| Acknowledgements |
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1 Falling Sparrows: Worlds within texts |
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1 | (17) |
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1 | (2) |
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The pleasures of creativity |
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3 | (1) |
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4 | (2) |
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Real and imaginary worlds |
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6 | (2) |
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8 | (3) |
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Plausibility and probability |
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11 | (2) |
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The moral order of worlds within texts |
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13 | (3) |
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16 | (2) |
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2 Once Upon a Time: Beginnings |
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18 | (25) |
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18 | (1) |
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The tactics of introduction |
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19 | (3) |
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22 | (2) |
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24 | (2) |
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26 | (3) |
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29 | (3) |
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32 | (2) |
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34 | (2) |
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The beginning and the end |
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36 | (2) |
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38 | (5) |
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3 The Yellow Brick Road: Plots |
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43 | (26) |
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43 | (1) |
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44 | (2) |
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46 | (2) |
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48 | (3) |
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51 | (2) |
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53 | (3) |
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56 | (2) |
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58 | (3) |
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61 | (3) |
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64 | (2) |
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Where do you get your ideas from? |
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66 | (3) |
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4 Happily Ever After: Endings |
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69 | (21) |
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69 | (2) |
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71 | (3) |
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74 | (2) |
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Normalising endings in science fiction |
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76 | (2) |
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78 | (4) |
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Improving endings in science fiction |
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82 | (2) |
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Upbeat and downbeat endings |
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84 | (3) |
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87 | (3) |
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5 A Funny Thing Happened to Me: Viewpoints and characters |
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90 | (22) |
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90 | (2) |
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92 | (2) |
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94 | (3) |
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Useful viewpoint characters |
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97 | (3) |
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100 | (3) |
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Characterisation in fantasy and science fiction |
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103 | (2) |
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Characterising non-humans |
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105 | (2) |
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Characters larger than life |
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107 | (5) |
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6 `So, What Happened, Exactly?': Dialogue and exposition |
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112 | (23) |
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112 | (1) |
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Dialogue and characterisation |
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113 | (3) |
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116 | (2) |
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118 | (3) |
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121 | (2) |
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Describing places and people |
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123 | (5) |
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Describing actions and feelings |
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128 | (4) |
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Exposition and explanation |
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132 | (3) |
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7 Beyond the Slush Pile: Marketing fantasy and science fiction |
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135 | (22) |
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135 | (2) |
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137 | (1) |
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The politics of submission |
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138 | (4) |
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142 | (4) |
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The politics of production |
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146 | (2) |
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148 | (2) |
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Changing fashions in fantastic fiction |
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150 | (5) |
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155 | (2) |
| Glossary of specialised terms |
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157 | (3) |
| Suggestions for further reading |
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160 | (3) |
| Index |
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163 | |