1.
Science fiction
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Science fiction often explores the potential consequences of scientific and other innovations, and has been called a literature of ideas. Science fiction is difficult to define, as it includes a range of subgenres and themes. Author and editor Damon Knight summed up the difficulty, saying science fiction is what we point to when we say it, a definition echoed by author Mark C. Glassy, who argues that the definition of science fiction is like the definition of pornography, you do not know what it is, in 1970 or 1971William Atheling Jr. According to science fiction writer Robert A, rod Serlings definition is fantasy is the impossible made probable. Science fiction is the improbable made possible, Science fiction is largely based on writing rationally about alternative possible worlds or futures. Science fiction elements include, A time setting in the future, in alternative timelines, a spatial setting or scenes in outer space, on other worlds, or on subterranean earth. Characters that include aliens, mutants, androids, or humanoid robots, futuristic or plausible technology such as ray guns, teleportation machines, and humanoid computers. Scientific principles that are new or that contradict accepted physical laws, for time travel, wormholes. New and different political or social systems, e. g. utopian, dystopian, post-scarcity, paranormal abilities such as mind control, telepathy, telekinesis Other universes or dimensions and travel between them. A product of the budding Age of Reason and the development of science itself. Isaac Asimov and Carl Sagan considered Keplers work the first science fiction story and it depicts a journey to the Moon and how the Earths motion is seen from there. Later, Edgar Allan Poe wrote a story about a flight to the moon, more examples appeared throughout the 19th century. Wells The War of the Worlds describes an invasion of late Victorian England by Martians using tripod fighting machines equipped with advanced weaponry and it is a seminal depiction of an alien invasion of Earth. In the late 19th century, the scientific romance was used in Britain to describe much of this fiction. This produced additional offshoots, such as the 1884 novella Flatland, the term would continue to be used into the early 20th century for writers such as Olaf Stapledon. In the early 20th century, pulp magazines helped develop a new generation of mainly American SF writers, influenced by Hugo Gernsback, the founder of Amazing Stories magazine. In 1912 Edgar Rice Burroughs published A Princess of Mars, the first of his series of Barsoom novels, situated on Mars
2.
Future Science Fiction and Science Fiction Stories
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Future Science Fiction and Science Fiction Stories were two American science fiction magazines that were published under various names between 1939 and 1943 and again from 1950 to 1960. Both publications were edited by Charles Hornig for the first few issues, Robert W. Lowndes took over in late 1941, the initial launch of the magazines came as part of a boom in science fiction pulp magazine publishing at the end of the 1930s. In 1950, with the market improving again, Silberkleit relaunched Future Fiction, in the mid-1950s he also relaunched Science Fiction, this time under the title Science Fiction Stories. Silberkleit kept both magazines on very slim budgets throughout the 1950s, in 1960 both titles ceased publication when their distributor suddenly dropped all of Silberkleits titles. The fiction was unremarkable, with few memorable stories being published. Lowndes spent much effort to set a friendly and engaging tone in both magazines, with columns and reader departments that interested fans. He was more successful than Hornig in obtaining good stories, partly because he had relationships with several well-known. Among the better-known stories he published were The Liberation of Earth by William Tenn, by the end of the 1930s the field was booming. One of Gernsbacks employees, Louis Silberkleit, became a publisher in his own right in 1934 when he founded the Winford Publishing Company. Towards the end of the 1930s Silberkleit decided to launch an sf pulp magazine under his Blue Ribbon Magazines imprint, Gernsback recommended Charles Hornig to Silberkleit for the post of editor, Hornig had previously edited Wonder Stories for Gernsback from 1933 to 1936. Silberkleit took the recommendation and Hornig was hired in October 1938, Hornig had no office, he worked from home, coming into the office as needed to drop off manuscripts and dummy materials, and pick up typeset materials to proof. The first issue was dated March 1939, the schedule was intended to be bimonthly, but it began to slip immediately, with the second issue dated June 1939. In order to spread his costs over more magazines, Silberkleit soon decided to launch two additional titles, when he had worked for Gernsback, Silberkleit had suggested Future Fiction as a possible title for the magazine Gernsback was planning to launch. Gernsback eventually chose Amazing Stories instead, and Silberkleit now decided to use his original suggestion for one of the new magazines, in November 1939 the first issue of Future Fiction appeared, it was followed in July 1940 by Science Fiction Quarterly. Hornig was editor for all three magazines, in October 1940, Hornig received his military draft notice, he was a pacifist, and decided to move to California and register as a conscientious objector. He continued to edit the magazines from the west coast, Silberkleit allowed Hornig to retain his post as editor of Science Fiction, and offered the editorship of the other two titles to Sam Moskowitz. Moskowitz declined, saying afterwards I would never strike at a mans job, Lowndes relates that Silberkleit took the bait and hired him in November 1940, Hornig recalls the separation as being by mutual consent because of his move to California. Lowndes subsequently agreed that this was likely to be the real reason Silberkleit replaced Hornig, the first issues Lowndes was responsible for were the Spring 1941 issue of Science Fiction Quarterly and the April 1941 issue of Future Fiction
3.
