24 | The Writer • October 2019
LAURIE MCLEAN,
Fuse Literary:
“Because fully
fleshed magical sys-
tems and plausible
science-based
worldbuilding are
expected by readers
of speculative fiction,
writers must
research these in
depth before they
begin writing so
they can deliver a
solid, believable
foundation for their
stories. Otherwise,
readers will feel
cheated, and
reviews will show-
case their ire.”JULIE GWINN,
The Seymour
Agency:
“Fans are very edu-
cated, so the sci-
ence needs to be
plausible.”CONNOR
GOLDSMITH,
Fuse Literary:
“Science fiction and
fantasy comment on
the world around us,
so bring your unique
perspective to the
table. No two peo-
ple see the world in
the same way.”TIPS FROM
AGENTS
“What brings speculative fiction to life is the anchor it
has to the non-speculative elements,” Older says. Ordinary
“human actions...make us believe in the reality of the work,
and then we can accept the ‘fantastical world.’”
In the same vein, Silverberg cautions against “thinly char-
acterized characters.” Other problems that need to be
addressed include “melodrama,” “implausible plot situa-
tions,” and “awkwardness of style.”
How about YA speculative fiction?
Keep your audience firmly in mind, states Finlay. “To
write YA science fiction, or any book for young adults,
authors should most importantly have a profound respect
for their audience. Young adult readers are so often thought-
ful, intelligent, empathetic, and engaged with the world
around them, and as readers they’re passionate, dedicated,
and incredibly observant.” Given these traits of YA readers,
Finlay says, “they deserve books that speak to who they are
and what is important to them.”
What makes good YA dystopian fiction? As Finlay sees it,
such works “offer us an opportunity to engage with contem-
porary problems and concerns through the lens of fiction.”
The question to ask yourself, she says, is how does the fic-
tional world you’re setting out to create relate to the real
world around you? What kinds of problems do you see in
this world that you can address in your fiction? Think of it
this way, she suggests: “Any good dystopian story opens up
an exploration of fundamental ideas in our culture and tells
us as much about the real world as it does about the fic-
tional world presented in the book.”
In fact, according to Finlay, YA dystopian literature can
serve a valuable educational function. “This exploration
offers a space for the young adult reader to begin interrogat-
ing the adult world that they are preparing to join.” Such
interrogation amounts to critical thinking, and this higher-
order thinking has implications not only for the individual
but also for society as a whole: “At their best, dystopian sto-
ries lead to reshaping and subverting our dominant assump-
tions and expectations and offer up a pathway to a better
society for young people who are still determining what
impact they wish to have on the world.”
Tips from literary agents on speculative fiction
Writers can tell you what makes solid speculative fiction on a
craft level. What do agents say? As you’ll note below, they’re
likely to stress some of the same things: strong worldbuilding,
solid fictional craft, and freshness or originality. With the
fierce competition you’ll face in publishing, achieving these is
most likely a must if you want agent representation.
Fuse Literary
The encouraging news for speculative fiction writers is that
the market for this kind of fiction is very good right now,
says Laurie McLean, partner at Fuse Literary. “Speculative
fiction is experiencing a popularity spike, so publishers
from the Big Five on down to small and regional
presses are looking for it. I don’t know how long
that trend will last, but if you’ve got something
ready to go, start querying.” She also urges writers
of short stories and novellas to submit their work
to the numerous “online zines, magazines, and
anthologies that are looking for excellent shorter
work” in speculative fiction.
Before drafting a speculative novel, says
McLean, you should first do adequate research in
order to do solid worldbuilding and to develop
strong character background. Do this, she states,
“before you write the first sentence.” Why? “Only
when you know everything about your magic sys-
tem and its rules or advanced scientific habitats and
physics can you write a story that holds together.”
If you’re into YA dystopian fiction, McLean
suggests taking “something wrong with today’s Photo by: Freddie Breeden (Gwinn)