H. G. Wells and Edgar Allan Poe type of story—a charming romance intermingled with scientific fact and prophetic vision... Not only do these amazing tales make tremendously interesting reading—they are always instructive. They supply knowledge... in a very palatable form... New adventures pictured for us in the scientifiction of today are not at all impossible of realization tomorrow... Many great science stories destined to be of historical interest are still to be written... Posterity will point to them as having blazed a new trail, not only in literature and fiction, but progress as well."Originally published in the April 1926 issue of Amazing StoriesQuoted in in: J. O. Bailey. 1947. "A piece of scientific fiction is a narrative of an imaginary invention or discovery in the natural sciences and consequent adventures and experiences... It must be a scientific discovery—something that the author at least rationalizes as possible to science."Originally published in Pilgrims of Space and Time (1947)Quoted in Robert A. Heinlein. 1947. "Let's gather up the bits and pieces and define the Simon-pure science fiction story: 1. The conditions must be, in some respect, different from here-and-now, although the difference may lie only in an invention made in the course of the story. 2. The new conditions must be an essential part of the story. 3. The problem itself—the "plot"—must be a human problem. 4. The human problem must be one which is created by, or indispensably affected by, the new conditions. 5. And lastly, no established fact shall be violated, and, furthermore, when the story requires that a theory contrary to present accepted theory be used, the new theory should be rendered reasonably plausible and it must include and explain established facts as satisfactorily as the one the author saw fit to junk. It may be far-fetched, it may seem fantastic, but it must not be at variance with observed facts, i.e., if you are going to assume that the human race descended from Martians, then you've got to explain our apparent close relationship to terrestrial anthropoid apes as well."Originally in ; cited from 1964 reprint. John W. Campbell, Jr. 1947. "To be science fiction, not fantasy, an honest effort at prophetic extrapolation from the known must be made." ―. "Scientific methodology involves the proposition that a well-constructed theory will not only explain every known phenomenon, but will also predict new and still undiscovered phenomena. Science-fiction tries to do much the same—and write up, in story form, what the results look like when applied not only to machines, but to human society as well." Damon Knight. 1952. At the start of a series of book review columns, Knight stated the following as one of his assumptions: "That the term 'science fiction' is a misnomer, that trying to get two enthusiasts to agree on a definition of it leads only to bloody knuckles; that better labels have been devised (Heinlein's suggestion, 'speculative fiction', is the best, I think), but that we're stuck with this one; and that it will do us no particular harm if we remember that, like 'The Saturday Evening Post', it means what we point to when we say it." This definition is now usually seen in abbreviated form as "Science fiction is [or means] what we point to when we say it." Punctuation was misprinted in the original magazine; the quote is punctuated as Knight had it in his collection of essays In Search of Wonder, Chicago: Advent, 1956. Theodore Sturgeon. 1952. "A science fiction story is a story built around human beings, with a human problem, and a human solution, which would not have happened at all without its scientific content."James Blish, writing as William Atheling, Jr., cited this definition of Sturgeon's from a talk he had given. Blish's article was published in the Autumn 1952 issue of Red Boggs' fanzine Skyhook. Sturgeon subsequently complained to Blish that he had intended the definition to apply only to good science fiction. Basil Davenport. 1955. "Science fiction is fiction based upon some imagined development of science, or upon the extrapolation of a tendency in society." Edmund Crispin. 1955. A science fiction story "is one that presupposes a technology, or an effect of technology, or a disturbance in the natural order, such as humanity, up to the time of writing, has not in actual fact experienced.", quoted from the Penguin reprint; the original publication was 1956 by Michael Joseph. Robert A. Heinlein. 1959. "Realistic speculation about possible future events, based solidly on adequate knowledge of the real world, past and present, and on a thorough understanding of the nature and significance of the scientific method. To make this definition cover all science fiction (instead of 'almost all') it is necessary only to strike out the word 'future'.From Heinlein's essay "Science Fiction: Its Nature, Faults and Virtues", originally in ; cited from Kingsley Amis. 1960. "Science fiction is that class of prose narrative treating of a situation that could not arise in the world we know, but which is hypothesized on the basis of some innovation in science or technology, or pseudo-science or pseudo-technology, whether human or extra-terrestrial in origin." James Blish. 1960 or 1964. Science fantasy is "a kind of hybrid in which plausibility is specifically invoked for most of the story, but may be cast aside in patches at the author's whim and according to no visible system or principle." in According to the front matter, this essay was originally published in two parts, in 1960 and 1964. Blish, writing as William Atheling, Jr., lists a variety of sources, some fanzines and some professional magazines, from which the book was drawn, but does not specify which particular sources formed the basis of this essay. Rod Serling. 1962. "Fantasy is the impossible made probable. Science Fiction is the improbable made possible." Judith Merril. 1966. "Speculative fiction: stories whose objective is to explore, to discover, to learn, by means of projection, extrapolation, analogue, hypothesis-and-paper-experimentation, something about the nature of the universe, of man, or 'reality'... I use the term 'speculative fiction' here specifically to describe the mode which makes use of the traditional 'scientific method' (observation, hypothesis, experiment) to examine some postulated approximation of reality, by introducing a given set of changes—imaginary or inventive—into the common background of 'known facts', creating an environment in which the responses and perceptions of the characters will reveal something about the inventions, the characters, or both". James Blish. 1968. "At the very worst, every story ought to contain some trace of some science, and at best they ought to depend on it. This means no fantasies, nothing put in solely because they author wrote a best-selling mainstream novel in 1920, no political parables and no what-is-its".Quoted by Algis Budrys in a review of Best SF: 1967. Algis Budrys. 1968. When reviewing Vladislav Krapivin's "Meeting My Brother": "The science in it is used solely for the purpose of offering an otherwise impossible solution to a common human problem; this is the latest definition of science fiction, on either side of the Iron Curtain/time-shift". Frederik Pohl. 1968. "Someone once said that a good science-fiction story should be able to predict not the automobile but the traffic jam. We agree". Darko Suvin. 1972. Science fiction is "a literary genre whose necessary and sufficient conditions are the presence and interaction of estrangement and cognition, and whose main formal device is an imaginative framework alternative to the author's empirical environment."Originally published in 1972 Thomas M. Disch. 1973. "The basic premise of all s-f—that Absolutely Anything Can Happen and Should—has never been so handsomely and hilariously realized as in An Alien Heat." (Cover blurb for the 1973 Harper and Row edition of the novel by Michael Moorcock). Brian Aldiss. 1973. "Science fiction is the search for a definition of man and his status in the universe which will stand in our advanced but confused state of knowledge (science), and is characteristically cast in the Gothic or post-Gothic mould". Revised 1986. "a definition of mankind...", "...post-Gothic mode".