Science Fiction (American magazine)
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Future Science Fiction and Science Fiction Stories were two American science fiction magazines that were published under various names between 1939 and 1943 and again from 1950 to 1960. Both publications were edited by Charles Hornig for the first few issues, Robert W. Lowndes took over in late 1941, the initial launch of the magazines came as part of a boom in science fiction pulp magazine publishing at the end of the 1930s. In 1950, with the market improving again, Silberkleit relaunched Future Fiction, in the mid-1950s he also relaunched Science Fiction, this time under the title Science Fiction Stories. Silberkleit kept both magazines on very slim budgets throughout the 1950s, in 1960 both titles ceased publication when their distributor suddenly dropped all of Silberkleits titles. The fiction was unremarkable, with few memorable stories being published. Lowndes spent much effort to set a friendly and engaging tone in both magazines, with columns and reader departments that interested fans. He was more successful than Hornig in obtaining good stories, partly because he had relationships with several well-known. Among the better-known stories he published were The Liberation of Earth by William Tenn, by the end of the 1930s the field was booming. One of Gernsbacks employees, Louis Silberkleit, became a publisher in his own right in 1934 when he founded the Winford Publishing Company. Towards the end of the 1930s Silberkleit decided to launch an sf pulp magazine under his Blue Ribbon Magazines imprint, Gernsback recommended Charles Hornig to Silberkleit for the post of editor, Hornig had previously edited Wonder Stories for Gernsback from 1933 to 1936. Silberkleit took the recommendation and Hornig was hired in October 1938, Hornig had no office, he worked from home, coming into the office as needed to drop off manuscripts and dummy materials, and pick up typeset materials to proof. The first issue was dated March 1939, the schedule was intended to be bimonthly, but it began to slip immediately, with the second issue dated June 1939. In order to spread his costs over more magazines, Silberkleit soon decided to launch two additional titles, when he had worked for Gernsback, Silberkleit had suggested Future Fiction as a possible title for the magazine Gernsback was planning to launch. Gernsback eventually chose Amazing Stories instead, and Silberkleit now decided to use his original suggestion for one of the new magazines, in November 1939 the first issue of Future Fiction appeared, it was followed in July 1940 by Science Fiction Quarterly. Hornig was editor for all three magazines, in October 1940, Hornig received his military draft notice, he was a pacifist, and decided to move to California and register as a conscientious objector. He continued to edit the magazines from the west coast, Silberkleit allowed Hornig to retain his post as editor of Science Fiction, and offered the editorship of the other two titles to Sam Moskowitz. Moskowitz declined, saying afterwards I would never strike at a mans job, Lowndes relates that Silberkleit took the bait and hired him in November 1940, Hornig recalls the separation as being by mutual consent because of his move to California. Lowndes subsequently agreed that this was likely to be the real reason Silberkleit replaced Hornig, the first issues Lowndes was responsible for were the Spring 1941 issue of Science Fiction Quarterly and the April 1941 issue of Future Fiction
4.
Science Fiction Quarterly
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Science Fiction Quarterly was an American pulp science fiction magazine that was published from 1940 to 1943 and again from 1951 to 1958. Charles Hornig served as editor for the first two issues, Robert A. W. Lowndes edited the remainder, Science Fiction Quarterly was launched by publisher Louis Silberkleit during a boom in science fiction magazines at the end of the 1930s. Silberkleit launched two other science fiction titles at about the time, all three ceased publication before the end of World War II, falling prey to slow sales. In 1950 and 1951, as the improved, Silberkleit relaunched Future Fiction. By the time Science Fiction Quarterly ceased publication in 1958, it was the last surviving science fiction pulp, both Hornig and Lowndes were given minuscule budgets, and Hornig in particular had trouble finding good material to print. Lowndes did somewhat better, as he was able to call on his friends in the Futurians, a group of aspiring writers that included Isaac Asimov, James Blish, and Donald Wollheim. The second incarnation of the also had a policy of running a lead novel. Among the better-known stories published by the magazine were Second Dawn, clarke, The Last Question, by Isaac Asimov, and Common Time, by James Blish. By the end of the 1930s, the field was booming, Louis Silberkleit, a publisher who had once worked for Gernsback, launched a pulp magazine in March 1939 titled Science Fiction, under his Blue Ribbon Magazines imprint. For an editor, Gernsback recommended Charles Hornig, who had edited Wonder Stories for Gernsback from 1933 to 1936, Silberkleit took the recommendation, and Hornig was hired in October 1938. Hornig had no office, he worked from home, coming into the office as needed to drop off manuscripts and dummy materials, and pick up typeset materials to proof. He was given freedom to select what he wanted to publish, since Silberkleits chief editor, Abner J. Sundell, knew little about sf. To spread his costs over more magazines, Silberkleit soon decided to launch two additional titles, in November 1939 the first issue of Future Fiction appeared, it was followed in July 1940 by Science Fiction Quarterly. Hornig was editor for all three of the magazines, in October 1940, Hornig, who was a pacifist, received his military call-up. He decided to move to California and register as an objector, he continued to edit the magazines from the west coast. Silberkleit allowed Hornig to retain his post as editor of Science Fiction, Moskowitz declined, saying afterwards that he would never strike at a mans job, but Donald Wollheim, a member of a group of aspiring writers called the Futurians, heard about the offer. Wollheim told Robert W. Lowndes, another member of the Futurians, about the opening, Lowndes relates that Silberkleit took the bait and hired him in November 1940, Hornig recalls the separation as being by mutual consent because of his move to California. Lowndes subsequently agreed that this was likely to be the real reason Silberkleit replaced Hornig, the first issues Lowndes was responsible for were the Spring 1941 issue of Science Fiction Quarterly and the April 1941 issue of Future Fiction
5.
Editing
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Editing is the process of selecting and preparing written, visual, audible, and film media used to convey information. The editing process can involve correction, condensation, organization, and many other modifications performed with an intention of producing a correct, consistent, accurate and complete work. The editing process begins with the authors idea for the work itself. As such, editing can involve creative skills, human relations, there are various editorial positions in publishing. Typically, one finds editorial assistants reporting to the editorial staff. Senior executive editors are responsible for developing a product for its final release, the smaller the publication, the more these roles overlap. The top editor at many publications may be known as the chief editor, a frequent and highly regarded contributor to a magazine may acquire the title of editor-at-large or contributing editor. Mid-level newspaper editors often manage or help to manage sections, such as business, sports, in U. S. newspapers, the level below the top editor is usually the managing editor. Obtaining manuscripts or recruiting authors is the role of an editor or a commissioning editor in a publishing house. Finding marketable ideas and presenting them to appropriate authors are the responsibilities of a sponsoring editor, copy editors correct spelling, grammar and align writings to house style. Changes to the industry since the 1980s have resulted in nearly all copy editing of book manuscripts being outsourced to freelance copy editors. At newspapers and wire services, copy editors write headlines and work on substantive issues, such as ensuring accuracy, fairness. In some positions, they design pages and select news stories for inclusion, at U. K. and Australian newspapers, the term is sub-editor. They may choose the layout of the publication and communicate with the printer and these editors may have the title of layout or design editor or makeup editor. However, another editor is sometimes involved in the creation of research articles. Called the authors editor, this works with authors to get a manuscript fit for purpose before it is submitted to a scholarly journal for publication. The primary difference between copy editing scholarly books and journals and other sorts of copy editing lies in applying the standards of the publisher to the copy. K, technical editing involves reviewing text written on a technical topic, identifying usage errors and ensuring adherence to a style guide. Large companies dedicate experienced writers to the editing function
6.
Science-fiction fandom
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Science fiction fandom or SF fandom is a community or fandom of people actively interested in science fiction in contact with one another based upon that interest. SF fandom has a life of its own, but not much in the way of formal organization, Science fiction fandom started through the letter column of Hugo Gernsbacks fiction magazines. Not only did fans write comments about the stories—they sent their addresses, soon, fans were writing letters directly to each other, and meeting in person when they lived close together, or when one of them could manage a trip. In New York City, David Lasser, Gernsbacks managing editor, nurtured the birth of a local club called the Scienceers. Almost all the members were adolescent boys, around this time a few other small local groups began to spring up in metropolitan areas around the United States, many of them connecting with fellow enthusiasts via the Science Correspondence Club. In May 1930 the first science fiction fan magazine, The Comet, was produced by the Chicago branch of the Science Correspondence Club under the editorship of Raymond A. Palmer and Walter Dennis. In 1934, Gernsback established a club for fans called the Science Fiction League. Local groups across the nation could join by filling out an application, a number of clubs came into being around this time. LASFS was founded at this time as a branch of the SFL, while several competing local branches sprang up in New York City. Soon after the fans started to communicate directly with each other came the creation of science fiction fanzines and these amateur publications might or might not discuss science fiction and were generally traded rather than sold. They ranged from the utilitarian or inept to professional-quality printing and editing, science-fiction fans have been among the first users of computers, email, personal computers and the Internet. Many professional science fiction authors started their interest in fiction as fans. A widely regarded history of fandom in the 1930s can be found in Sam Moskowitzs The Immortal Storm, Moskowitz was himself involved in some of the incidents chronicled and has his own point of view, which has often been criticized. Organized fandom in Sweden emerged during the early-1950s, the first Swedish science fiction fanzine was started in the early 1950s. The oldest still existing club, Club Cosmos in Gothenburg, was formed in 1954, today, there are a number of science fiction clubs in the country, including Skandinavisk Förening för Science Fiction, Linköpings Science Fiction-Förening and Sigma Terra Corps. Between one and four science fiction conventions are held each year in Sweden, among them Swecon, an annual prize is awarded to someone that has contributed to the national fandom by the Alvar Appeltofft Memorial Fund. Since the late 1930s, SF fans have organized conventions, non-profit gatherings where the meet to discuss SF. The 1st World Science Fiction Convention or Worldcon was held in conjunction with the 1939 New York Worlds Fair, and has been held annually since the end of World War II
7.
Pulp magazine
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Pulp magazines were inexpensive fiction magazines that were published from 1896 to the 1950s. The term pulp derives from the wood pulp paper on which the magazines were printed, in contrast. The typical pulp magazine had 128 pages, it was 7 inches wide by 10 inches high, the pulps gave rise to the term pulp fiction in reference to run-of-the-mill, low-quality literature. Pulps were the successors to the penny dreadfuls, dime novels, although many respected writers wrote for pulps, the magazines were best known for their lurid, exploitative, and sensational subject matter. The first pulp was Frank Munseys revamped Argosy Magazine of 1896, with about 135,000 words per issue, on paper with untrimmed edges. In six years Argosy went from a few thousand copies per month to over half a million, Street & Smith, a dime novel and boys weekly publisher, was next on the market. Seeing Argosys success, they launched The Popular Magazine in 1903, due to differences in page layout however, the magazine had substantially less text than Argosy. Haggards Lost World genre influenced several key pulp writers, including Edgar Rice Burroughs, Robert E. Howard, Talbot Mundy and Abraham Merritt. Street and Smiths next innovation was the introduction of specialized genre pulps, with each focusing on a particular genre, such as detective stories, romance. At their peak of popularity in the 1920s and 1930s, the most successful pulps could sell up to one million copies per issue, in 1934, Frank Gruber says there were some 150 pulp titles. The most successful pulp magazines were Argosy, Adventure, Blue Book and Short Stories, although pulp magazines were primarily an American phenomenon, there were also a number of British pulp magazines published between the Edwardian era and World War II. Notable UK pulps included Pall Mall Magazine, The Novel Magazine, Cassells Magazine, The Story-Teller, The Sovereign Magazine, Hutchinsons Adventure-Story and Hutchinsons Mystery-Story. The German fantasy magazine Der Orchideengarten had a format to American pulp magazines, in that it was printed on rough pulp paper. During the Second World War paper shortages had a impact on pulp production, starting a steady rise in costs. Beginning with Ellery Queens Mystery Magazine in 1941, pulp magazines began to switch to digest size, in 1949, Street & Smith closed most of their pulp magazines in order to move upmarket and produce slicks. The pulp format declined from rising expenses, but even more due to the competition from comic books, television. In a more affluent post-war America, the price gap compared to slick magazines was far less significant, in the 1950s, mens adventure magazines began to replace the pulp. The format is still in use for some lengthy serials, like the German science fiction weekly Perry Rhodan, many titles of course survived only briefly
